Displaying items by tag: Hugh Jackman

THE DEATH OF ROBIN HOOD

UK, 2026, 122 minutes, Colour.

Hugh Jackman, Jodie Comer, Bill Skarsgaard, Murray Bartlett, Noah Jupe, Faith Delaney.

Directed by Michael Sarnoski.

There has been a long, merry tradition of Robin Hood, robbing the rich and giving to the poor, happy days in Sherwood forest, Maid Marian, clashes with the Sheriff of Nottingham, Guy of Gosborne…

But in the opening of this film, an old and grizzled Robin Hood, a believable performance by Hugh Jackman, puts aside all these stories as myths, stressing that reality in the 13^th century was much different. In fact, the stories here were used as a basis for the 1976 film of Robin Hood in old age, Sean Connery and Audrey Hepburn, Robin and Marian.

But, this version is starker, harsher. After the wiping away of merry presuppositions, there is a sequence of a young woman, wanting vengeance on Robin Hood, attacking him in the desolate mountains, her death. In fact, the first part of the film is very grim, violent re-enactments of Robin Hood, murders, robberies, torture. He is definitely an outlaw, no hero. Then he encounters Little John, who also has a different story, his settling down, family, but in trouble with usurpers, now calling on the aid of his friend.

More violence, an attack on the house, some graphic killings (as with arrows through eyes), but the older men wounded, Little John’s daughter, Margaret, surviving.

The latter part of the film, leading up to Robin Hood’s death, has him encountering a leper (Murray Bartlett) who urges him to go to an island presided over by a prioress, Bridget (Jodie Comer). She is a widow, looking after a range of children, made more genteel, apparently, then the original stories where she is something of a sorceress.

This changes the mood of the film, Robin Hood recovering, caring for Margaret, especially training her to make bows and for her arrows, hunting for food for the community, the outlaw having time to think back about his past, reliving his brutal crimes, consider some kind of repentance and redemption, having done something good for Margaret, and allowing the prioress to lead him, not to recover health, but a letting go of his past, the death of Robin Hood.

1. The title and expectations? Popular mythology over the centuries? The movie traditions?
2. The sources and stories, the grim aspects of the Robin Hood legend?
3. Filmed in Northern Ireland, the rugged landscapes, the mountains, valleys and rivers? The island and its landscapes? The musical score, the instruments, the ballad?
4. The immediate initial explanations, dispelling the mythologies about Robin Hood? The Middle Ages, the violence, outlaws, victims, the robbing the rich, a violent society?
5. The opening, the young woman, hungry, travelling, getting help, seeing the fire, the encounter with the stranger, her vengeance against Robin, his killing her?
6. The first part of the film, the visualising of the fighting, weapons, close-up of violent deaths? Impact, in the context of Robin Hood?
7. Hugh Jackman as Robin Hood, in old age, Haggard yet strong, his reputation, the violence, killings, victims, robbing?
8. The encounter with Little John, the mythology of Little John, the reality, accompanying Robin, the violence? His story, retiring, marrying, his daughter? The usurping family, his wanting vengeance?
9. The attack on the family, the continued violence, executions? Youngsters, the shooting of the arrows, through the eye? The family, the attack on Little John? His daughter, trying to save her?
10. Hendrie, the boy, trying to warn others, Robin shooting him, his getting through, his death?
11. The injuries, Little John, Robin, the household, the surrounding countryside?
12. There getting to the island, Brigid, as prioress, her own story, the death of her husband, the change from an evil prioress to a sympathetic prioress? Her leadership on the island, the range of youngsters, happy, playing?
13. Robin, his being tended to, the encounter with the leper, moving to the island, the care, Brigid? The truth about her husband? Robin and his helping, the scenes of hunting, Margaret helping?
14. Brigid, as a personality, religious, married, sexual longings, care?
15. Margaret, on the island, her personality, the trauma, adapting, a reliance on Robin, becoming something of a father figure?
16. The sequence with the leper, the discussions about Guy in Lisbon, enemy Robin, the leper revealing that he is guy, keeping it secret from Margaret, his wounds, death sequence?
17. Arthur, with Robin, to the mainland, after admitting he is from Hendrie’s family?
18. Robin, mellowing, acknowledging his violent career, beginnings of regrets, some repentance, the possibility of salvation? Through Brigid? Through Margaret? Brigid and the bloodletting?
19. The background of making bows and arrows, the material, the curve, the strength, the tension? Robin teaching this to Margaret, training her, her skills and accuracy?
20. The bloodletting, Robin revealing the truth to Brigid, her memories and the story of the slaughter? But her grateful attitude towards her new life on the island? Robin persuading her to continue the bloodletting until he dies?
21. Coming to his death, looking back over his life, the dream of John, acknowledgement, regrets, the help from Margaret, the final bow and arrow and her shooting?
22. A re-assessing of the Robin Hood legends?

THE SHEEP DETECTIVES

UK/Ireland, 2026, 109 minutes, Colour.

Hugh Jackman, Nicholas Galitzine, Molly Gordon, Emma Thompson, Hong Chau, Conleth Hill, Nicolas Braun, voices of: Brett Goldstein, Patrick Stewart, Regina Hall, Bella Ramsey, Chris O'Dowd, Rhys Darby, Bryan Cranston, Julia Louis-Dreyfus, Tommy Birchall.

Directed by Kyle Balda.

No, not inquiries about sheep difficulties. The sheep themselves are the detectives. And, very enjoyably so.

Shepherd George, living in a caravan outside a typical Miss Marple English village, reads detective stories to his sheep. Leader, Lily, usually solves the mystery while others always think it is the maid! They are an interesting flock, a range of different characters, some woolly eyes, some awkward, the aristocratic ram, two rams who like to butt themselves and vehicles, and an aloof leader, Sebastian, whom George has rescued from being the target of dogfights in a carnival. They speak, a range of star voices, varied personalities, some frisky young lambs, enjoying life, devoted to George.

George is genial – he is played by Hugh Jackman. And, then he is murdered.

The local policeman is a bit dimwitted, Nicolas Braun from Succession, but an eager young visitor, journalist, Nicholas Galitzine, ever-ready to help him. And there is the imperious lawyer who comes to read the will, Emma Thompson. Then George’s daughter from the US also turns up, Molly Gordon.

Of course, the sheep are determined to find out who killed George.

The enjoyment of the screenplay relies on the murder mystery, Agatha Christie-style scenario, the listing of suspects, presence, opportunity, profit from the murder. Lily takes charge, clues are found, and she finds all kinds of ways of trying to communicate with the policeman while unable to speak to him.

It is all very entertaining, the suspects, the local butcher, another Shepherd, hotel keeper, local vicar, all with motivations. But, eventually Lily works it out, find ways of communicating with the policeman, mystery solved! There are enough clues for audiences to work out who the murderer is – but probably a good enough mystery not to work out the actual identity of the murderer!

The sheep realise that they are often considered woolly-headed. This is a film to vindicate the sheep and their abilities, and a nice underlying moral, that the sheep reject winter sheep because normally they are all born in spring and summer. A little winter lamb is active in Lily’s manoeuvres – and, of course, welcomed finally into the flock.

Who would have thought that the sheep could have been so entertaining?

1. An entertaining murder mystery? Scenario, clues, based on popular novels, the victim, suspects, investigation? And the contribution of the sheep and the detective work?
2. The English village, the fields, the sheep, the caravan, shops, church, butcher’s, the hotel? The countryside? The musical score?
3. The humour, the MGM lion bleating, the sheep and their various characters, the butting twins, the conversations, jokes, the shepherd who read detective stories to the sheep, Lily’s solving them, the sheep and the murder investigation, fear at crossing the road, the chicken crossing the road, always present, Mopple and his accidents, collaboration with him?
4. George, Hugh Jackman and his charm, reading the detective stories, his invention to help the sheep, his naming all the sheep, Lily after his wife, Sebastian, their characteristics, encouraging them? His death? His reappearances, his ghost for Lily, for Rebecca?
5. The situation, Ham as the greedy butcher, Caleb the shepherd, plans to work with Ham, Beth, the hotel, stealing the letter, the Reverend and George’s donation of the money? The Reverend trying to track down George’s children?
6. The arrival of Elliott, young, enthusiastic, reporter, camera, all the photographs, the crash, returning, collaboration with Tim, and helpful, with the sheep, with the lawyer, ousted from the reading of the will? The sheep and the clues, the chemical on his hands, the hair for the DNA, the revelation, the son from South Africa, the phone call to the lawyer, his visiting his father, the murder? His trying to escape?
7. Rebecca, the daughter, the correspondence, arriving, at the hotel, the visit to her father, losing the hoop, the sheep finding it, leading Tim to find it in the field? Her lies, the visit to her father, the reading of the will, the alibi, her arrest? the winter lamb and the blue and the red on the hooves, Lily helping, the line floor?
8. Tim, the only policeman, slow, ambitious, dignity, procedures, searching, the return, with the sheep? Gradually improving? The collaboration with Elliot? Interrogation of Rebecca? Led by the sheep, working with the sheep, realisations, the arrest?
9. The sheep, the voices, the characters, colours, Lily, leader, solving the mysteries, the clues, prejudice against winter lambs, her judgements, providing the final clues? Sebastian, the Carnival, the brutal fight with the dogs, a winter lamb, alone, saved by George? His stern comments? Saving Lily and Mopple from the dogs, his death? (And the issues of death, forgetting deaths, thinking sheep became clouds, facing the reality of death?)
10. The range of sheep, their characters, the superior knight, the woolly sheep, the young sheep, the playful sheep, the comments and questions, wanting to forget? The little winter lamb and rejection, participating in the case, Lily welcoming him into the flock?
11. The film working well as a murder mystery, characters and suspects, presence, gains, opportunity? And the animation – and the rehabilitation of sheep as stupid animals!

SONG SUNG BLUE

US, 2025, 132 minutes, Colour.

Hugh Jackman, Kate Hudson, Ella Anderson, Hudson Hensley, King Princess, Michael Imperioli, Fisher Stevens, Jim Belushi, Mustafa Shakir, John Beckwith.

Directed by Craig Brewer.

Song, Sung, Blue - everybody knows one.

Who does not enjoy and relish the songs and singing of Neil Diamond? Well, some bikies back in Milwaukee in the early 1990s for a start! But, certainly, not too many others.

This film is a treat for Neil Diamond fans, incorporating substantial renditions of many of his songs - and everyone wanting to hear and join in Sweet Caroline!

But, the songs here are not sung by Neil Diamond himself. Rather, this is the story of Mike and Claire Sardina, a husband and wife entertaining team called Lightning and Thunder, Mike is Lightning, Claire Thunder, from Milwaukee. Mike, a Vietnam veteran with subsequent alcohol problems, but sober for 20 years, sings Neil Diamond songs in clubs, encounters Claire, a Patsy Cline impersonator. They click, marry, bond with the children of their previous marriages, form something of a family, performing locally over many years, celebrities with a devoted following.

And the point is made that Mike is not just an impersonator of Neil Diamond but, with his looking something like the singer himself, he presents himself as an ‘interpreter’ of the songs. And, with Hugh Jackman in the role, talented singer, convincing actor, Mike Sardina comes alive. And, again talented singer, very persuasive actor, Kate Hudson is a most effective Claire.

This is a showbiz story of localized oomph, Mike’s dentist as his agent (even doing a filling with a lightning bolt on the tooth), a Milwaukee entrepreneur organising the venues (Fisher Stevens and Jim Belushi in these roles).

But it is also a suburban story, a busy house that audiences would recognise, financial struggles, dealing with the children, especially Claire’s daughter and a pregnancy, not just a bright lights story.

And, the story becomes very serious when Claire is the victim of a runaway car crashing into her and the house, losing a leg, therapy, new leg, depression, withdrawal, and Mike doing his best to keep the family afloat, jobs at karaoke bar… And some very joyful singing sequences at a Milwaukee Thai restaurant, the manager and his daughters gleefully joining in.

But, as they did in real life, they make a comeback, and another very happy moments when Pearl Jam’s Eddie Vedder joins them in a song. And, their filling a hall when Neil Diamond himself comes to town and his concert is sold out.

This dramatisation is based on a documentary from 2008, with the same title, incorporating quite a number of small details of Mike and Claire’s life.

There is a great deal of feeling, sadness and joy, in Song Sung Blue.

[For audiences who would like more, the original documentary 2008 is readily available Youtube when Googled. https://www.youtube.com/watch?v=YDukMQIz1Sc

 And, further, there is a very lengthy interview with the director of the documentary, Greg Kohs, about how he made the film:  https://www.reelasdirt.com/song-sung-blue]

1. Based on a true story, the documentary of the same name? The characters, their lives, performances? And the interpretation of Neil Diamond?
2. The 1990s, Wisconsin, the city, the streets, the town, homes, performance venues, bars, clubs, theatres? The Thai restaurant? Hospitals, AA groups, support groups?
3. The musical score? The selection of Neil Diamond’s songs, performance, interpretation? Audience response? The lesser-known songs? The popular songs, especially Sweet Caroline and audience participation?
4. The introduction to Mike, the extreme close-up, his speech, the AA meeting, 20 years without drinking, the support group? His life, singing? Previous marriage, daughter? The visits? His creativity, the issue of interpretation rather than impersonation? Hugh Jackman, singing, serious acting? His friends, Mark, the introduction to Tom, his enthusiasm, possible bookings? Mike and his wanting control? His pulling out of the performance and the repercussions for his friends?
5. The encounter with Claire, Patsy Cline songs, the conversation, the attraction, his watching her? The meetings, discussions, his name, Lightning, her becoming Thunder? The range of their performances together, the bonding, the audiences, the selection of songs?
6. Mike’s daughter, her coming to visit, the contrast with Claire’s daughter, her hostility, forced to be hospitable? The younger brother? Mike, the relationship with the family, the two girls and their friendship, discussions together? The romance, the kissing, the hesitations, good behaviour, the proposal, the ring, the wedding? The family together, the friends and playing, the cantankerous mother? The growing bond is within the family, my becoming a father figure to Rachel and Dana?
7. The idea for the Neil Diamond interpretation, the various performances, the bad booking and the bikie’s reaction, the fight? Other successes, Dave Watson, the dentist, his managing Mike, the discussions with Tom, the promotion? Tom and his enthusiasm? The issue of the tooth – with the lightning symbol on it?
8. The bond between Lightning and thunder, the exhilaration of the performances? Hopes for the future? Claire, in the garden, the car crashing into her, hospital, the amputation, her depression, at home, hostile, suspicious, depressed, Rachel trying to help her, the appointments for therapy and her neglecting them? Her outbursts against Mike? His sadness? Support for the children?
9. The issues of insurance, the money, Rachel and her working, the revelation about her pregnancy, Mike’s response?
10. Claire going to hospital, rehabilitation, the discussions with the therapist, the dream of her being successful again and her waking up on the lawn, her previous despising of AA talk, the effect of the therapy, her return? Building up, walking, suggesting that they play again together?
11. The continued support of their friends, Sex Machine, little Richard, Tom and the bookings, Mark and his age, retiring, support? The other members of the band?
12. The Thai restaurant, the manager and his love Neil Diamond, the karaoke, the songs, the manager singing? The later development, everybody singing, the manager’s daughters, the customers…?
13. The Pearl Jam issue, the girls excited, Mike ignorant, the performance, Eddie and his singing the song with them, the response of the audience?
14. Mike, his health, the various heart turns, Rachel knowing it, his concealing the attacks, continuing on? The second car out of control?
15. The buildup to the finale, Neil Diamond in Milwaukee, the sellout, the theatre manager, inviting them to do the supplementary concert, its being sold out? The excitement for everyone? And the possibility to meet Neil Diamond afterwards?
16. The concert, Mike and his heart attack, falling, hitting his head, persevering, the welcome to Claire, his coming up on the lift, and the singing the song, fulfilling his dream, the audience response? Afterwards, going to see Neil Diamond, in the car, his death?
17. The funeral, Claire and her tribute, the singing? The grief of the family?

Local celebrities, the fulfilment of their ambitions, the friendships, the tragedies, overcoming them?

DEADPOOL & WOLVERINE

US, 2024, 128 minutes, Colour.

Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew McFadyen, Jon Favreau, Marina Baccarin, Rob Delaney, Leslie Uggams, Jennifer Garner, Wesley Snipes, Channing Tatum, Chris Evans, Henry Cavill, Tyler Mane, Blake Lively, Nathan Fillion, Matthew McConnaughey.

Directed by Shawn Levy.

 Probably best to say at the outset, Deadpool & Wolverine is beyond review. Within two weeks of its opening around the world, its box office is almost $1 billion. Which means that worldwide, it has been instantly seen by millions. With much more to follow.

It does raise an interesting 2024 question concerning the two films which have been most successful, Inside Out 2 and Deadpool and Wolverine. What they have in common is the animation/cartoon style. And they appeal to a wide audience. However, Inside Out 2 is appealing to deeper human feelings, to sensitivity and empathy. Deadpool & Wolverine is appealing to an emotional bonanza, excitement extravaganza, no holds barred, limitless imagination, potential cosmic destruction, violent visual conflict between good and evil, and superheroes to the rescue. And, not exactly modestly, Deadpool considers himself as a world saviour, a ‘Marvel Jesus’, booking his place in future Christ-figure studies.

There were a lot of writers for this film, including Ryan Reynolds, and it is full of disposable, throwaway quips, some of them very funny, references to the ups and downs of the Marvel film franchise, Disney, a collapsed Fox logo, to Hugh Jackman and his divorce, but there for the attentive satirical ear.

And the film presupposes favourable response to Deadpool in the Ryan Reynolds style (and a later Reynolds variation appears, over nice with the pet dog, Dogpool). Wade Wilson with his mixed history and burnt face, is eager to be in Avengers story, but put on hold. However, as always with American films, there is a bureaucratic British villain, Matthew McFadyen (now widely-known because of his presence in Succession). There is a bureau for saving timelines, there is a threat to the universe, Deadpool is there to combat but the only person he wants to work with is Wolverine. (And a bevy of jokes about a range of alternate Wolverines, visualised comically, all Hugh Jackman-aggressive). Probably this is the moment in a review to mention what one might call hyper-frequent coarse language.

There are also constant references to the previous Deadpool films as well as to the many X-Men films which fans will enjoy (and quite some entertaining references during the final credits). A surprise for the early viewers of the film but now everybody knows, a lot of cameos from previous superheroes like Wesley Snipes as Blade, Jennifer Garner as Electra, and especially Chris Evans as Captain America and a French-accented Channing Tatum. Even Ryan Reynolds’ wife, Blake Lively, appears as Lady Deadpool!

While it is acknowledged with specific reference to Furiosa, a large part of the early film is an extravagant variation on the Mad Max movies. Then we discover a new villain, Cassandra (Emma Corrin), a bald half sister of Patrick Stewart’s Charles (though he and, up till now, we, never knew about her). And she has super destructive powers. Which leads to quite a lot of mayhem, extravagantly high body count, the confrontation with a legion of Deadpool variations and their slaughter – but the power of regeneration and the possibility of it all over again.

So, it looks as though this is the entertainment to cheer worldwide audiences in the Groupe of so many war tensions, civil wars and invasions, terrorism of 2024. As they say, the audiences have been lapping it up – but, those with more restrained sensibilities, might find it more than they can gulp or swallow.