Logan

Logan is a 2017 American action drama film with superhero elements written and directed by James Mangold. Logan is the tenth film in the X-Men film franchise and the eighth and final appearance of Hugh Jackman in the role that made him famous, James “Logan” Howlett, also known as Wolverine. The film also sees Patrick Stewart returning (also in his final appearance) as Professor X/Charles Xavier. Both these men had originated these roles seventeen years earlier with the original 2000 smash hit X-Men, which, along with Spider-Man, is credited as the major catalyst for the resurgence of mainstream superhero films into popular culture. Logan is more than another entry into the franchise, it is a swan song for two of the most integral people, two people undeniably responsible for the franchise’s initial success.

Logan, partially based off of the 2008 comic book storyline of the same name, takes place in the year 2029. There has not been another mutant born naturally for 20 years at this point. Following the disillusion of the X-Men, Logan has been living off-the-grid on the U.S.-Mexico Border taking care of a dangerously ill, ninety-year-old Charles, who is now prone to uncontrollable seizures. Xavier, who possesses the most powerful telepathic mind of any mutant ever discovered, is also experiencing fits of Alzheimer’s and periods of delusion. His seizures are very dangerous and have the potential to harm everyone in the vicinity if not dealt with. Logan is working as a chauffeur to make ends meet, making drug deals to acquire the medication necessary to subdue Xavier’s episodes, with help from another mutant, the albino tracker Caliban.

Logan himself is also dying. His regeneration factor no longer works and his adamantium-fused skeleton causes him constant pain and is slowly killing him. He is hard-drinking, cynical, and nihilistic. His devotion to his former mentor is the only thing keeping him from suicide with a specialized adamantium bullet.He is approached by a young mother, desperate to get her and her young daughter to North Dakota, with promises of enough money so Logan and Charles can buy a boat and escape to the high seas. An offer too good for Logan to refuse, he is drawn into a saga of violence, death, despair, and rediscovery.

You will notice that I avoided terming Logan a superhero film; that’s because it isn’t. It is a dark, mature character study of a man, a deeply-flawed, 150-year-old man who used to be a superhero. James Howlett was born in the later 1880’s, yet is ageless because of the degenerative healing factor provided by his mutation. He has been a veteran of all major wars since his birth in one way or another, before becoming Weapon X and eventually finding redemption for his sins with Charles and the X-Men. He has seen things, done things that he cannot take back. He cannot live with all the people he has killed. Logan is an analysis of a man with a century and change worth of self-hatred, rage, and anger.

Logan might be the best film in the entire franchise, challenged only by Days of Future Past and technically Deadpool. Like any good film, it knows there has to be substance to a story to be good. Logan is a film of substance. The action is not flashy, nor heroic. This is not a heroic film. It is a deep dive into the darkness of the soul, by way of a great script and great directing by director of the very disappointing standalone film The Wolverine back in 2013. I was pleasantly surprised, as it seems Mangold has discovered there are a lot of people who emotionally invest in these characters, and the action, though important, often should take a backseat to emotional connection, something Logan does very, very well.

Logan is the second film to be rated R after Deadpool. This was a very smart move, as, in addition to the blood, dismemberment, and swearing, which is honestly necessary to parallel the emotional brutality of the narrative, it also allows for the exploration of highly mature themes, like loss, death, consequence, and hope in the face of adversity. Logan is a film that pulls no punches in any sense, whether physical or emotional. It is a brutal, almost saddening journey to watch, and it is a better film because of that.

All of this is amplified by truly amazing performances by Hugh Jackman and Patrick Stewart. I feel I cannot describe exactly how great these two were, so I will just say this: they friggin’ nail it! This is a return to form that shows the viewer exactly why these actors were skyrocketed into the spotlight for their portrayals of these legendary characters, later becoming respected actors in their own rights. The characters themselves have remained and will remain long-lasting mainstays of popular culture. Young newcomer Dafne Keen is also great. The Spanish-English 12-year-old proves that being a kid is not an excuse for being a horrible actor, because she hits it out of the park.

Ultimately, I think the people behind Logan finally understand what these characters mean to people. Comic books like X-Men (which began in the 1970’s) were initially marketed to children. Those children formed an attachment to these characters. They felt for them emotionally, they were invested. Then, those kids grew up. Superheroes are no longer just for kids, as anyone who’s seen the enjoyment that Iron Man or Civil War can give to an adult audience knows. The people behind Logan knew how to give fans exactly what they wanted.

Logan is a great film. It is a great addition to the franchise that almost makes up for the failures of the previous entry, while also being a great film by itself. As Logan does not rely heavily on the X-Men or other connections except for, obviously, the characters featured in the film itself, I do not think a newcomer would be hopelessly confused. Logan isn’t a superhero film, it’s about a really emotionally messed up dude who used to be a superhero, is a century and a half old, has metal claws, and can regenerate from injuries. It’s not a superhero movie, and to that effect, I would challenge you to go see it even if you are not a big fan of superheroes. It features solid performances from everyone, and is full of emotion, drama, and some brutal action to boot. It was, in summary, a fitting goodbye to Jackman and Stewart’s most famous and well-known roles that everyone is sure to appreciate on some level.

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Logan: Official Trailer #1

Logan is an upcoming 2016 American superhero film directed by James Mangold. It is the tenth installment in the X-Men film franchise, and is the final installment set to feature Hugh Jackman as James Howlett/Wolverine/Logan. It is loosely based upon the famous comic book storyline Old Man Logan by Mark Millar. The film also stars Patrick Stewart, returning as Professor X, as well as Narcos star Boyd Holbrook as Donald Pierce, Dafne Keen as X-23, Stephen Merchant as Caliban. Richard E. Grant, Eriq La Salle, Elise Neal, and Elizabeth Rodriguez have been cast in unspecified roles.

The X-Men franchise has had an extremely turbulent history. Rocketing onto the screen in 2001 with director Bryan Singer, the original X-Men film and it’s sequel X2 are credited along with Spider-Man for legitimizing, revitalizing, and revolutionizing the superhero genre. Everything after X2 has been hit-or-miss, however. The Last Stand, directed by Brett Ratner, is somewhat of a gold standard for bad modern superhero movies, and X-Men Origins: Wolverine is legendary for all the wrong reasons. Future Kingsman director Matthew Vaughn was able to put the series back on track with the excellent X-Men: First Class, which among other things, introduced the brilliant actors James McAvoy and Michael Fassbender to mainstream audiences, playing young Charles Xavier and Erik Lehnsherr, respectively. James Mangold was then brought on to direct The Wolverine, an unimpressive, uninspired Wolverine film that, while not terrible, left much to be desired. It was extremely bland and rather tame.

Bryan Singer’s return with 2014’s Days Of Future Past was, in my opinion, the best X-Men film to date. It was a perfect representation of everything the X-Men should be. Created in the early 1960’s at the hight of the Civil Rights Movement, the X-Men were used to tackle complicated social issues and, frankly, be freaking awesome at the same time. DoFP was a perfect representation of that. Fans of the franchise were overjoyed that the X-Men were good again. Followed up by the hilarious comedy Deadpoolthings continued to look good for the franchise. Sadly, 2016’s X-Men: Apocalypse was nothing short of a bland, boring, confusing mess. Many are confused by the franchise’s innate lack of consistency, especially considering making a good superhero film after one of the most iconic and influential superhero teams in history should be relatively easy. This has led many to wonder if the franchise should not just simply be put to rest.

I hope you will forgive my franchise history lesson, I just wish to explain in full why I am extremely apprehensive concerning Logan. I am curious and confused as to why Fox once again gave this movie to James Mangold, considering how blah The Wolverine was. I am concerned that the franchise will, for whatever reason, never be able to find stable footing. Though it is a rather impressive trailer, and I think the use of Johnny Cash’s Hurt is a great way to portray this film as being more emotional than most superhero films, I am worried and skeptical. As with everything involving this franchise, Logan is very much a potential hit or miss ordeal. Boasting an undeniably intriguing and impressive trailer with intriguing aspects and awesome visuals, the film nevertheless has a questionable director behind the camera; part of a franchise that has been rather questionable for the last decade or so. I am neither against this movie, nor am I even close to sold. All I can hope for is a good send-off for Hugh Jackman’s Wolverine. Please… Maybe Logan will be another good movie in the franchise, I don’t know. We’ll see.

Narcos: Season 2 (Spoilers)

Season 2 of Narcos premiered on September 2nd, 2016. Season 2 once again stars Boyd Holbrook, Wagner Moura, and Pedro Pascal, with the addition of new cast members Leynar Gomez, Martina Garcia, Eric Lange, Brett Cullen, and FlorencÍa Marzano. Season 2 follows immediately after Season 1, dealing with the fallout of Pablo’s escape from La Cathedral.

The changes that take place in the main characters’ lives are immense. Murphy’s wife heads back to Miami, feeling that Columbia is not safe and that Murphy’s obsession with hunting Pablo has changed him. She would be right. In this season, our protagonists are much more world-weary and cynical than before. They’ve spent the better part of four years hunting Pablo Escobar, a complete monster, and they were still no closer to catching him. This takes a toll on everybody. Peña and Escobar’s lives are both thrown into a tailspin by the emergence of Los Pepes, a vigilante group consisting of members of the Cali Cartel, with major assistance from anti-Communist guerilla forces and alleged assistance from Search Bloc, the CNP, and the Central Intelligence Agency. Los Pepes were ruthless in their hunt for Pablo, operating with no restrictions of any kind. Though they could never officially admit it, Los Pepes’ methods were attractive to many members of law enforcement at the time, including Javier Peña, who is probably my favorite character in this series. Peña’s association with this brutal group lands him in some very hot water, both from a moral and political perspective.

The most interesting thing about this season, however, is still Pablo Escobar. Continuing to be played by the brilliant Wagner Moura, Pablo is an extremely complex antagonist. He is something of an empathetic monster. He is remorseless in his pursuit of what he would call justice, and most of the violence that Escobar causes this season is an extreme way to force the Columbian government to protect his family. Escobar deserves to die, there is no doubt about that, but even so, one can’t help but feel for him at least a little bit. Pablo’s family takes up a much larger role this season, so the viewer is able to see what the dynamic of the Escobar Family was. Tata Escobar is the most understandable character in this series, when it comes to her actions. She, like Pablo, will do anything in her power to protect her family. The struggles that the Escobar Family face are really where the emotional meat of the show can be found.

Season 2 also focuses on the back-alley nature of law enforcement in Columbia. As it was in Season 1, some shady stuff went down in the hunt for Pablo Escobar. The CIA’s involvement with Los Pepes and the Cali Cartel only amplifies this matter, making for some very interesting storylines of subtle conspiracy and political intrigue.

Narcos has some excellent writing, but the show is also very well-done on a technical level, with Pedro Bromfman returning for the score and some interesting camera work on display cortousy of Mauricio Vidal. The sequence in episode six where the Escobar Family is ambushed by Los Pepes in the middle of the night is very well-done, though I feel compelled to mention that it is nothing compared to True Detective.

The acting by Boyd Holbrook as Murphy is very good, as always, and I can see this guy going places. He is the empathetic American that viewers can relate to, and he still serves as the narrator for the series.

Season 2 of Narcos is as addicting as the first, being a pitch perfect continuation of the previous season, complete with interesting writing, both in terms of events and characters, an excellent score, excellent acting, and some pretty good cinematography. Narcos has been renewed for both a third and fourth season by Netflix, with Season 3 set to air in 2017.

Narcos: Season 1

Narcos is a Netflix Original Series that first premiered on August 28th, 2015. It is a collaborative venture between Netflix and the Spanish television network Telemundo. Narcos is a semi-biographical crime serial concerning both the rise and fall of famed Columbian drug lord Pablo Escobar as well as attempts by both the American DEA and Columbian officials and law enforcement officers to capture Escobar. Narcos was created by Chris Brancato, Carlo Bernard, and Doug Miro, with the series primarily being written by Brancato. Famed Brazilian director José Padhila directed several episodes of the series, as well as serving as executive producer. The series stars award-winning Brazilian actor Wagner Moura as Escobar, and Boyd Holbrook and Pedro Pascal as Steve Murphy and Javier Peña, respectively, two DEA agents embedded in Columbia with a mission to take down Escobar.

Wagner Moura is best known for starring in José Padhila’s Elite Squad films. The 2008 film was a critical and commercial success, becoming somewhat of a cultural phenomenon in Brazil. Its 2011 sequel holds industry records as the highest-grossing Brazilian film of all time. In an extremely ironic twist, the two films star Moura as an incorruptible and experienced captain in Brazil’s paramilitary police squad, BOPE, Brazil’s answer to Columbia’s Search Bloc.

Narcos has a disclaimer that the show is based upon real events, but some names have been changed and altered. It is true that Steve Murphy, Javier Peña, and several other characters are simply composites based on real people, but I was still surprised at how much of the events featured in the show were, in fact, accurate. Narcos opens with a title card:

Magical realism is defined as what happens when a highly detailed, realistic setting is invaded by something too strange to believe. There’s a reason magical realism was born in Columbia.

Not to spoil it for you, but Pablo Escobar was a ruthless, borderline crazy guy. The things he did to get his way, to bend people to his will, they are quite literally too outlandish to believe, but they happened. Narcos is compelling based upon its source material alone, but it goes even further than that.

Narcos has a lot of talent behind it. The standout cast member has to be its most important one, Wagner Moura. As someone who speaks a laughable amount of Spanish, some of his acting skill feels a little lost in translation, as do the majority of the non-English speaking actors in this series, but there is no denying Moura is extremely effective in this role. Pablo Escobar, as he is portrayed in this series, is at times extremely empathetic, and at times a downright terrifying, reprehensible monster. Moura steals the show here. I should mention that this series is very much a bilingual production, with the majority of the actors speaking Spanish when appropriate while still being able to speak fluent and clear English when the need arises. I sincerely and non-sarcastically appreciate the fact that the series makes me feel like I accomplished something with my three years of high school Spanish and extensive knowledge of extremely basic pronouns, nouns, and adverbs.

That is not to say the rest of the cast does not do a great job, as well. Boyd Holbrook, who had small roles in film up until this point, is very convincing. Serving as both narrator and protagonist of this series, Steve Murphy’s quest to catch Escobar turns into a dangerous obsession, so much so that there are points in the series you feel he is losing a part of himself the deeper he goes to catch Escobar. The weird thing is, while binge-viewing this season, I personally didn’t ever see him as going too far until I took a step back and thought about it. Even though you cannot compare the two shows at all, like Elliot in Mr. Robot, you as an audience member are inclined to see events of the series from the narrator’s (in this case, Murphy’s) perspective, even though their perspective may not always be the best one.

A question that comes up in Narcos throughout the series is “How far are you willing to go?” Columbia in the late-80’s and early 90’s was a virtually lawless country that made the American Old West look like Candyland. It is described by some as being Hell on Earth, and in many ways, it was. Because of people like Pablo Escobar, the War On Drugs is no longer simply a forceful saying. Things in Columbia got so bad, the Search Bloc was formed. The Search Bloc was a real, public, officially sanctioned paramilitary organization that comprised Columbian military personnel with the express directive of taking out the Medellin  Cartel. The Search Bloc carried out operations with near impunity. I should also mention that capturing targets wasn’t really a thing with the Search Bloc, it was mainly a death squad. The series’ first episode opens in medias res with a raid carried out by the Search Bloc based upon intelligence provided by Murphy. The raid gets rather bloody and civilians are killed. The camera pans over the carnage as Murphy asserts that he has no regrets and calmly explains that he is not a bad man before the action turns back in time to show how this all began.

What I just described to you might seem jarring, and it is, but by the time the action gets back to the nightclub shootout, you understand that Columbia at the time needed extreme measures like the Search Bloc. Like I said, in Columbia, it’s clear that the War On Drugs wasn’t just a strong saying. Stuff hits the fan very, very, very quickly in Narcos; men, women, and children end up direct casualties of Pablo Escobar and the Medellin Cartel, and at that point, you don’t have time nor the luxury to consider the political or moral ramifications of extreme actions against the men responsible. This all takes a rather dramatic toll on Murphy’s morality, his beliefs, and his relationship with his loving wife, Connie, who has gone to Columbia with her husband. This is where I feel Narcos shines. You are eased into the fight against Pablo slowly but progressively until you, like Murphy, find yourself “all in.”

Another interesting character in Narcos is Colonel Horacio Carillo, the fictionalized leader of the Search Bloc based upon real-life General Hugo Martinez, played by Maurice Compte. Carillo is first introduced as an associate of Javier Peña upon Murphy’s initial arrival in Columbia. Carillo is as incorruptible as he is ruthless in his pursuit of Escobar. Seemingly the only honest cop in Columbia, Carillo wastes no time in introducing the “fresh meat” to the harsh reality of Columbia. Relentless in his pursuit of justice, Carillo, who has seen too many people slain by the cartels, never seems to bother with morality in his pursuit of justice; under no circumstances will he stop until Escobar and his people are imprisoned or, preferably, dead.

Javier Peña, an experienced agent who has been stationed in Columbia for some time, and who long came to terms with the reality of the War On Drugs, serves as Murphy’s guide throughout the series. Played brilliantly by Pedro Pascal, the charming Peña provides some organic levity throughout the darkness of Narcos while also being nearly as dedicated to the job as Carillo is.

In addition to a rock solid narrative, Narcos also benefits from impressive cinematography by Mauricio Vidal and an excellent musical score by Pedro Bromfman. The score combines Spanish folk with what seems to me to be somewhat of a hard-boiled mystery feel. It is very good, and the theme song, Tuyo, will get stuck in your head. It is a forgone conclusion. I have no idea what the lyrics are saying but it hasn’t left my head since.

Narcos is an extremely addictive and very well-made biographical crime serial and another solid addition to Netflix’s ever-growing catalog of original content. Season 2 recently premiered on September 2nd, 2016 and was renewed for a third and fourth season soon after. With a total of 20 episodes now available, Narcos is definitely worth a weekend of your time. I have yet to start Season 2, but be assured you will have my thoughts on it ASAP.