Plot: P.T. Barnum (Hugh Jackman) is driven and has big dreams. But he’s also poor. His wife Charity (Michelle Williams) is fully supportive. When Barnum loses his job, he finds a way to get a loan and invests in a museum of oddities. But he soon graduates from showing way figures to building a show with extraordinary people.
I was fully prepared for The Greatest Showman to be awful, but I really didn’t expect the level of terrible the film achieves. It’s a catastrophe wrapped in a candy look.
Mutants have been practically eradicated. There are only a few left – those who manage to hide very well. One of them is Logan (Hugh Jackman), whose age is starting to show in the decreased tempo of his healing. He takes care of Xavier (Patrick Stewart), whose age is in turn showing in the dementia he developed. They are constantly at risk of being discovered. When Logan is asked to drive the young Laura (Dafne Keen) to Canada, he smells trouble and tries to refuse. But Laura won’t let herself be refused. She is like Logan in many ways and definitely a mutant. And she is pursued by an organization that means her harm. Laura forces Logan to face the world and his place in it.
Logan is probably the most emotionally mature superhero film, at least of recent years. Nevertheless, I’m not quite as taken with it as many other people were.
Charles Xavier (James McAvoy) is busy with running his school for mutants and finding misunderstood and mistreated mutants around the world with the help of Raven (Jennifer Lawrence). In the meantime, Erik Lensherr (Michael Fassbender) has decided to disappear into a quiet and very normal life. But when an immortal, very dangerous and most powerful mutant, En Sabah Nur (Oscar Isaac), finds himself returned to consciousness after millennia of sleep, it becomes clear that they can only oppose him together.
So far, I really enjoyed this generation of X-Men movies and X-Men Apocalypse was a another thoroughly satisfying entry into the series. Especially after my rather lukewarm reaction to Captain America: Civil War, it was nice to get a superhero movie that manages to keep the quality of its predecessors, even if it doesn’t really add anything new to the story.
Eddie (Taron Egerton) has always had one dream: he will be an athlete. And not just any kind of athelte, an Olympic athlete competing for the UK. No matter the sport and no matter that he is perpetually hurting himself in his attempts. When he realizes that there is no British ski jumping team, he sees his chance and he grabs it. Making his way to Germany to train with absolutely no support apart from his mother’s (Jo Hartley) unflinching belief in him, he meets Bronson Peary (Hugh Jackman): Bronson came close to be one of the greats in his sport, but now he makes his money driving the snow groomer. Eddie does everything he can to convince Peary to train with him so that he can take his shot.
Eddie the Eagle is a fun, entertaining film. It’s not a big cinematic revelation, but it’s a very nice watch with a good story and two engaging leads.
Greg (Thomas Mann) glides through High School doing everything he can not to be noticed and not to get too close to anyone. Even his best friend Earl (RJ Cyler) is just a co-worker to him. When his mother (Connie Britton) hears that her friend Denise’ (Molly Shannon) daughter Rachel (Olivia Cooke) has cancer, she forces Greg to rekindle his childhood friendship with Rachel. Both aren’t exactly happy about it, but somehow they manage to get past the initial awkwardness.
Me and Earl and the Dying Girl is a film that manages to make you laugh and cry, touching on important issues in a lighthearted and sweet way that still takes things seriously.
The robot police force has been rather well established in South Africa and the company producing and maintaining them, headed by Michelle Bradley (Sigourney Weaver), is extremely successful. But not all engineers are quite satisfied yet. Deon Wilson (Dev Patel) dreams of building an AI and trying it on one of the robots, while Vincent Moore (Hugh Jackman) is convinced that his robots – that are more like war machines – are the future. Then Deon gets his hands on a discarded robot and installs his AI, creating Chappie (Sharlto Copley). But Chappie gets promptly stolen by Ninja (Ninja), Yolandi (Yo-Landi Visser) and Yankie (Jose Pablo Cantillo) who bring him up as a gangster like themselves.
Good grief, Chappie was bad. I barely have the words to express just how bad. [And I just realized that I’ve written almost the same thing about Elysium already.] I have yet to see a Blomkamp film that works for me, but Chappie is certainly the worst of the bunch.
Scientist Bolivar Trask (Peter Dinklage) created an adaptive superroboter to hunt and kill mutants that eradicated mutants almost entirely in just a few short years. The only way to stop their complete extinction is by stopping Trask building the robots in the first place. So Kitty Pride (Ellen Page) sends Logan (Hugh Jackman) back into the past to find Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) from stopping Raven (Jennifer Lawrence) to inadvertently set everything in motion. But neither Charles nor Erik are at a particularly good place in their lives and its up to Logan to make everything happen.
I really, really enjoyed X-Men: Days of Future Past (I even saw it twice in the cinema), even if I do have certain qualms about it. But the fun pretty much outweigs everything.
It’s Thanksgiving and the Dovers are celebrating with their friends and neighbors, the Birchs. But when the little daughters of both families suddenly disappear, the festivities are quickly interrupted. As Detective Loki (Jake Gyllenhaal) is called, Keller Dover (Hugh Jackman) quickly loses his temper. And when suspect Alex Jones (Paul Dano) is apprehended to be released soon afterwards, Keller decides to take justice into his own hands.
Prisoners has a rather similar theme as Big Bad Wolves, so it’s hard not to compare the two and in that comparison, Prisoners stays a bit behind – but that’s just because Big Bad Wolves was that exceptional. Prisoners is, in fact, a really good movie.
Since Jean’s (Famke Janssen) death, Logan (Hugh Jackman) has given up on being the Wolverine and lives a hermit’s existence. But he is tracked down by Yukio (Rila Fukushima) who works for the rich business man Yashida (Hal Yamanouchi). Yashida is dying and he would like to see Logan again who saved his life during WW2. Grudgingly, Logan flies to Tokyo, only to discover that things aren’t quite as clear cut. While he tries to figure everything out, protecting Yashida’s granddaughter Mariko (Tao Okamoto) becomes his priority.
The Wolverine is made of dumb. Did I expect it to be a good move? No. But I did think that somebody somewhere would have thought about the script and/or plot for more than five seconds. Apparently not.
Jean Valjean (Hugh Jackman) has just been released on parole after years in the galleys for stealing some bread. Police inspector Javert (Russell Crowe) doesn’t really want to see him go as he doesn’t trust in his rehabilitation. And he almost seems to be right – as Valjean takes the frist chance he gets to steal from a priest (Colm Wilkinson). But when said priest shows him mercy, Valjean takes the chance to build a life for himself, though skipping parole. Years later, he is a successful factory owner and mayor, when Javert comes to his town. At the same time, Valejan gets drawn into the life of one of his factory employees, Fantine (Anne Hathaway) and her little daughter Cosette (Isabelle Allen/Amanda Seyfried) and decides to help her.
Les Misérables is pretty epic, as can only be expected from a musical based on a Hugo novel. And while the cast mostly does very well with the epicness, neither Tom Hooper nor cinematographer Danny Cohen were up for the task.