Miguel Sapochnik’s love letter to American health care and the subprime lenders who felled the country’s economy takes us 20 years into a bleak, bloody future where artificial organs are sold at a premium ($600,000 for a synthetic heart) and reclaimed by knife-wielding thugs once clients default on their payments.
Remy (Jude Law) is one of those thugs, coldly carving up the hopeless saps whose bodies are essentially on loan from his employer, the Union Corporation. He is unmoved by the grislier aspects of his work, perhaps because he buys so readily into the company credo. “You’re not taking a life,” his boss (a smugly soulless Liev Schreiber) explains. “You’re keeping the Union viable so we can continue to give it.”
The strange, improbable story of Woodstock has been documented exhaustively in print and on the screen, making it somewhat curious that Ang Lee has chosen to make it the subject of his first bona fide comedy since 1994’s Eat Drink Man Woman. Yet that’s just what we get in Taking Woodstock, a lighthearted look back at three days of peace and music whose more magical qualities fail to materialize here.
Perhaps I was spoiled. My induction into the world of X-Men mythology came courtesy of Bryan Singer’s X2, which remains on the short list of the most brilliantly realized comic-book adaptations ever made. Surprisingly sophisticated, Singer’s parting gift to the franchise deftly juggled a teeming cast of exotic mutants and made them relatable without seeming tediously awed by their superpowers.
It was only five months ago that Milk made its world premiere at the Castro Theatre. Now, San Francisco just might play host to another high-profile debut, this time for a tale sprung from the realm of comic-book fantasy.
Wolverine, the adamantium-clawed hero of X-Men fame, and his real-life alter ego Hugh Jackman could make the Bay Area their first stop before X-Men Origins: Wolverine arrives in theaters across the country on May 1. The catch? Fans must demand the privilege via the Internet.