While slasher films can be gritty they mostly stay within the realm of hokey, not in a bad way, but in a fun and enduring way. Slashers are those movies we watch when we want to turn our brains off for a while and watch some masked burnt mysterious whatever maniac do horrible things to teenagers. Serial killer movies however, while can be equally hokey, normally tend to lean towards the more serious of the two. Most serial killer movies that I’ve seen are dark and intrinsically layered films that force me to keep my brain working, to watch out for the clues, and to digest whatever metaphor or symbolism packed in bloody imagery that the director is intending for me to swallow. We’re talking Silence of the Lambs, Zodiac, Identity, American Psycho, Henry, and the list goes on. Se7en is no different. Continue Reading
If you’re one of the movie goers who contributed to Logan’s $85.3 million domestic opening over the weekend, then this review is for you. For everyone else, you may want to go see Logan before reading. The following article Logan: The End of an Era will contain spoilers. This will be your only warning. Clear? Good. Now that we have that bit of business out of the way, I wanna talk about the movie everyone else is talking about. That’s right if you haven’t guessed it, I was one of the nerds…sorry, geeks who ventured and braved the crowds to see Logan. I sat shoulder to shoulder with friends and strangers to witness the end of an era. Which era? The Wolverine, or at least Hugh Jackman’s portrayal as one of the more popular characters in the X-Men lexicon. And let’s face it, this may very well be the end of the character Logan as well, for the time being. At this stage, I don’t see anyone else picking up the reins and having much chance of success. But, that’s a conversation for another day. As I said, I wanna talk about Logan.
Here’s a quick synopsis from the always loveable IMDb:
“In the near future, a weary Logan cares for an ailing Professor X in a hide out on the Mexican border. But Logan’s attempts to hide from the world and his legacy are upended when a young mutant arrives, being pursued by dark forces.”
Not a bad synopsis, as simple as the basic premise and catalyst of the film itself. Better than the typical three words they usually give movies. And they’re not wrong, as the movie opens, the year is 2029, and sleeping Logan is woken by a gang on the Texas-Mexico border attempting to steal his tires. Logan stumbles on the scene and gives a somewhat slurred warning for the would-be “bad guys” to do themselves a favor and take off. On par with what most red shirts do, they ignore his warning and shoot him down. A typical setup for any superhero action movie. But there’s somewhat different here. Something amiss. Wolverine isn’t getting up as fast as he used to. He’s taking a lot more punches until he’s basically driven into an animal like state, lashing out wildly and somewhat lazy. EVenutally in what would have normally taken him seconds, he finally dispatches the would-be thieves, jumps back into his car (a limo BTW), and takes off. He stops at a nearby gas station and runs into the bathroom to clean himself up. It’s here we see more evidence that something is not right with our beloved hero. His body is riddled with poorly healed scars. Marks that would have in the past healed over in a blink of the eye, are now a visible roadmap who his harsh existence.
So, I’m not going to do a play for play on this review. If you’ve seen it, then you already know what happens.
For the most part, Logan (as a movie) felt very familiar. This isn’t the first time I’ve seen Wolverine as the reclusive hero or even the reluctant hero. In just about all the movies thus far in which Wolverine makes an appearance, he has been the grumpy cigar smoking asshole everyone loves, except for in Days of Future Past (my favorite X-Men movie) in which he took lead role as the dominant leader of the pack, and of course his cameo in X-Men Apocalypse, one of the few highlights of that movie where they finally got the Weapon-X story arch right. Tell me I’m wrong, but besides those two movies, has not Wolverine always been the “reluctant hero?” And that’s okay. It’s his MO. What it really means is that director James Mangold will have to work twice as hard not to bore the shit out of long time fans. Something he wasn’t quite able to do in his first foray with Wolverine in The Wolverine (2013), which to be fair was much better than the previous Wolverine movies, the duo bust that-shall-not-be-named (Last Stand and Origins), he still fumbled a bit with the ending. The majority of The Wolverine was pretty good, I thought. Bringing Logan out of his guilt and into his true purpose as a soldier/warrior.
Carrying into Logan, Mangold brings the evolution of this “warrior’s tale” to its final conclusion, in a movie that works as both a western and as a dystopian without having to resort to a dismal apocalyptic future. No, the Sentinels are not to blame. Nor is Bolivar Trask. Or even Col. Striker…well, perhaps his legacy is to blame for some of it. No, the real bombshell is that it was Xavier’s degenerative brain disease that is to fault in the so-called “Westchester Event,” as he called it in an impromptu confession of sorts, to the deaths of the mutants, or at least the X-Men. Most of the backstory is left to interpretation and not filled in with lazy narration or exposition. This “revelation,” just before Xavier’s final moments, reveals that this is NOT just another reluctant hero movie, this isn’t a rinse and repeat from Mangold’s first go with Wolverine back in 2013. Logan was a hero, he was a warrior and a soldier, but after witnessing the deaths of his friends, an event that would send any hero Helter Skelter, he’s simply lost his purpose, his banner…now set on caring for himself, and also an ailing aged Professor, and of course Caliban is there too. Can you image?He’s caring for the man who killed his friends, not malevolently of course, to no one’s fault but the disease. Still…what a burden, right? Enough to make anyone a selfish prick.
So, the motivation makes sense, and though they make stem from the same vein as previous films, the differences make all the difference. Logan is a wounded, dying animal driven into a corner, and as such furiously defends himself and his very selective circle. But then a strange woman arrives and begs for that “hero,” the legend that this Wolverine, to return and help guide a young mutant, Laura (who happens to be his daughter), played wonderfully by Dafne Keen, to a place called Eden on the Canadian border. Eden is a place mentioned in a comic book, along with a set of GPS coordinates. But Eden doesn’t really exist, and it does exist. This part of the story was kinda brilliant, playing off audience expectations. Seeing an X-Men comic, kinda fourth wall; kinda not, showcasing a sentimental view of the X-Men and this place called Eden, which Logan constantly tells Laura doesn’t exist because it’s in a comic book, therefore fictional, and then, in the end, Eden does exist, but not in the way audiences may have expected. Eden was simply a rondevu point for the escaped children who were part of an initiative designed to re-create the Weapon-X program, the same program that gave Wolverine his adamantium skeleton and claws.
From here the conclusion is drawn in the sand. Thanks to the children, and some hair trimmings, Logan becomes what he was always meant to be. Not a warrior for hire, but a hero. A very angry and very very violent hero, facing off against what he could have become had he remained in the original Weapon-X program, a rampaging, feral, mindless killing machine. This clone aspect was interesting and very symbolic, forced to square off against one’s past, a somewhat distorted mirror image. For a moment, I thought X-24 looked somewhat like Sabertooth from that dreadful Origins movie with the mutton chops. For a story arch this long, spanning seventeen years, the ending of Logan was exactly how it should have ended. Just like with the “what happened to all the mutants” question, the “why isn’t Logan healing” is also kind of fill in the blanks. The assumption I think is that Logan is suffering from some sort of long-term exposure to adamantium. his healing factor is all but burnt out now. Knowing this, we should have known going into this movie that Wolverine was not going to ride off into the sunset. This was his last mission, not to save the future, but to give the future a chance. While sad, the ending is fitting, as Laura and the other children bury Logan, marking his grave with a wooden X, and running off into an unknown destiny.
I’m sure more will be said regarding all those metaphors and symbolisms we grazed over about family and parenthood or fatherhood, and all that. For now, let me close this review with one final summation. Why did “they” have to get Wolverine right on the FINAL movie??? Seriously. Finally, as audiences would no doubt want more, we’re given the last bill. The emotional setup was near-perfect, opening the curtains by giving us a brief look at Deadpool 2, everyone laughing and then closing the curtains with Logan’s death and an uncertain future for a new generation of mutants. And the no after credit scene added to the realization, this was it. Perhaps not the end of the X-Men, but certainly the end of an era.
My Rating: 4.5 of 5 stars.
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Apocalypse Meow. His military/paranormal thriller series, The Subdue Series, both Dwelling and Emerging and Conceiving, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.
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December, the same for many of you I’m sure, is one of the busiest times of the year. With all the shopping and family functions, the gift wrapping and long distance phone calls, and Santa visits over at the mall, and festive Christmas lights or Hanukkah, depending on your jam, and Zoo Lights or whatever you’re local county folks do, and eggnog and TV specials…well, if feels almost impossible to fit everything in those special 24 days till Christmas. For me, even more so now that some of my publishing exploits have picked up pace since my start in 2014 and with the release of two new books in the same month, interviews and book tours…etc etc, well, it can all feel overwhelming. To keep from frying a circuit, its a good practice to unplug once and awhile from those blinking little tablets and cellphones and computer screens and traffic jams and enjoy the simple pleasures of going to the movies. And as chance would have it, I was able to venture out to the theater this past Saturday for the next to last showing of Krampus. And I’m so glad I did!
Krampus is interesting. Not just the movie, but how this year it seems to be a rather proper resurgence of a very old folk story from Germany, where it is in fact celebrated still, once a year, in Christmas parades. I’d hate to make certain ties to our current political situation…but it seems (if this Krampus popularity is any indication) people are tired of all the hoopla. The media blitz. The Black Friday, ruin Thanksgiving shopping. The non stop ads (this recent season of South Park with PC Principle could also be a indication of this). Why else would a guy like Trump hold such popularity as a Presidential candidate? Jesus, I’d hate to think it was because people actually wanted him as president. Retaining my optimism with the human race, I’d wager Trump’s popularity was more about the overall attitudes with American politics nowadays. “Nothing ever changes” blah blah blah, or so people say, If nothing ever changes then why take anything seriously anymore? I think I’m getting off topic here, so let me rein it back in. What I’m getting at is perhaps this new found interest with Krampus is our “tiredness” with ignoring certain holiday traditions, as Krampus is the oldest of holiday traditions, it seems plausible. But this is all conjecture and maybe myself overthinking things, as I tend to do. Lets get back to the movie, shall we?
Here is a quick fire synopsis:
When his dysfunctional family clashes over the holidays, young Max (Emjay Anthony) is disillusioned and turns his back on Christmas. Little does he know, this lack of festive spirit has unleashed the wrath of Krampus: a demonic force of ancient evil intent on punishing non-believers. All hell breaks loose as beloved holiday icons take on a monstrous life of their own, laying siege to the fractured family’s home and forcing them to fight for each other if they hope to survive.
To be honest, I had little notions of what I was walking into last Saturday. I knew I would probably enjoy the movie, but I think in the back of my head I was expecting a little more dumb and a lot less smart; however, it seems the opposite to be true. Krampus is actually a very smart movie, but not over-the-top, despite the “black comedy” jive. The film opens perfectly. Bing Crosby or some other Christmas classic is playing. Everything is in slow-mo as we watch what we’ve all seen on YouTube, Black Friday shoppers duking it out over random unless objects. From teddy bears to rocking horses to TVs to popcorn tins to crying children with black-eyes to store security guards tazing would-be shoppers with a look of absolute glee. Your attention is not really on what these people are fighting over, its the expressions on their faces as the film is slowed down to a crawl, whilst some homely comfortable cheer is playing in the background. Its a fantastic opening and sets the mood for the entire movie with both hilarity and repulsion. If watching this beginning is any indication, perhaps the return of Krampus to America is long overdue!
I’d like to give my honest review without any spoilers, so I shall not mention too many things. The ending is off limits, but I will say that it was great…which is surprising, cause these kind of movies typically fall flat at the end. The ending so very much like the entire movie, where certain expectations are shot down for something otherly unexpected. One of my favorite scenes is when grandma Omi Engel (played by the very talented Krista Stadler) , who only speaks English once, here during a little flashback to her childhood, while in the rest of the movie she’s speaking in German. I loved this part. The movie has little to no exposition moments, which is great. This scene with Omi is fantastic. With things are getting pretty strange and an explanation of what the cause or causes may be, she steps in and offers her family and us a little more information on what Krampus really is. Her memory is told in a very creepy paper styled cartoon which reminded me very much of something Tim Burton would do. Surrounding this much younger Omi, a bombarded village, assuming this to be a German town just after WWII ended. People are desperate and forget the “meaning for the season,” as they say. Krampus visits the town and takes everyone away, all but for young Omi. She fears Krampus has returned. And as the family is picked off one by one, they soon believe her tale. But this begs the question: can they fight back? Can they survive Krampus and his minions?
There are a few other “great” scenes, truly haunting ones and comedic as well. Whatever that thing was in the snow was pretty creepy. And the snowmen, while you never really see them move, somehow they slowly surround the house. Each time Max looks out the window, there’s a new one grinning back at him, more twisted then the last. The gun jokes and political humor gave me a good chuckle. And the death count was very surprising. Much like Gremlins (a movie many are comparing Krampus to), the death counts in many blockbuster holiday themed movies are typically low. Not in Krampus. Expect death. Lots of it.
Like I said before. I had certain expectations with Krampus. Those being a complete dumb movie, but a fun dumb movie, were altogether shot out of the water. This movie was smart as well as entertaining and fun. Krampus certainly does not take itself too seriously, while also giving us some serious moments. As far as labeling this as a “black comedy,” I think the comedy was actually more lite then most “black comedies.” This was a horror story, no doubt about it. And comedy has a special relationship with terror. Each blended marvelously. Krampus will no doubt be one of those movie that become tradition in the years to come, much like Die Hard or Silent Night, Deadly Night has.
My Review: 5/5