Viewed: In theatre
Release Date: June 27, 2008
writer: Michael Brandt, Derek Haas
director: Timur Bekmambetov
The bulk of Hollywood's output from the past decade has been derived from source materials, whether they be novels, TV shows, remakes of (or sequels to) old movies, or comic books. Adapting or updating a story is always a tricky business, because what made the original work a success can't always be duplicated, sometimes it's a bit of right-place/right-time, and sometimes it's the medium in which the story is told. A TV show tells a story differently from a novel which tells a story differently from a comic book which tells a story differently from a movie. In most cases, fans of the source material will invariably like the source material more than the film, because, as necessitated by the medium (and the audience), changes have to be made. Successful translations tend to pare in on what made the original work, and distill that upon the screen. Unsuccessful versions tend to only superficially replicate the source without understanding the heart or message or characters.
In this case, Wanted is a unique beast. A comic book mini-series created by writer Mark Millar and artist J.G. Jones, it was a high-concept "villains win the day" set-up (a rejected pitch, originally intended as an alternate timeline story for DC Comics) (my review of the graphic novel). In the comic, the bad guys rule the world, but there's in-fighting, and the titular character, Wesley Gibson, must fulfill his destiny as the son of the greatest supervillain of all. The movie dispenses with the which very geeky needling of DC archetypes which comprised the bulk of Millar's story and instead turns into a story about a league of assassins, complete with it's own built-from-scratch intricate policies and curious history.
Release Date: June 27, 2008
writer: Michael Brandt, Derek Haas
director: Timur Bekmambetov
The bulk of Hollywood's output from the past decade has been derived from source materials, whether they be novels, TV shows, remakes of (or sequels to) old movies, or comic books. Adapting or updating a story is always a tricky business, because what made the original work a success can't always be duplicated, sometimes it's a bit of right-place/right-time, and sometimes it's the medium in which the story is told. A TV show tells a story differently from a novel which tells a story differently from a comic book which tells a story differently from a movie. In most cases, fans of the source material will invariably like the source material more than the film, because, as necessitated by the medium (and the audience), changes have to be made. Successful translations tend to pare in on what made the original work, and distill that upon the screen. Unsuccessful versions tend to only superficially replicate the source without understanding the heart or message or characters.
In this case, Wanted is a unique beast. A comic book mini-series created by writer Mark Millar and artist J.G. Jones, it was a high-concept "villains win the day" set-up (a rejected pitch, originally intended as an alternate timeline story for DC Comics) (my review of the graphic novel). In the comic, the bad guys rule the world, but there's in-fighting, and the titular character, Wesley Gibson, must fulfill his destiny as the son of the greatest supervillain of all. The movie dispenses with the which very geeky needling of DC archetypes which comprised the bulk of Millar's story and instead turns into a story about a league of assassins, complete with it's own built-from-scratch intricate policies and curious history.
Wesley Gibson (played by James McAvoy), much like in the comics, is an office drone, a wimp and a bit of a loser. But the movie makes better use of Wesley's self-doubt and crippling anxiety, both aesthetically and emotively. Though some of the narration/dialogue is transposed, Wesley is embellished in a way that makes him sympathetic, whereas the Wesley of the comics goes from being a pathetic, ineffectual loser to a grade "A" douchebag.
Wesley encounters the Fox (Angelina Jolie), who wrangles him into the world of assassins, telling him his father whom he never knew was just murdered by a rogue member of the Fraternity, Cross. Cross has decided to dismantle the Fraternity and Wesley is their only hope at stopping him, since they believe he is his father's better, and there was no one better than his dear old pop. Wesley's transition from sub-average Joe to superstar killer is a difficult one for both him and the audience (unlike in the comic where Wesley welcomes the change, thus becoming as despicable as the other characters in the book). Wesley doesn't wholeheartedly accept the Fraternity, their actions, and their adherence to the belief in the Loom of Fate (which weaves a code, which, when deciphered, tells them who their next victim is). He does however find himself overcome by the lifestyle and his capabilities, even if he doesn't accept it wholeheartedly.
That we the audience find it uncomfortable that our "hero", the guy who was once a regular guy like us, becomes something we don't agree with, a killer, actually (and surprisingly) pays off. Though characterization and emotional resonance are really the least of the film's concerns, it at least has some heart to it, if a flimsy one.
The real focus of the film, however, is it's action sequences, from it's utterly impossible curving bullets to the equally impossible racing sequences. Nightwatch/Daywatch director Timur Bekmambetov has proven himself one of the most visually innovative directors with previous work but tops himself, and most others here. There are things that happen in the film, though utterly ludicrous, he pulls off never setting off the BS alarm. He gives everything that happens in this film an heir of possibility and it takes real talent to open up your environment like that.
It's safe to say things happen in this film that you have never seen before. It dials up the craziness to 11, for certain, but it's story and internal culture allow such insanity to exist. Where a film like Die Hard 4 loses its audience by putting the unreal in a world not unlike ours where such things stretch the suspension of disbelief, Wanted is part Looney Tunes cartoon, setting up the audience to expect the unbelievable. If the normal laws of physics applied here, it would be much more disappointing. (As I said to my wife, this movies is a Mythbusters waiting to happen.)
As a comics fan, it's interesting for me to see the reaction to Wanted (the highest grossing R-Rated debut in June ever... that's a lot of qualifiers). Since characters like Batman, Hulk and even Iron Man are known properties and an much easier draw, I was curious to see how, amidst them all, Wanted would play. Having read the comic I wasn't very enthused to see the film (not until early reviews were favourable, expressing it's deviation from the source did I actually decide to see it), but I was curious to see if, basically, "an action film starring Angelina Jolie" would actually play out to a larger crowd knowing nothing about its origins. It's also interesting to gage fanboy reaction, to see the people who actually like the source material groan on and on about how it's not the same (and thankfully so). It's nice when Hollywood gets it right.
Rating: 3.5/5
Wesley encounters the Fox (Angelina Jolie), who wrangles him into the world of assassins, telling him his father whom he never knew was just murdered by a rogue member of the Fraternity, Cross. Cross has decided to dismantle the Fraternity and Wesley is their only hope at stopping him, since they believe he is his father's better, and there was no one better than his dear old pop. Wesley's transition from sub-average Joe to superstar killer is a difficult one for both him and the audience (unlike in the comic where Wesley welcomes the change, thus becoming as despicable as the other characters in the book). Wesley doesn't wholeheartedly accept the Fraternity, their actions, and their adherence to the belief in the Loom of Fate (which weaves a code, which, when deciphered, tells them who their next victim is). He does however find himself overcome by the lifestyle and his capabilities, even if he doesn't accept it wholeheartedly.
That we the audience find it uncomfortable that our "hero", the guy who was once a regular guy like us, becomes something we don't agree with, a killer, actually (and surprisingly) pays off. Though characterization and emotional resonance are really the least of the film's concerns, it at least has some heart to it, if a flimsy one.
The real focus of the film, however, is it's action sequences, from it's utterly impossible curving bullets to the equally impossible racing sequences. Nightwatch/Daywatch director Timur Bekmambetov has proven himself one of the most visually innovative directors with previous work but tops himself, and most others here. There are things that happen in the film, though utterly ludicrous, he pulls off never setting off the BS alarm. He gives everything that happens in this film an heir of possibility and it takes real talent to open up your environment like that.
It's safe to say things happen in this film that you have never seen before. It dials up the craziness to 11, for certain, but it's story and internal culture allow such insanity to exist. Where a film like Die Hard 4 loses its audience by putting the unreal in a world not unlike ours where such things stretch the suspension of disbelief, Wanted is part Looney Tunes cartoon, setting up the audience to expect the unbelievable. If the normal laws of physics applied here, it would be much more disappointing. (As I said to my wife, this movies is a Mythbusters waiting to happen.)
As a comics fan, it's interesting for me to see the reaction to Wanted (the highest grossing R-Rated debut in June ever... that's a lot of qualifiers). Since characters like Batman, Hulk and even Iron Man are known properties and an much easier draw, I was curious to see how, amidst them all, Wanted would play. Having read the comic I wasn't very enthused to see the film (not until early reviews were favourable, expressing it's deviation from the source did I actually decide to see it), but I was curious to see if, basically, "an action film starring Angelina Jolie" would actually play out to a larger crowd knowing nothing about its origins. It's also interesting to gage fanboy reaction, to see the people who actually like the source material groan on and on about how it's not the same (and thankfully so). It's nice when Hollywood gets it right.
Rating: 3.5/5