Saturday 20 July 2013

Monsters University - review



Rating: 8 out of 10
Movie Details: View here 

Voice Cast:
Billy Crystal as Mike
John Goodman as Sullivan
Steve Buscemi as Randy
Helen Mirren as Dean Hardscrabble
Peter Sohn as Squishy
Joel Murray as Don
Sean Hayes as Terri
Dave Foley as Terry
Charlie Day as Art
Alfred Molina as Professor Knight
Tyler Labine as Greek Council VP
Nathan Fillion as Johnny
Aubrey Plaza as Greek Council President
Bobby Moynihan as Chet
Noah Johnson as Young Mike
Julia Sweeney as Ms. Squibbles
Bonnie Hunt as Mrs. Graves
John Krasinski as Frank McCay
Bill Hader as Referee / Slug
Beth Behrs as PNK Carrie
Bob Peterson as Roz
John Ratzenberger as Yeti

Directed by Dan Scanlon

Story:
On his entry into Monsters University, Mike Wazowski (Billy Crystal) only wants one thing… to be a great Scarer. His dreams and studies come to a grinding halt when he gets into a conflict with MU's "legacy Scarer" James T. Sullivan (voiced by John Goodman) and both of them get themselves expelled from the Scaring program. In order to save face and his dreams, Mike and Sully put together a ragtag band of outcasts from the Oozma Kappa fraternity to take part in the annual "Scare Games" in order to get themselves back into MU's Scaring program.

Analysis:
With thirteen movies under their belt and seven released in the same number of years, Pixar Animation Studios have been put into an interesting situation through their relationship with Disney where they're still trying to create new and original ideas while trying to keep their much-beloved characters from previous movies alive. It's been nearly 18 years since the original "Toy Story" and these days every Tom, Dick and Harry computer animation company has their own characters and stories that can find a large moviegoing audience, so it falls to Pixar to still prove themselves as innovators.

"Monsters, Inc." was as much of a technical and storytelling revelation when it was released in 2001 as were its three Pixar predecessors, much of it coming down to the fact that the pairing of Billy Crystal and John Goodman as Monsters, Inc.'s top Scarers Mike Wazowski and James T. Sullivan helped make it an animated movie that adults could accept as readily as their children. 

"Monsters University" isn't a completely misguided attempt at revisiting those characters--the chemistry between Crystal and Goodman still undoubtably works--but it's nowhere remotely close to one of those "perfect Pixar movies" - movies like "WALL•E" or "Ratatouille" that were so innovative and original in their storytelling they stood alone. Instead, it's very much part and parcel a prequel done for the sake of enticing those who did love "Monsters, Inc." back into theaters to learn the backstory of those characters. Some parts of that story are easier to accept than others.

It's immediately evident this is meant to be Mike's story from the opening sequence where we see him as a young impressionable monster on a field trip to Monsters, Inc., where his dreams to become a Scarer begin in earnest. Years later, he's one his way to Monsters University to chase his own dreams and that's where he first encounters James T. Sullivan, the hotshot "big monster on campus" who feels he can coast through his scaring studies due to his appearance and family legacy. The tough head of the Scaring program, Dean Hardscrabble--more genius voice casting in the form of Helen Mirren--is not allowing anyone to coast through her program, and the endless competing between the two young monsters ends up being their undoing. 

The fact that Mike and Sully aren't friends and don't get along when they first meet may have been the most obvious route the filmmakers could have taken with this story, and because of that, it really only leaves one place for the movie to go in terms of their relationship and how it evolves. It's not the most impressive or clever of plots and in fact, it's the type of obvious and predictable prequel/sequel storytelling we'd expect from much lesser animation houses than Pixar.

The by-the-books nature of the storytelling becomes more obvious when we're introduced to the plot device of the "Scare Games" where Mike, Sully and the motley crew of monsters, who really have no chance of winning, are suddenly seen as serious contenders. In fact, it's the introduction of the Oozma Kappas, the campus outcasts that take Mike and Sully in after they're expelled from the Scaring Program, where the movie finally finds its footing. As much as humor is a subjective thing, if you can't find anything to laugh at in the antics of the lovable group of supporting characters--Charlie Day's enigmatic Art, the two-headed oddball Terri and Terry, the "mature student" or the overly eager Mamas' Boy Squishy Squibbles--then you probably shouldn't even be trying to watch a comedy.

And countering that is the slithery, creeping presence of Helen Mirren as the school headmaster, whose voice is so perfect, you can close your eyes and get the same chill down your spine whenever she speaks even without the visual accompaniment of her in monster form.

There are times when "Monsters University" is trying too hard to show off its technical achievements, particularly the monster-filled quad scenes in which there's way too much going on visually. Where Pixar has always excelled is finding the heart within their stories, and they eventually get there when Mike brings the Oozma Kappas to Monsters, Inc. to show them why he dreamed of being a Scarer in the first place. But honestly, the heart of the movie is always present in Crystal's performance, who is bringing such sheer joy to voicing the character again, it's impossible to remain overtly cynical at any point during the movie.

Otherwise, much of the film involves the group preparing and taking part in the Scare Games, which is fun to watch but nothing particularly new or original. It's only after they're finished, essentially the point where Mike and Sully have to work together in order to succeed which is expected from the beginning, when the movie goes into territory more on par with the original.

As much as "Monsters University" is another visual treat, special attention has to be drawn to the musical work by Pixar regular Randy Newman who creates a score that's truly special in terms of bringing that much-needed heart to certain moments but also filled with memorable tunes that leaves you tapping your toe as you leave the theater. If one were to pick one MVP outside the voice cast, it would have to be Newman's contribution.

The Bottom Line:
There's some amount of cheating going on to try to make "Monsters University" work as a viable prequel, but ultimately it does work and much of that comes down to the fact that the genius pairing of Crystal and Goodman still works 12 years later. It's not Pixar's most innovative or clever movie by any means, but it ultimately delivers in terms of offering something to entertain everyone and the simplistic nature of story won't even remotely quell your kids' enjoyment.

White House Down - Main Gallery



















White House Down - Review



Rating: 5 out of 10
Movie Details: View here 

Cast:
Channing Tatum as Officer John Cale
Jamie Foxx as President James Sawyer
Maggie Gyllenhaal as Agent Carol Finnerty
Jason Clarke as Emil Stez
Richard Jenkins as Speaker Eli Raphelson
James Woods as Agent Martin Walker
Joey King as Emily Cale
Nicolas Wright as Donnie Donaldson
Lance Reddick as General Caulfield
Michael Murphy as Vice President Alvin Hammond
Rachelle Lefevre as Melanie

Review:
Like all good action movie heroes, John Cale (Channing Tatum) is an overachiever trapped in a screw-up's body. He's not very organized, not always very serious, not always able to finish what he starts. It's what ruined his marriage and distanced him from his daughter (Joey King). The one thing he was ever good at was being a soldier. Which, it turns out, is actually a pretty good set of skills to have when terrorists invade the White House and take the President (Jamie Foxx) captive.

If "Olympus Has Fallen" taught us anything it's that such a patently ridiculous set up will only work within a suitably ridiculous movie. Which itself will only work if the film itself realizes how silly it is and approaches everything with a suitable sense of irony. And if director Roland Emmerich has proven anything in his career, it's that he has a solid sense of irony.

No, that's not the right word. What am I looking for? Travesty, that's it.

This particular one has a slightly less wooden than usual Tatum trying to reconnect with his White House obsessed 11-year-old daughter (like most 11 year olds are) by taking her on a tour on the same day a collection of clichés, I mean mercenaries, blast through the best bodyguards you can find, and tons of military security, by posing as home theater repairmen. If only they had been watching "Die Hard" instead of preparing to kidnap the President they could have seen how all this was going to turn out.

At least right up to the point where the Presidential limo is doing donuts on the lawn, trying to avoid the SUV with a minigun attached to it trying to blow it up. Then you start to give up on the whole thing and look for places to laugh (at or with, either is permissible, but only one is likely).

It would be really easy to just slag off on "White House Down" for all the things it does wrong. Really, really, really, really easy. So let's look on the bright side instead.

"White House Down" is hilarious. Not because it's supposed to be. Certainly not in the way Emmerich or screenwriter James Vanderbilt seem to want; everything that is supposed to be a joke falls flat, or we've seen many times before. But everything that is supposed to be heartwarming or uplifting or intense is so badly handled there is only one response to it.

The action scenes are decent enough, if uninspired or inspiring, but they are surrounded by such maudlin ridiculousness and terrible one liners they rise to another level, though not a good one.

Foxx, playing a semi-President Obama, gets the worst of it as he is only allowed to alternate between patriotic and terrible in his dialogue, which is often filled with the worst howlers in the script. Or the best, I'm still not sure. I only know you will leave this film yelling 'I Choose The Pen!' or you have no soul.

Everything and everyone else is interchangeable, from the over-the-top hacker to the unfeeling General who wants to send the troops in no matter what. The plot isn't particularly remarkable even when it starts to become relentlessly insane. Which it does, exchanging tension for believability at a 1:1 ratio that eventually fizzles out.

Yes, there is some enjoyment to be had from "White House Down" if only from how inept it is. But Tatum does make for a fair action hero, even if he is covered up by bad comic relief and a surfeit of pointless characters (*cough*Gyllenhaal*cough*). Sure, most of your fun will be had from laughing at it, but that's better than most bad movies.

White House Down - Movie Details



Release Date: June 28, 2013 
Studio: Columbia Pictures (Sony) 
Director: Roland Emmerich 
Screenwriter: James Vanderbilt 
Starring: Channing Tatum, Jamie Foxx, Maggie Gyllenhaal, Jason Clarke, Richard Jenkins, James Woods 
Genre: Action, Thriller 
MPAA Rating: PG-13 (for prolonged sequences of action and violence including intense gunfire and explosions, some language and a brief sexual image) 
Official Website: WhiteHouseDown.com | Facebook 
Review: 5/10 rating 
DVD Review: Not Available 
DVD: Not Available 
Movie Poster: One-Sheet | Teaser 
movie Main Gallery view here
Production Stills: View here 

Plot Summary: In Columbia Pictures' "White House Down," Capitol Policeman John Cale (Channing Tatum) has just been denied his dream job with the Secret Service of protecting President James Sawyer (Jamie Foxx). Not wanting to let down his little girl with the news, he takes her on a tour of the White House, when the complex is overtaken by a heavily armed paramilitary group. Now, with the nation's government falling into chaos and time running out, it's up to Cale to save the president, his daughter, and the country. 

White House Down - Teaser


White House Down - One-Sheet


White House Down - Production Stills


The Heat - movie Production Stills


The Heat - movie Main Gallery











The Heat movie details


Release Date: June 28, 2013 
Studio: Twentieth Century Fox Film 
Director: Paul Feig 
Screenwriter: Katie Dippold 
Starring: Sandra Bullock, Melissa McCarthy, Demián Bichir, Marlon Wayans, Michael Rapaport 
Genre: Action, Comedy 
MPAA Rating: R (for pervasive language, strong crude content and some violence) 
Official Website: TheHeatmovie.com | Facebook | Twitter 
Review: 4.5/10 rating 
DVD Review: Not Available 
DVD: Not Available 
Movie Poster: View here 
Movie Main Gallery View here 
Production Stills: View here 

Plot Summary: Uptight and straight-laced, FBI Special Agent Sarah Ashburn (Sandra Bullock) is a methodical investigator with a reputation for excellence--and hyper-arrogance. Shannon Mullins (Melissa McCarthy), one of Boston P.D.'s "finest," is foul-mouthed and has a very short fuse, and uses her gut instinct and street smarts to catch the most elusive criminals. Neither has ever had a partner, or a friend for that matter. When these two wildly incompatible law officers join forces to bring down a ruthless drug lord, they become the last thing anyone expected: buddies. From Paul Feig, the director of "Bridesmaids." 

The Heat -movie review


Rating: 4.5 out of 10
Movie Details: View here 
Cast:
Sandra Bullock as Sara Ashburn
Melissa McCarthy as Shannon Mullins
Demián Bichir as Hale
Marlon Wayans as Levy
Michael Rapaport as Jason Mullinss
Jane Curtin as Mrs. Mullins
Spoken Reasons as Rojas
Dan Bakkedahl as Craig
Taran Killam as Adam
Michael McDonald as Julian
Thomas F. Wilson as Captain Woods

Directed by Paul Feig

Story:
By-the-books FBI agent Sara Ashburn (Sandra Bullock) has been assigned to take down a deadly drug crimelord in Boston where she ends up butting heads with tough street detective Shannon Mullins (Melissa McCarthy). If the two of them want to find the mystery distributor who is supplying Boston drug dealers and killing off the competition, they'll have to find a way to get along and work together.

Analysis:
There are certain genres that probably should be retired at this point and the buddy cop comedy certainly fits that bill, because it's becoming painfully obvious nothing new or original can be done with it, even if you replace the two male police officers trying to get along with two women. "The Heat" is essentially the exact same movie we've seen countless times before, this one relying entirely on the skills and abilities and star power of its two leading ladies to drive the comedy even though the story is so filled with every single police cliché we've seen so many times, one has to wonder, why bother?

Certainly, one might wonder what Sandra Bullock saw in the script to make this her first movie in two years as she once again plays an FBI agent just like she did in the "Miss Congeniality" movies, though not nearly as convincing eight years after that movie's terrible sequel. As the formula goes, we see Ashburn in the field and we're to immediately believe she's the best at what she does before we're introduced to Melissa McCarthy's Detective Mullins as she gives a man trying to solicit a hooker (played by "Arrested Development's" Tony Hale) a hard time before going after a drug-dealing perp.

If you guessed these two very different law enforcement officers would soon meet and clash before having to work out their differences and work together, then you already know just about everything you need to know about a movie that never makes much of an effort to rise above every single other police action-comedy that preceded it.

To her credit, McCarthy really throws herself into every aspect of her character, particularly the physical comedy. That said, Mullins is not a particularly inspired character, basically the same gritty street cop we've seen countless times transplanted onto McCarthy's style of delivery, and her normally hilarious improvisations are replaced trying to get laughs by inserting the F-word as many times into everything she says. Maybe 25% of McCarthy's profanity-laden insults to Bullock's prissy and proper Ashburn and others even elicit a snicker. In fact, there seems to be so much improvising one wonders how much of a screenplay there was in place to begin with since it relies so much on the same formula used so many times before, it's easy to figure out where it's going from one minute to the next.

As much as the movie is all about Bullock and McCarthy, the odd casting of the supporting cast doesn't help matters, like having "Mad TV's" Michael MacDonald trying to play a straight baddie and failing badly. Even some of the stronger actors like Oscar nominee Demián Bichir seem wasted in roles that could literally have been played by anybody. And yes, the irony of including Marlon Wayans in that list of "wasted talent" is not something we take lightly. As great as it is seeing Jane Curtin again, the fact she's relegated to one of Mullins' rude and obnoxious family--a tangent that delivers a few laughs but not really enough to make it worthwhile--rather than given more of a spotlight is par for the course with the laziness inherent in every aspect of the movie.

At times, "The Heat" tries to play with the archetypes of its genre, like having an albino DEA agent who looks like the bad guy from other movies, but it never tries too hard to be clever with these ideas before we're back to a ridiculous scene of the two women trying to fit in at a night club or a drinking montage where Bullock and McCarthy get to let loose, complete with awkward '90s dance number.

As with everything else, you expect better from the director of "Bridesmaids," and much of why "The Heat" doesn't work can be blamed on director Paul Feig, who probably should have reigned McCarthy in or at least made an effort to come up with a better plot rather than just rehashing every other buddy cop comedy and hoping the dynamics between Bullock and McCarthy could save it. It doesn't and it can't, and whether or not you're able to endure such lazy comedy filmmaking will rely entirely on whether you enjoy the two leads enough to forgive that laziness.

The Bottom Line:s
Despite the considerable talents of Bullock and McCarthy, "The Heat" is an uninspired formula comedy that wastes every iota of that talent on a movie genre that should have been retired at least five years ago. 

RED 2 - Review




Rating: 6 out of 10

Cast:
Bruce Willis as Frank Moses
John Malkovich as Marvin
Mary-Louise Parker as Sarah
Helen Mirren as Victoria
Anthony Hopkins as Bailey
Byung-hun Lee as Han Cho Bai
Catherine Zeta-Jones as Katja
Neal McDonough as Jack Horton
David Thewlis as The Frog
Garrick Hagon as Davis
Tim Pigott-Smith as Director Philips
Brian Cox as Ivan

Directed by Dean Parisot

Review:
It's nearly the same as the first "RED," but less so.

The filmmakers, and probably the money people behind them, have taken the first film as less of a set-up and more in the way of market research for how to make a franchise work, coming to the decision that what worked should then be re-used as much as possible, and everything else should be jettisoned. So expect a lot of John Malkovich wearing strange costumes and being generally weird while Helen Mirren shows up occasionally to shoot at people.

And Frank (Bruce Willis) and Sarah (Mary-Louise Parker) spend a lot of time snarking at each other about their relationship not working.

In the years since getting out from under the government yoke, the pair have settled down to a life of Frank trying to return to a normal life while Sarah chafes to return to a life of adventure and resents being handled with kid gloves when things get dangerous. Which, considering Frank used to be the CIA's best killer, will happen time again as his past keeps catching up to him.

Like any good action movie or comedy, it's really just a crutch to string sitcom set-ups and action sequences together, rather than a constant flow of character related quirkiness within a larger story. "RED 2" is not a good action movie or a good comedy--it's not a particularly bad one either--but it's definitely more one than the other this time around. An obvious decision has been made, first off with the move to director Dean Parisot ("Galaxy Quest"), to make "RED 2" less of an action-comedy and more of a comedy with some action in it.

But there's not enough surprise to make that work, as so much of the film is about recycling what was good the first time around, so you know the punchline as soon as you see the set-up. John Malkovich makes funny faces and tries to get Bruce Willis to talk about his feelings--proving that a little Marvin is much better than a lot of Marvin--while Mirren is dry and Willis looks pained as scenes devolve into silliness with little point.

The other downside of that choice is the fact that the action is not up to par, often tenuously connected to the plot at best and and perfunctorily executed, with little to make you stand up and cheer.

There are good things. Mary-Louise Parker is given an actual storyline and things to do for the first time as she pushes Frank to treat her as more of an equal in adventure and life, a struggle which becomes more complicated when Frank's old spy-flame Katja (Catherine Zeta-Jones) shows up in the picture.

It also turns out Byung-hun Lee, the world's greatest assassin sent to find and kill Frank before he can find out why people are trying to find and kill him, actually has an excellent feel for comedy, at least when playing the straight man.

Also, Anthony Hopkins as an excellent subdued mad scientist is the best thing about the film, knowing exactly how little to chew the scenery for once.

It's not enough to quite make up for the loss of the ensemble that made the first film work so well, but it's got its moments. Not enough of them to make a good whole, though. Yeah, risk management is part of the reason sequels exist at all, but it's hard to make a good story when that's your driving rational, and "RED 2" is proof of that.

The Wolverine - Release Date: July 26, 2013 (3D/2D theaters)


Studio: Twentieth Century Fox Film 
Director: James Mangold 
Screenwriter: Mark Bomback, Scott Frank 
Starring: Hugh Jackman, Will Yun Lee, Svetlana Khodchenkova, Hiroyuki Sanada, Hal Yamanouchi, Tao Okamoto, Rila Fukushima, Brian Tee 
Genre: Action, Adventure 
MPAA Rating: PG-13 (for sequences of intense sci-fi action and violence, some sexuality and language) 
Official Website: TheWolverinemovie.com | Facebook | Twitter 
Review: 8.5/10 rating 
DVD Review: Not Available 
DVD: Not Available 
Release Date: July 26, 2013 (3D/2D theaters) 

Movie Poster: One-Sheet | Silver Samurai One-Sheet | International Poster 4 | International Poster 3 | International Poster 2 | 
International Poster 1 


Poster 


Production Stills 












Plot Summary: Based on the celebrated comic book arc, this epic action-adventure takes Wolverine (Hugh Jackman), the most iconic character of the X-Men universe, to modern day Japan. Out of his depth in an unknown world, he will face a host of unexpected and deadly opponents in a life-or-death battle that will leave him forever changed. Vulnerable for the first time and pushed to his physical and emotional limits, he confronts not only lethal samurai steel but also his inner struggle against his own immortality. 

Rating: 8.5 out of 10
Movie Details: View here 

Cast:
Hugh Jackman as Logan / Wolverine
Rila Fukushima as Yukio
Tao Okamoto as Mariko Yashida
Famke Janssen as Jean Grey
Will Yun Lee as Kenuichio Harada 
Svetlana Khodchenkova as Viper
Brian Tee as Noburo Mori
Hiroyuki Sanada as Shingen Yashida
James Fraser as Allied POW
Hal Yamanouchi as Yashida
Garret Sato as Dying Yakuza
Luke Webb as Allied POW
Ken Yamamura as Young Yashida

Directed by James Mangold

Story:
James Logan AKA Wolverine (Hugh Jackman) has been haunted by nightmares after the death of Jean Grey (Famke Jansen), so he takes up an offer to go to Japan, invited by Kenuichio Harada (Will Yun Lee), an old friend he saved during World War II who is now dying of cancer. Once there, Logan is asked to protect Harada’s granddaughter and heir Mariko (Tao Okamato) as he gets caught up in a deadly web of crime and betrayal just as he’s mysteriously losing his healing powers.

Analysis:
As the summer starts winding down and we start getting to the dregs of summer, here’s one nice late summer surprise for those who may have already tired of "superhero" or "comic book" movies. Hugh Jackman’s return as "The Wolverine," this one directed by James Mangold ("3:10 to Yuma," "Walk the Line"), feels like it has very little in common with that popular genre, instead inserting the Marvel Comics character into a blend of Asian film genres that creates something that not only works in context with what came before but also stands on its own. 

Based loosely on the 1982 mini-series by Chris Claremont and Frank Miller, the film opens with a prologue involving Logan saving a Japanese soldier from the atomic bomb at Nagasaki before shifting to Canada where Logan has gone to pot following the death of Jean Grey (in "X-Men: The Last Stand"), still haunted by his involvement in her death. When he finds a dying bear in the woods that’s been poisoned by a hunter, he looks for the man responsible, the one portion of Mangold’s film that’s taken almost verbatim from the comics. 

After that, it quickly branches off and diverges with many choices made that make for far stronger storytelling. For instance, Logan first meets Yukio, Harada’s fiery assassin, when she comes to Canada to deliver a sword from her master. As one might suspect from the pedigree of the screenwriters--two of them, Christopher McQuarrie ("The Usual Suspects") and Scott Frank ("The Lookout") have directed strong crime-thrillers themselves--it’s obvious the main reason "The Wolverine" works as well as it does is because a lot of thought was put into creating a complex story and therefore, a richer film, even though it’s sometimes hard to keep track of all the characters. Once they get to Japan, the attention paid to maintaining Japanese rituals and tradition throughout also proves that Mangold was the right man for the job of directing. 

All these factors come into play at Harada’s funeral when all breaks loose as Japanese criminals make a play to kill his heir and granddaughter Mariko, leading to a jaw-dropping Hong Kong-style gunfight and chase through the streets of Tokyo and onto a moving bullet train. This is just one genre style Mangold ably plays with over the course of the film as we get Kurosawa-like samurai swordplay and a whole lot of ninjas with the results being far more violent than many other PG-13 superhero movies. The action slows down enough to spend some time establishing the romance between Logan and Mariko, something that happened off-panel in the original comic book series, which gives a welcome respite from the adrenaline-filled action scene leading up to it. Instead of the love triangle between Logan, Mariko and Yukio from the comics, they instead use Jean Grey’s ghost as the "other woman" that threatens to ruin Logan’s attempt to be happy with Mariko.

There’s no question Hugh Jackman really knows this character inside and out and his continuing growth as a dramatic actor greatly helps to give the material far more cinematic depth than most summer movies. While we still get lots of great Wolverine one-liners, this may be the first movie where you really feel Wolverine’s loneliness and pain from living for decades, despite it being a running theme through all the X-movies. 

To Mangold’s great credit, he gets solid dramatic performances from his mostly Japanese cast despite them working outside their comfort zone in English and some may be surprised that neither Rila Fukushima, who is a lot of fun as the feisty Yukio, nor Tao Okamoto as Mariko, have acted in a movie before. They both hold themselves well when acting opposite Jackman and the far more experienced actors like Hiro Sanada. It may be a little odd for those who know his work seeing 32-year-old Will Yun Lee playing the older Harada.

The only time the movie really falters in a big way is in the third act when it awkwardly transforms itself into a straight comic book movie, more in the vein of Singer’s first "X-Men" movie, which is also where Mangold seems the least comfortable. Svetlana Khodchenkova's Viper is the type of comic-booky femme fatale we’ve seen way too many times and she’s nowhere near as good at is as Rebecca Romijn as Mystique, joined by a large seemingly robotic Silver Samurai, which all leads up to a climatic sequence that may be a little hard to swallow. Although things do fall apart by the end, stick around through the credits for a sequence that will give you even higher hopes for Bryan Singer "X-Men un-reboot" out next year.

The Bottom Line:
Fans of the character disappointed by "X-Men Origins" who have been clamoring for a great Wolverine movie, one that lives up to Bryan Singer’s early "X-Men" movies, should be thrilled. Those just wanting a solid, well-made action film might be surprised by how much depth Mangold brings to the mix. The results are the best comic book movie of the summer and one that rarely feels like a comic book movie.