Monumental metal sheets / twenty metres high / undeniable / they cast shadows across the impermanence of my face / and they cast aspersions as to your very being / your being there / and then your not being there / but those metal slabs are too imposing not to exist / to have not always existed / we laugh through our discomfort / existence is both ephemeral and as hard as steel
Now this is a comic book movie I can dig. It manages to avoid some of the pitfalls that I find tedious in other such films. Thankfully, there is no hour long origin story, which many comic book movies insist on. Just like the comic book medium itself, Logan leaves it up to the audience to either go and explore the history and the world of the characters further or to just enjoy the slice of the story they have right in front of them. In this instance, the fact fact that this particular slice of story works mighty fine on it’s own certainly does help.
Another pet hate of mine is when a comic book movie devolves into a CGI wank-fest of barely intelligible action sequences that bang on for an impenetrable and mindless hour before the never-can-it-come-too-soon end. For me, the more these manufactured images become stupendously fantastic and subsequently fractured from reality, the more they start to seem like a frenzy of fast moving dancing storm clouds: Pretty maybe, but of no consequence at all. Not so in Logan, this film has some real rip-snorting chase sequences, shoot-em-ups, hand-to-hand combat and lots of vicious slashing and stabbing. It is is visceral, up close and personal.
I just realised that James Mangold directed Walk the Line, and that kind of makes a lot of sense. In that film, we see Johnny Cash struggle to deal with the hurt that he has done unto others, especially those that he loves. Logan faces similar issues of guilt, self-punishment and redemption. Albeit, for Johnny Cash it was substance abuse rather than adamantine claws that caused all the damage. Unfortunately, Logan is played by Hugh Jackman. He tries really hard to bring Clint Eastwood’s stoic and taciturn persona to the screen, but all his efforts just betray themselves in a performance that seems as protracted and agonised as his character’s deteriorating condition.
On the other hand, what a treasure is unearthed in Dafne Keen! As Laura, she looks so cute, like a self-professed and pissed off little pixie. But you sure don’t want to piss this little girl off and see her chuck a tantrum. She has the coolest most bad-ass fightin’ moves in the whole film. She could totally whip my butt. And there is something strangely affecting about watching a small child brutally destroying hordes of grown-up assholes. I hope that Dafne is able to graduate from the MCU when she grows up and become a fascinating force of her own in cinema one day.
Surprisingly, one of the people I just came out of the cinema with said that they thought this movie was bleak and depressing. Personally, I found it uplifting and full of hope. Sure, the mutants are on the brink of extinction and everyone is kind of miserable and dying for most of the film. But even when everything looks so bleak and the world appears to have turned to shit, we can always look to the children for a greater sense of meaning and purpose beyond ourselves.
Even if those children are freaks made accidentally by an abortive and out of control evil experiment.
Ping | Pong
Sex on sale.
Limited time only. Not tomorrow,
Ping | Pong
The pimps have gone to bed /// zzzzz
Leave your seminal fluids
>>> in the glove box
This is a frenzy of minds
>>> these games we play
♡♡♡this is love♡♡♡
Ping | Pong
Horse drawn vehicles
Are not permitted
On the motorway
We do the hokey pokey
And we turn about
That’s what it’s all about.
When I first saw the above photograph of Doris Salcedo’s artwork: Istanbul Project; I was like, “Wow, far out, dude. That is way cool.”
It shows a demolished space between two multi-story buildings packed full to the brim with a chaotic jumble of 1550-odd wooden chairs. The whole idea of literally stacking all those chairs on top of one another like that in a public space appeared to me to be such a cool and creative thing to do, and so bold and fascinating, too.
However, once I started to read more about the intentions behind the artwork, I was more like, “Whoa! I think I need to sit the fuck down”.
Directed by Guy Maddin
WTF? Where do I even begin? Imagine if David Lynch dropped acid, overdosed on early 20th century silent cinema and then made a movie. Or to be more precise, he made an assemblage of movie fragments, fractured and jostling together, interwoven into something that surprisingly resolves into a beautiful pandemonium of chaos.
This movie is basically a dramatised version of the Global Financial Crisis for Dummies with a bail-out package of comic relief thrown in to make sure you don’t fall asleep. After all, lets face it, economics and finance affect every facet of our lives yet it manages to bore the average person senseless. And so we distract ourselves with pop culture while at the very same time allowing the Wolves on Wall Street to run wild in the chicken coop.