I find parallels with Roger Ebert, although I haven't really investigated others, and maybe I should. His recent review of "X-Men Origins: Wolverine" was so far off the mark, I have to wonder if he's heavily medicated, the first man to have a menstrual cycle, or he has found a snarky, bitchy ghost-writer. I read his review and had real concerns about seeing the thing. He gives the movie two stars, and launches a more-fervent attack than a good movie can warrant, picking at failures of goals that the movie was never intended to achieve.
Example:
"Their story starts in "1840 -- the Northwest Territories of Canada," a neat trick, since Canada was formed in 1867, and its Northwest Territories in 1870."Well, shit, Rog, what should they have printed in the subtitle: longitude and latitude? Coordinates aren't visually digestible in an action flick, ya dumb dick!
Further example:
"It is Hugh Jackman's misfortune that when they were handing out superheroes, he got Wolverine, who is for my money low on the charisma list. He never says anything witty, insightful or very intelligent; his utterances are limited to the vocalization of primitive forces: anger, hurt, vengeance, love, hate, determination. There isn't a speck of ambiguity. That Wolverine has been voted the No. 1 comic hero of all time must be the result of a stuffed ballot box."In other words:
"Lots of people like Wolverine, but I don't, so I'm gonna take my own flimsy, milquetoast claws and slap at this movie like an anemic six-year-old girl."
For readers of the comic book, Wolverine has charisma and backstory by the metric ton. He puts the "bad" in badass, and the character's popularity has spawned storylines more proliferate than a hydra's tie rack. For those who hadn't found the character in comic books, they'll just have to get by on the the raging charisma of Hugh Jackman, a chief (X-)factor that drove the ascendant, runaway success of the preceding three X-Men movies. Yeah, what a spindly, meager example of charisma, hey, Ebert?
"There is little dialogue, except for the snarling of threats, vows and laments, and the recitation of essential plot points. Nothing here about human nature. No personalities beyond those hauled in via typecasting. No lessons to learn. No joy to be experienced. Just mayhem, noise and pretty pictures."It's an action film, you clueless fruit! The Wolverine character is about rage, a superhero who can be battered but not broken, who has the capacity to be stunned but never stopped. He is a relentless, tireless agent of revenge. This is not "The English Patient," and I thought Ebert would understand that. Complaining that Wolverine doesn't learn lessons is like saying that Braveheart didn't have enough car chases! It completely misses the point.
Ebert finally, petulantly admits: "Oh, the film is well-made," then immediately complains and wonders that its "gifted director" makes an effort to diversify his works by making this a film that dabbles in another genre. Yes, how could a director want to achieve Hollywood success by making a film people will pay to see?! What a narrow, ignorant view.
It is a telling tribute to a very good action film that Roger Ebert sets out to eviscerate it, and this limp-wristed pseudo-savaging is the worst he can do. It's the photo negative of damning with faint praise: commendation by faint condemnation.
Go see this movie, getcha some popcorn, and try not to learn any lessons. It's a great ride.
