Disney’s “Beauty and the Beast” (2017) movie review

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Prepare yourself for “a tale as old as time” that is ultimately better told through its animated counterpart. Director Bill Condon’s live-action remake of Beauty and the Beast, the first animated film nominated for Best Picture at the (1992) Academy Awards, is an extravagant display of visual effects and digital imagery necessary to animate a live-action motion picture. Essentially, he took an animated movie, made it live-action, just to make it animated again. Sure, this new version of the “song as old as rhyme” can certainly stand on its own and is demonstrably well-directed, but 2017’s Beauty and the Beast largely comes across as unnecessary. In terms of the storytelling (or diegesis), the film’s effort to nearly shot-for-shot translate the most memorable parts of the film from animation to live-action pays off nicely! It’s when the film tries to be different that it falls short in its delivery. There are sufficient moments that beautifully recreate that which caused you to fall in love with this movie more than two decades ago; although, with this version, you may find yourself exhausted and over-stimulated by the constant waves of computer-animated figures in a live-action world. Oh yeah, you’ll likely miss hearing the legendary Angela Lansbury as the iconic Mrs. Potts. The film does its very best to justify its existence, but begs the question whether or not this was the movie for which you were waiting.

Belle (Emma Watson) is a young lady with a longing for adventure and a great big imagination, but she lives in a rather provincial French town. But, Belle is about to get more adventure than even she, in her wildest imagination could have dreamt. For through a series of strange circumstances, she finds herself trapped inside a dark foreboding castle, surrounded by a very odd collection of characters. It’s in this castle that she finds her father who she feared injured or dead imprisoned by a Beast (Dan Stevens). Against her father’s wishes, she reluctantly exchanges herself for her father’s release. After the Beast sets him free, Belle is to remain a permanent resident of the castle. Fearing the worst, Belle’s father seeks the help of the misogynistic village heartthrob Gaston (Luke Evans) and his band of goofs and thugs to rescue her. During this time, however, Belle begins to feel “something there that wasn’t there before” as she learns more about the Beast of the castle.

Can this film stand on its own? Sure. There is no question in that. Moreover, is it enjoyable and magical? That, it is. But when most of the campaign, leading up to the highly anticipated release, was primarily built upon how similar the live-action film would be to its animated counterpart, therein a problem arises. Because most people going into the movie will have seen the animated version, Broadway show, or even the show at Disney’s Hollywood Studios (which, in full disclosure, is a show that I worked when I was a Cast Member at Walt Disney World), you are predisposed to looking for and eagerly awaiting the nostalgic references and memories. And there is nothing wrong with that. In fact, I was looking forward to reliving the experience of when I first saw the animated movie. For the most part, if you are like me, then you will be pleased with the live-action translation–truly. However, it’s when the live-action version departs from or adds in material not found or referenced in the animated classic that you may be disappointed or simply ask “why?” You may find yourself wondering why was a live-action remake even necessary?

One of the most memorable elements of Disney’s Beauty and the Beast (1991) is the music! Still to this day, millions of people love hearing the classic music and lyrics by Alan Menken and Howard Ashman. Both the Beauty and the Beast and Be Our Guest can be heard as part of other shows at Walt Disney World and of course are included in the stage show at Hollywood Studios. Fortunately, the most iconic songs from the animated version are largely untouched; however, with a couple of the songs, there are breaks for diegetic dancing, fighting, or other material that essentially interrupts the organic flow of the music from the buildup to the climax and denouement. Again, the question “why” will likely pop into your head. We are introduced to a few new songs, and in and of themselves, are beautiful! Every note and lyric has that Disney magic that many of us have come to expect and appreciate. Unfortunately, the songs just don’t fit in with the original numbers in terms of pacing, lyrics, and score. Furthermore, here’s something quite interesting and odd: the song [To Be] Human Again was written for but deleted when it originally hit theatres in 1991. It was, however, added back in for the Broadway show and in the 2010 (and Diamond Edition) re-release of the movie. Although it was seen as important enough to include in the Broadway show and add back into the animated version, it is conspicuously missing from the live-action remake.

With the exception of Emma Thompson replacing the legendary Angela Lansbury, the cast was well-selected and demonstrated excellent chemistry between one another. Although Emma Watson is not a singer by trade, she was able to capture a Belle-like essence in her delivery of the various songs throughout the film. There was something uniquely organic in her voice that is seldom captured by other Disney “princesses” (note: Belle is not a princess). I greatly appreciate the dynamic range of characters that Watson has demonstrated that she can play over the years. Dan Stevens wows audiences with his vocal prowess especially in his solo number as we transition from the second to third acts. I appreciate how he stuck a fantastic balance between his human and beast sides respectively. Luke Evans was a perfect choice for Gaston, and his vocal talent matches his muscles–big, bold, and flawless. The rest of the cast, which includes some A-list talent itself, was ideally suited for the enchanted objects in the castle and the village.

Okay, now for the white elephant in the room: Josh Gad’s Lefou. Unless you have been completely disconnected from social media and the news, you’ve undoubtedly heard or read about the first ever Disney “gay moment” in this film. Suffice it to say, the whole thing has been blown way out of proportion. In fact, more attention is likely being paid to Lefou now than had the story never grown to the size of Gaston’s ego. For the most part, the subtext and subtitles of Lefou’s are largely just that–subtle–unless you are looking for them. But, in doing that, you may miss some of the more important and impressive parts of the movie. Moreover, there is nothing in Lefou’s actions that come across as offensive or obnoxious. Before audiences begin accusing Disney of pushing their ideals on those eager to attend this film, it is likely that the entertainment and media giant is simply delivering what audiences already expect or want. As a film and media professor, I can tell you that by in large, media simply delivers what audiences and investors are telling them to produce–not the other way around. Looking back at the animated film, it is pretty obvious that Lefou has a thing for Gaston anyway. Although most of the hints at his sexual orientation are more-or-less winks or nods at the audience (winks or nods that you have to be looking for), there is a moment that is a trifle more obvious at the end of the film. Diegetically, there is nothing bizarre about Lefou’s behavior and it suits his character well.

Prepare to be whisked away to an enchanted castle in a remote part of France. So remote is this province in France, that most everyone speaks with a British accent. Bill Condon’s film will take you back to when you first saw this magical tale of falling in love with someone based upon what’s on the inside and not allowing a beastly outward appearance to detract from the gentle soul. Relive the music that you may still listen to in the car or eagerly look forward to when visiting the Disney Parks and Resorts. Ultimately, this film may not capture the magic of the original for you, but there is a lot to enjoy! Looking for a great date movie this weekend, then this is definitely it! Hopefully a side effect of this film may remind producers and audiences that some stories are better suited for an animated motion picture.

Written by R.L. Terry

Edited by J.M. Wead

“KONG: Skull Island” movie review

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“Hold onto your butts;” Warner Bros. and Legendary Entertainment’s KONG: Skull Island is full body KONG with just a hint of story. Wait. Isn’t that a line from Jurassic Park??? Sure is. And guess who delivers it? None other than Samuel L. Jackson himself–reprising his famous line from one of the most iconic films in the American cinema library. It’s rather fitting since there are many shared elements between KONG and the Jurassic Park franchise. Both take place on an island and deal with science vs. nature and pit man against ancient creatures. King Kong is no stranger to most people, considering he’s been a fixture in the cinema and theme park universes respectively for many decades. From silver screen to Universal Studios, he remains an icon to which few “monster” movies compare. Although the previous KONG films followed a very similar narrative, this newest incarnation of the king of Skull Island takes a modified route to the classic story. It shares many of the same elements or themes with its predecessors, but through the echoes of the past comes a reimagined story. Diegetically, the film certainly suffers; furthermore, it attempts to integrate social commentary on war, Captain Ahab allegory, and conservation, but none of those themes are effectively carried out. Due to the enormous “King Kong” sized cast, there lacks any real connection to any of the characters and development is certainly obscure, if any at all. Films such as this one can sometimes run into the danger of waxing nostalgic too often and forgetting that audiences want a new movie (i.e. Star Wars: the Force Awakens); and like the aforementioned, Jordan Vogt-Roberts’ KONG: Skull Island provides audiences with connections to past King Kong movies in a new approach, but ultimately crafts generic experience.

When an uncharted island shows up on U.S. satellites, Bill Randa (John Goodman) and Houston Brookes (Corey Hawkins) approach a prominent senator, seeking clearance and funding for a mapping expedition and exploration of the mysterious island resembling a skull. Begrudgingly, the senator clears Randa’s MONARCH for one last mission before the U.S. pulls out of the south Pacific following the Vietnam War pull-out. Partnering with Colonel Packard’s (Samuel L. Jackson) military troop and attaching ex-British special forces Captain Conrad (Tom Hiddleston) and photo journalist Mason Weaver (Brie Larson) to the group, the expedition lays out plans to penetrate the severe storms surrounding the island to explore the island. What the group encounters on Skull Island will give them nightmares for the rest of their respective lives. Beginning as a glorified mapping excursion, this expedition turns into a game of survival as the group makes its way across the island.

At the end of the day, this movie accomplishes what it set out to do: revive Kong, thrill people for a couple hours, and setup KONG v. Godzilla. Action-adventure films are typically not expected to contain brilliant writing, character development, and strategically placed themed and subtext. What I respect about this movie is that is unashamedly pretends not to be anything other than a larger than life adventure centered around one of cinema’s most iconic “monsters.” Clearly, there are attempts in the movie to include some deeper themes such as anti-war, nature/conservation, and even a little Moby Dick; but those themes appear to have been great thoughts that were not fully executed. That being said, there is clearly a Captain Ahab figure in the film and there are many similarities between King Kong and Moby Dick–size just being one of them. For fans of Jurassic Park you’ll appreciate not only Jackson’s “hold onto your butts” line at the beginning of the film, but also several similar scenes, camera angels, and even the helicopter entry onto the island. Lots of nostalgia, but not so much that it feels like you’ve seen it all before.

In many ways, Kong is bigger than ever, but hardly better than previous Kong films. Ironically, this same thing can be said about the former Kongfrontation attraction at Universal Studios Florida. Much like the new attraction Skull Island: Reign of Kong at Universal feels far more generic than its predecessor, today’s Kong lacks the magic and innovation that the original Kong did in 1933. Despite an attempt to successfully launch a series of “creature features,” the script and human characters certainly suffer. Little can be said about the dialog except that occasionally there are lines that move the story along instead of stating the obvious or predictable. The dialog is cumbersome and never seems to remain focussed very long. Of course, that is hard to do considering that Kong boasts an extremely large ensemble cast. At the forefront of the cast are Hiddleston, Larson, Jackson, Goodman, and Reilly’s respective characters. Of all the characters, John C. Reilly’s Hank Marlow steels the screen about as often as Kong does. One might even be able to say that this is as much a John C. Reilly film as it is a Kong movie. Part of the magic of the previous Kong films, the 1933 version to be more specific, is the setting and characters themselves. Much like the new KONG attraction at Universal took physical sets, animatronics, real fire, etc and crafted a virtual 3D experience, the special effects artists and set designers did the same thing in KONG: Skull Island. The film comes across as less Kong and more Pacific Rim. In other words: generic.

KONG: Skull Island will certainly keep you entertained the whole time as action-adventure films are supposed to do. You’ll enjoy the fight scenes and the whole “creature feature” approach this film takes. If you’re looking for moments taken right out of the previous Kong movies, then you’ll mostly be satisfied. There are few scenes taken directly from the previous movies, but there are certainly allusions and nods to classic moments. You won’t spend much time with the natives nor will you get to witness the famous Empire State Building scene, but you’ll likely enjoy the film nevertheless. Just because a film takes a reimagined approach to a classic character that ultimately plays off as generic, doesn’t mean that there isn’t anything to enjoy. For action junkies, there is plenty to grab your attention and hold it for the duration of the movie.

Written by R.L. Terry

Edited by J.M. Wead

A Perfect Pairing of Food and Art at the Busch Gardens Tampa Bay Food & Wine Festival

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Busch Gardens Tampa Bay launched its third annual Food and Wine Festival this past weekend. And it’s better than ever with expanded entertainment offerings and of course delicious food and spirits! With expansions to the comprehensive food fare and concert lineup, the festival has something for everyone. During my unofficial guided tour by one of the individuals who helped build many of the sets, I learned just how much time, care, and attention went into each and every element right down to the lightbulbs. Best part about the festival is just how much like a festival it feels. While Epcot’s International Food and Wine Festival is by far larger, more comprehensive, and boasts a larger variety of food and alcohol, the Busch Gardens Food and Wine Festival includes the quaintness that non-theme park food and wine festivals have–or at least the very idea of food and wine festivals as it appears in our mind. Virtually the entire area from the front of the park to the flamingos is filled with artisan kiosks, food and wine vendors, and performing artists.

Coca-Cola makes a huge splash at the food and wine festival this year with its beautifully decorated sponsor area on the far side of the main festival thoroughfare adjacent to the flamingos. Debuting this year is this new expansion featuring Coca-cola products and more food! Some guests from Howl-O-Scream may remember this as a scare zone last year. I absolutely adore the brilliance of the nighttime display in the Coke area. It’s incredibly stunning and just goes to show the increase in quality at this young festival. A great deal of attention was put into the design of the decorative light and luminary fixtures. Lots of glass Coca-Cole bottles with light inside along with exposed string lights help to create a warm, inviting atmosphere. Be sure to checkout the Coke-flavored chocolate dessert in the Coca-Cola area; I’ve heard it’s delicious! And, I am definitely going to try it when I return to the festival throughout the event.

Before taking a stroll down the main festival walkway to procure some delectable goodness, I desired to check out the topiaries and performing arts. The two entertainment offerings that impressed me the most were the ice carving and Living Fountain. The Living Fountain is located near the main festival grounds in the gorgeously landscaped garden area between the festival grounds and the Australian animal encounters. Busch Gardens takes the concept of living statues to the next level. Living statues are a little all-too-common around Central Florida, so Busch needed to find what others were doing and perfect it–they did just that! More than living art (which is beautiful in and of itself), the Living Fountain turns a breathtaking living statue and transforms it into a show including water effects. Watch as the statue comes to life and dips her fingers into the enchanted fountain of crystal clear refreshing water and sprinkles it around on the earth allowing life to grow abundantly.

Just down the walkway, past the main entrance into Gwazi Field is the ice sculpture exhibit and show. Twice a day (once, during the day and again in the evening), watch as one or more ice sculpture artists turn a block of solid ice into a work of art. As I understand it, the artist never repeats a design (at least in the same day). The experience between the day and night differs only slightly. During the day, the ice sculpture artist takes his time in creating the sculpture and you can casually enjoy the evolution from an expressionless block of ice to a beautiful creation. The process of turning the ice into a sculpture takes about 1.5hrs from start to finish. If you choose to walk by the ice carving area at night, then you’ll witness a slightly more invigorating experience because you’ll watch as two ice carvers dual one another. You’ll be amazed at how drills, chainsaws, and jigsaws are used to create incredibly works of art. Enhancing the experience at night are added lights that illuminate the ice.

But what about the food?!? Whatever kind of food you are in the mood for, you will likely find something to satisfy even the most discerning of palettes. Many of the food and drink offerings can be found along the main walkway, with a handful of kiosks sprinkled around the outside of Gwazi Field. Lobster, venison, shrimp, chicken, and more can be found at the Busch Gardens Food and Wine Festival this year. From new twists on good old-fashioned comfort food to trendy foodie delights, there is no shortage of variety for the park guests this year. The food prices are on par with pricing at similar events including Epcot Food and Wine. With the city of Tampa becoming increasingly known for its foodie and craft beer scene (presently ranked as a top foodie and craft beer locale according to several travel blogs and magazines), it was important for one of the most visited places in Tampa to uphold that growing reputation. Busch Gardens does precisely that with the sheer variety of food, wine, cider, and beer at this year’s event. Since I frequent the event several times over the course of its run, I typically have one or two food items and a glade of wine or two as to not break the bank (haha). This past weekend, I had the highly recommended grilled cheesecake sandwich and key limmen wine. As I am not a food critic nor sommelier, I can only tell you that the dessert was just sweet enough without being too rich, and the wine is mostly dry with a hint of sweetness that paired perfectly with my dessert. I appreciated how the combination wasn’t too sweet, thus allowing me to enjoy the full body of favors. While you are enjoying your food and beverages, be sure to catch the Busch Garden’s jazz cover band at the Peacock Stage.

A big draw to the Busch Gardens Food and Wine festival is the concert lineup each evening! Such a wide variety of music that should pair nicely with anyone’s taste. I did not stay for the concert, but I’ve heard the concerts are packed, and the park guests are thoroughly enjoying their time. On the topic of concerts though, there are three different concert packages that are available for purchase. Two out of the three include food and drink punch cards that give you a fixed number of complementary selections of the food and wine at the festival. The third package does not include food but does include a reserved seating section. Depending on which package you purchase will correspond to the reserved seating section. Sitting closest to the stage is the Tier 1 package and it goes back from there. The concerts are FREE; however, to ensure that you have a seat at the event, you may want to purchase one of the packages. For those who just cannot justify that additional expense in their respective budgets, there is an open seating section as well as plenty of standing room. You can even sit on the ground should you choose.

Food and Wine at Busch Gardens is going on now through April 30th. Don’t miss it!

“Race Through New York Starring Jimmy Fallon” attraction review

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img_9103A cute, fun ride, but ultimately a generic experience. The anticipated new Universal Studios Florida attraction Race Through New York Starring Jimmy Fallon began soft openings this past weekend. If you are unfamiliar with that term, a soft opening is when the attraction is essentially in tech rehearsal operations, meaning that it can start, stop, or turn off certain components at any time. With the successful run of Universal Team Member (staff) previews during the latter part of last week, the attraction went directly into public soft openings. When an attraction goes directly from staff previews to public soft openings, that is usually a good indicator that the ride is in prime operating condition. From the time I entered the queue to the time I exited through the gift shop, it was a flawless experience! Everything from the innovative virtual queue to the ride operation went off without a hitch. Due to the park being in the middle of Mardi Gras and the news of a soft opening of a new attraction, this combination certainly brought in the crowds. With a wait time of a little less than 60mins, it was all-in-all a pleasant experience during the ride’s preview. But, I wouldn’t wait more than 30-45mins for this attraction in the future.

Outstanding queue! Ever since Islands of Adventure opened in 1998 and increasingly so since the Wizarding World of Harry Potter opened in 2010 at Universal Orlando, there has been a demonstrable trend in elaborate queue designs and experiences. Not only are ride designers focussed on the ride itself, but now are nearly equally focussed on creative an immersive experience in the queue. Evidence of this can be found in many of the attractions at Universal, Disney, and Busch Gardens that have opened in the last few years. But I digress. Without question, my favorite part about this new attraction is the queue design and experience. Although I have not been to the Rainbow Room, NBC Studios, or 30 Rock (aside from taking the express elevator to the observation decks), I felt like I had just walked off the streets of New York City and into the studio complex to be part of The Tonight Show‘s live audience. Much like a museum, there are exhibits featuring television production equipment over the decades as well as the evolution of NBC’s iconic peacock logo. Clearly the central figure of the attraction is the current host of The Tonight Show Jimmy Fallon, but there are also exhibits that dedicate a showcase to each of the hosts as well as a mural of all of the hosts together. I spent several minutes just walking around the–what amounts to a–museum.

The reason for the ability to casually stroll through the sequence of showcases: a virtual queue. When you enter the attraction, you are given a colored ticket. Each of the colors for the tickets are taken from the six colors of the NBC peacock. The queue is composed of an entry hallway, NBC/The Tonight Show historic exhibits and showcases, and preshow room. Light fixtures and ambient light, in the various rooms, correspond to the colored tickets that determine what group goes next. When the light changes to the color ticket you hold, then you may proceed to the next waiting area. Making it easy to know where your group is in queue, the order of the colors called are the order of colors on the peacock’s tail. The entry hallway features the evolution of the NBC logo from it’s earliest days to the present. A similar exhibit can be found at the NBC Sports Grill and Brew at CityWalk. Making your way from the entry hallway to the first large waiting space, the next room features tributes to The Tonight Show‘s hosts over the years all around the room in addition to some television production technology over the years. With so much to look at, the time really flies by! This is the first room in which you wait for your color to be called; from this room, you walk upstairs to the next waiting area that truly has the guests in mind in terms of creating a pleasant waiting experience.

As much as I enjoy a museum-like experience in a queue, the next room is definitely my favorite! Enjoy Ragtime Gals and Hashtag the Panda? Then, you’ll be delighted to know that you get to be entertained by them in the final room before entering the studios for your exclusive taping of The Tonight Show. In addition to the live entertaining–which I’ll get to in a moment–there are several sofa-like chairs along the wall with ample USB ports for charging your personal electronic devices. Definitely a convenience if you’re like me and are catching Pokemon, listening to music, texting, and taking pictures while at the park. IMPORTANT: bring your own sync cable! If you are carrying a portable charger, then you already have your sync cable; but if you just have your phone, remember to bring your USB charging cable with you into the queue. In the area of the charging chairs, there are large flat panel displays that offer a variety of games to pass the time. Even with all the people in the waiting area, if I wanted to play the games, it wouldn’t have taken long for one to open up. This is partly due to the various offerings in the room as well as every 10mins or so (on that day), one of the colors would be called. The most entertaining element in this final room before getting on the ride is the Ragtime Gals! Their combination of traditional Atlantic City a’cappella mixed with covers of pop songs and a little lip sync battle thrown in makes them a show not to be missed! The sheer stamina alone was impressive. There had to have only been a few minutes between each set and the cast did not change (as long as I was in there). Furthermore, the repertoire was vast, considering that I never heard a repeat for the 30mins or so that I was in there. After the sets, Hashtag the Panda came out dancing and entertaining the audience. Honestly, this is probably the best queue experience I’ve ever had.

Up to this point, you may be wondering why my opening line included “but ultimately a generic experience” because everything up to this point makes for an exceptional attraction experience! That’s because the ride itself leaves a lukewarm “meh” in your mind. In terms of the race, the studio audience is pitted against Fallon in a race through New York and ultimately to the moon and back. Along the journey, you get to listen to the house band Roots, run into some familiar characters from Fallon’s show, and get to see some of the most visited sites in New York. Much like a video game race, there are checkpoints along the way and plenty of laughs to accompany your zany race through The Big Apple. Rumor had it that the attraction platform would be similar to Epcot’s Soarin’ Over the World (formerly Soarin’ Over California), but that is unfortunately not the case–at least, for the most part. If I were to compare this new attraction to a similar experience at Universal Studios, it would be closest to Despicable Me: Minion Mayhem and at Disney, closest to Star Tours: the Adventure Continues. There are some shared elements with Soarin’ but very few. Essentially, it’s a glorified 3D moving theatre with some water effects to add that 4th dimension to the experience. And that’s just it. What Universal Studios did not need was another 3D theatre attraction; granted, the technology is impressive and the movement of the bleacher style seating is impeccably timed with the movement on the screen. The attraction has some length to it, and it is mildly entertaining; but it simply fails to leave a lasting impact on the park guests. Like I said earlier, the queue is the best part!

What’s missing is more physical movement. With the massive integration of 3D immersive technologies into attractions at most major theme parks, the line between movie and ride is becoming blurred. And that’s not a good thing. Yes, feeling like you are IN the movie instead of learning about the magic of filmmaking (considering there is little magic left in the process) has been the trend for the last decade or so; but, when the experience on the ride feels like just a step above watching a movie, therein lies the problem. The MainStreetMouse on Twitter posted an article recently about how technology is ruining Disney rides, and I think there is a lot to be explored along those lines. Seems like with prolific amounts of mapped projection, elaborate 3D technologies, and synced movement, the unique experience of a “ride” is becoming lost. Physical movement is sacrificed for visual simulation. Not that every ride in a theme park has to be some version of a coaster or dark ride–not the case at all–but when the experience bares little significant difference to watching a movie, the magic of the theme park experience begins to mitigate. Had Race Through New York Starring Jimmy Fallon been closer to Soarin‘ then I would have enjoyed it immensely more, or if it had been closer to Harry Potter and the Forbidden Journey then the experience would have been memorable, impactful. Since the entire ride experience consists of a moving 3D theatre, it just lacks qualities that make it truly memorable. Theme parks need to lay off the massive integration of 3D and spend more time on how to integrate significant physical movement into future attractions.

“Logan” movie review

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loganUncanny! 20th Century Fox, Marvel, and TSG Entertainment’s Logan is a compelling, grizzly, organic superhero movie that is the last to feature Hugh Jackman as Logan (Wolverine) and Patrick Stewart as Professor Charles Xavier. Prepare to have your mind blown as the action unfolds in such a way that your heart will be pounding, racing, and pumping adrenaline through your body and then tug at your heartstrings as emotions run high. Logan is quite possibly the most comprehensive and diegetically dynamic superhero movie ever, and perhaps best X-Men film in the long, successful franchise. With a penchant for thrilling, action, and even horror films, director James Mangold pulls out all the stops in the last chapter in the story of The Wolverine. While there have been several films about Logan/Wolvervine outside of the main X-Men films, this cinematic adventure will have you on the edge of your seat with anxiety and holding back tears simultaneously. Some of the responsibilities of the final chapter of a character or an actor portraying a long-standing character are striking a delicate balance between nostalgia, closure, but still providing audiences with a new story; overwhelmingly, this film delivers the absolute best as we bid farewell to Hugh Jackman and Patrick Stewart from the X-Men universe and exceeds any and all expectations.

In the not too distant future, an aging Logan (Jackman) is caring for an increasingly ailing Professor X (Stewart) near the US/Mexican border. With the professor’s cognitive health in a downward spiral, Logan illegally acquires medications that ease the Professor’s seizures…seizures that are telekinetically powerful enough to leave devastation in their wake–and have. Logan is challenged to hide the Professor from the world in an effort to shield him from those who seek to kill him. While operating as a limo driver, Logan encounters a bizarre woman at a funeral who begs for his help. As Logan has always been the solitary type who mostly cares for himself, he ignores her cry for aid. In a bizarre turn of events, he finds himself caretaker of her daughter when she is found dead in her hotel room. After she follows Logan to the hideout, Professor X pleads with Logan to take her to a place called Eden. This soon becomes a bloody road trip as the three of them hide from and attempt to outrun those who want to kill Logan, the Professor and take the girl back to Mexico.

What do James Mangold’s 3:10 to Yuma and Logan have in common? They are both grisly western films. Evidence of this is not only seen in the character development, pacing, and overall tone of the film, but can also be seen within the film itself as Professor X and Laura (Dafne Keen), the young girl traveling with Logan and Xavier, watch a western film on TV–a film that Xavier references several times as he reminisces about films from his childhood. While many think that the American Western film died out with Hollywood Golden age, it has certainly not retreated from cinemas. In fact, many of Quinten Tarrantino’s films are westerns, the original Star Wars: A New Hope was a post-modern western, and Mangold’s Logan is yet another example of a reimagination of the American Western film. Reading the film as a western enhances the visceral experience of the film. Although directors seldom pit cowboys against indians anymore, there are subtle references to that relational dynamic from early western movies within this film. Much like the Lone Ranger and many of John Wayne’s characters, Logan is also a solemn solitary character being pulled into a world built upon the idea of relationships but his baggage makes it incredibly difficult. Emotions run high in Logan; and it’s these emotions that provide audiences with a comprehensive experience that fulfills the desire for gritty action plus moments that may stir you to tears.

Although we are just coming out of this year’s award season, it’s entirely possible that Logan may be the first superhero motion picture to be nominated and even win Best Picture at next year’s Oscars. All the elements that make up a Best Picture nominee can be found in Logan. It has drama, romance, a little humor, feels organic, deals with prejudice (by extension), and is based on a book–a comic book that is. The R rating is also important because it (1) serves as further evidence in the direction Fox is going to proceed with films like Deadpool and X-Force–gearing toward an adult audience (2) it allowed for audiences to see the Wolverine at full bloody force, which has been a desire for quite sometime and (3) the degree to which the film can deal with real adult problems physiologically and emotionally. The financial success of Logan will depend on adult audiences speaking the word about the outstanding nature of the film and even bringing more mature younger superhero fans to see the movie. Since most of the film contains disturbing imagery in regards to both the bloody violence and with Professor X’s debilitating cognitive disorder (most likely a severe form of dementia), I would not recommend bringing those under 13 to the film until you have screened it for yourself. It’s an incredible, film; but, there is content that may not sit well with those that are quite young.

Before Logan begins, fans of Deadpool will be excited to know that there is a short film (glorified promo, really) for Deadpool that does a successful job at promoting the highly anticipated sequel to last year’s blockbuster. Its placement is also important to Logan in that it provides some levity before the rather somber tone of the feature film that follows Ryan Reynolds’ offensively endearing witty charm as Deadpool. Logan is proof that superhero films can take the more serious route without sacrificing the art of the story. Both Jackman’s and Stewart’s acting is on point, and probably some of the best of their respective careers. Stewart, more specifically, delivers a command performance as Professor X and demonstrates that an accomplished actor who was primarily first known as Captain Picard can excel in both the horror (Green Room) and superhero genre films, all the while continually adding the touch of class that comes with his formal Shakespearean training as a performing artist.

This is NOT repeat NOT a kids superhero movie. Unless you have screen the film first, I would not recommend bringing anyone under the age of 13 with you to the cinema for Logan. There may not be “adult” content in the conventional sense; but, there are themes, subtext, and some violent content that may not be suitable for a younger audience who typically flock to superhero genre movies. Over all, Logan is an outstanding film, not just of the superhero variety, but also in general. From the writing to the directing and technical elements, this movie is a fantastic example of a superhero film that attempts to be and successes at breaking the mold and cementing itself as serious cinema.