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CINEMATRIX - by LuckyWill

 
Cinematrix is movie goer central bringing everything from the Big Screen to your screen.

CINEMATRIX - November 2006

X-Men(3): The Last Stand; Movie Review

November 21st 2006 15:15

The third and final X-Men film of the trilogy (following X-Men and X2) lives up to its namesake of being climatic and comprehensively conclusive. For a start, one of the key members is presumedly killed off in roughly the first 30 minutes! Then, two others die while another few lose their mutant abilities entirely, reducing them to boring old homo sapiens (just like the rest of us). But, the new director Brett Ratner does a commendable job taking over from Bryan Singer who elevated the series initially and rounds out a trilogy that has style and substance (unlike Fantastic Four) a worthwhile story (unlike The Avengers), altogether with an intriguing plot with cooler characters than Spiderman. Oh and did I mention it's much more fresh and entertaining than Superman?


So what we have here is a colourful action film that does the intertextual comic book origins justice while issuing a film that can almost stand on its feet singuarly but also rounds out a satisfying last part of a trilogy. All in all, pretty good you're probably thinking? Well, you wouldn't be wrong. Let's run down where we're up to and where we're going:

Characters - most of the usual suspects are here including favourites like Wolverine, Cyclops, Jean Grey and Charles Xavier with some of the bad guys and gals including the totalitarian Magneto and the delicious Mystique. Additionally, we have some inclusions as well to keep it fresh and no doubt keeping the comic book fans coming back, including Beast (superbly casted as televisions "Frasier", Kelsey Grammer), Archangel, Kitty Pryde and Collosus. Notably, some new villians make an appearance as well, such as Juggernaut and Mutliple Man.


X-Men 3 Poster


Plot - Following Jean Greys apparent suicide to save the team at the end of X2, the viewers are introduced to the plot arc known as the Phoenix Saga, whereby Jeans powers take on a cataclysmic potenial that even she and Charles Xavier battle to control, let alone contain. Whereas the first couple of films dealt with the X-Mens battle against their mutant bretheren and the fearful humans who percieve mutants as a risk; the third film arguably highlights the inner battle each X-Men endures on a personal level. For example, dealing with a world that has invented a so-called cure for mutantism, the longevity of the X-Mens dreams and how each fits into the role assigned to them in the group in emotional terms. But, that's not to say there's heaps of action scenes, explosions and character vs character duels that we're all used to and secretly love.

Jean Grey as Phoenix


Transition - The film coherently takes place after the sequel and we're again presented with familiar characters and their individual interactions in the group. Ratner has done a good job here. The acting is all satisfactory especially Patrick Stewart who plays Xavier and Ian Mckellan playing Magneto. Again we see the complexity of their relationship dichotmously opposed philosphically, yet are shown why they're essentially part of the same coin yet reveal two different visions like the metaphor explained in the "Extras" section of disk2 in the DVD. Hugh Jackman reprises his role as Wolverine with vigour as the half animal half human mutant with similar straining affections to his role as more of a lone wolf than a team member.

Patrick Stewart and Ian McKellan


All in all, it's a satisfying, fast-paced, action romp made believable by the characters and plots held together by familiarity, while giving a few new twists while not upsetting the balance and tradition of the films. Is it the best X-Men film? I don't know. Is it an enjoyable conclusion to the series? Yes it is.



3/1/2 starz


Images taken from:
wikipedia.org
polg.blogs.com
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In a match that rivals Jordan vs Bird, Twain vs Dickens, Marc Antony vs Julius Caesar, Hitler vs Churchill, or even a Pacino vs De Niro; we're seeing the likes of the latin floosy from "Desperate Housewives" be paired with the black superstar who flooses herself between film and music entertainment. These two have recently revealed they will be starring in roles from an adaption of Sarah Waters book, "Tipping the Velvet". Yet, these two aren't pairing off in a duel or contest for spotlight focus, flipping their hair, pouting or looking their desirable selves, this match-up will be one of compassion where each plays a lover to the other.


That's right. Eva and Beyonce as lovers on-screen.

That noise you can hear right now is the concerted commotion of men worldwide frantically searching for their wallets to pre-book cinema tickets.

The backdrop is set in the 1890's, where the book describes the life and lesbian love affair between male impersonator music hall star Kitty Butler and Nan Astley. So expect some romp and pomp or a tawdry type of Moulin Rouge, understood from the titles namesake which means female cunnilingus.



Director Sofia Coppola (from Lost in Translation and The Virgin Suicides) will bring the girls to the big screen for art aficidano's, Victorian enthusiasts and heterosexual males everywhere. Sofia is reportedly "desperate" for each actress to star in the adaption, which has also previously been a BBC television show in the early 2000's.

Both stars are feeling positive about the controversial roles, which previously surmounted uproar over the former BBC's adaption from the use of graphic sex scenes, cross-dressing and sex toys. However, Beyonce who was speaking at a New York benefit for ovarian cancer, said: "We've had Brokeback Mountain so the time is right for this divine novel to get the same treatment." (smh.com.au) Refuting claims this was all just one mans secret wet dream exposed, Eva clarified, "Yes it's true. We are talking about doing the movie together. It's such a wonderful novel, a beautiful love story." (smh.com.au)



Is this merely just a short-sighted Hollywood publicity stunt for Brokeback-style notoriety, or a genuine attempt at informing sexuality acceptance through art?


Either way, expect a follow-up review the day it's released from your truly.



Images from:
Amazon.com
Askmen.com
thehollywoodgossip.com
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Far too much we are seeing "creative license", skew films to a biased end, dramatic subplot or fantasised love interest. I see why script writers - and if not, definitely - producers elevate certain areas of film for shock value, merchandise, traditionalise formula and tease out unpopular quirks to ensure the film-going audience all agrees and likes it. Whether or not this is a good thing it happens.

Films like Gladiator, Braveheart, Robin Hood, Enigma all show a tantalising fiction that's very loosely based on history.
Yet we are drawn in by them so much, not by their fictitious parts, but by their representations of connecting with prior figures in history and being a part of something while history is made. Then, after research into the area we come to learn the grievances of "editing". But isn't editing history, real life events, peoples lives an indictment on culture and history in the most deplorable terms? If you can't be represented as you lived and mocked by an alternate version, you've been coloured by your time, smeared by outside your living history and denied your truthful existence to generations to come


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