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2020 was a year of remarkable debuts, and few more remarkable than this absolute gem from Andrew Patterson. Set during one night in the late 1950s, The Vast of Night follows two high school students, Fay Crocker (Sierra McCormick) and Everett Sloan (Jake Horowitz), who while operating a local radio station start to pick up something strange. The strangeness of the film comes from the events that may be taking place, as well as the beautifully assured delivery. Long takes track through the town for minutes at a time, and much of the action is delivered by sound, especially people talking through radios and telephones. This runs counter-intuitive to standard film logic of show don’t tell, yet The Vast of Night achieves a great deal by telling rather than showing. The intelligent script and strong performances are aided by superb period detail, both in terms of production design and social conditions, and while there is clear homage this never overwhelms the drama. The pacing is perfect and the film wonderfully atmospheric, leaving a genuine sense of mystery and pathos.
I recently had a conversation with a friend about recent films that we had different responses to, Kick-Ass 2 (Jeff Wadlow, 2013) and The Wolverine (James Mangold, 2013). I found both of these disappointing and my friend thought they were alright. In the case of Kick-Ass 2, my fellow conversant knew that it would not surprise or shock them like the first, and that the only way it could have done would be to change the style of the film. Therefore, the film was enjoyable as an extension to the first, but nothing more. The absence of Big Daddy (Nicolas Cage) was felt, and my friend commented that the story did not have enough suspense, unlike Matthew Vaughn’s original.
Both of us agreed that Hit Girl/Mindy McCready (Chloe Grace Moretz) was the best thing in Kick-Ass 2, so for me, it was disappointing that she was underused and spending time becoming a ‘regular girl’, only for her to abandon that and re-embrace Hit Girl. It is a common trope in superhero narratives that heroes renounce their super identities (see Superman II [Richard Lester, 1980], Spider-Man 2 [Sam Raimi, 2004], The Dark Knight Rises [Christopher Nolan, 2012]), but it tends to be more traumatic and a crisis of identity. Had Kick-Ass 2 focused on that element, it would have been more effective, even as an identity crisis within high school. High school is fertile ground for dramas about identity and finding oneself, so a high school action comedy about Hit Girl would have a lot of potential.
Unfortunately, with Mindy/Hit Girl side-lined, Kick-Ass 2 lacks not only suspense but emphasis, wavering between Dave Lizewski/Kick-Ass and his ongoing ambition, as well as Colonel Stars and Stripes’ (Jim Carrey) Justice Forever band, and the increasing villainy of Chris D’Amico/The Motherfucker (Christopher Mintz-Plasse). The film therefore lacks focus and a coherent theme, essentially trying to play off the original’s feature of having superheroes swear and get badly hurt. But in Kick-Ass, that was a point rather than a gimmick. In Kick-Ass 2, it’s just a gimmick. There are some good sequences, including the final battle and indeed most scenes involving Mother Russia (Olga Kurkulina), and I liked the suggestion of a romance between Mindy and Dave, but overall, the film felt lightweight and uncertain of its meaning.
It used to be the case that sequels were never as good as the originals. Superhero films especially buck that trend, with Spider-Man 2, Blade II (Guillermo Del Toro, 2002), X-2 (Bryan Singer, 2003), The Dark Knight, maybe even Fantastic 4: Rise of the Silver Surfer (Tim Story, 2007) improving what came before. Sadly, it seems that Kick-Ass 2 is what we used to expect from sequels.
The Wolverine is another matter. The X-Men franchise has been very patchy, at its best striking a balance between personal dramas, thrilling action and wider ramifications. The wider ramifications was the major missing feature from The Wolverine, as it is the most intimate and personal film of the franchise thus far. Director James Mangold has a talent for intimate, down-to-earth drama, whether that be the biopic melodrama of Walk The Line (2005) or the terse psychological thrills of Identity (2003). The Wolverine demonstrates that he can still deliver the necessary action spectacle (although perhaps that should be credited more to second unit director, editor and the special effects team), but despite the bullet train sequence and the final battle with Silver Samurai, The Wolverine is remarkably unremarkable, because there seems to be little reason for what is going on. It is essentially the further adventures of Logan, revisiting an old friend, making new ones including a requisite new romance, and I was left thinking ‘So what?’ The spectral presence of Jean Grey (Famke Janssen) was unconvincing, and the most moving moment was Logan’s early communion with a wounded bear. It could have been refreshing to see Logan more vulnerable, like those mentioned above it is an instance of the superhero losing their powers, but the trope of him having to adapt to being hurt was not given enough variety, swiftly becoming repetitive.
To make matters worse, the villain of The Wolverine was very uninteresting, Viper (Svetlana Khodchenkova) little more than a mutant riff on the vicious beauty, which was done far more interestingly with Mystique (Rebecca Romijn/Jennifer Lawrence) and Emma Frost (January Jones) in previous installments. Perhaps if she had been in a position to fight Logan herself, like Lady Deathstrike (Kelly Hu) in X-2, it might have been interesting, but instead she is far from a worthy adversary. The final clash between Wolverine and Silver Samurai was flashy but felt more like an obligation than an organic development, while the sudden reappearance of the bone claws was overly convenient.
Overall, The Wolverine felt lightweight, nothing attached to what was going on. For me, the X-Men films have been most enjoyable when the stakes are high, which they have been previously:
X-Men – the irradiation of the world leaders
X-2 – the death of all mutants and, subsequently, the death of all humans
X-Men: The Last Stand – the ‘cure’ for mutation
X-Men Origins: Wolverine – more personal, but still a campaign against mutant-kind
X-Men: First Class – the Cuban missile crisis and World War Three
The Wolverine – dying man wants to live forever and will steal Logan’s ability to heal so that he becomezzzzzzzzzzzzzzzz
The stakes of The Wolverine are too low and, therefore, the film lacks drama. Ironically, the biggest problem with The Wolverine is the best thing in it – the mid-credits sequences featuring Professor X and Magneto. I had read that Patrick Stewart was going to cameo, but I was not expecting Ian McKellen to show up as well. In addition, the foreshadowing of Trask Industries is another nice detail, demonstrating economic storytelling and raising expectations. I eagerly anticipate X-Men: Days of Future Past (Singer, 2014), combining the elements established in earlier instalments into something both new and familiar. But when the best thing in a film is a scene with no connection to what went on before, then the film as a whole is clearly doing something wrong.