Tuesday, March 28, 2017
Movie News
Movie News

1 In Theaters This Weekend: Reviews of Power Rangers, Life, CHIPs and More

This weekend in theatres, we have a crazy awesome lineup with Chips, Life and Power Rangers!

Teenage superheroes, aliens and cops are headed to theaters this weekend in Power Rangers, Life and CHiPs. Also in theaters are Woody Harrelson in Wilson, jazz documentary I Called Him Morgan as well as basketball drama Slamma Jamma and The Leveling.

Read on to find out what The Hollywood Reporter‘s critics are saying about the weekend’s new offerings (as well as which film will likely top the weekend box office).

Power Rangers

The Power Rangers are back on the big screen — color-coded power suits and all — after 20 years. RJ Cyler, Dacre Montgomery, Ludi Lin, Naomi Scott and Becky G star as the five teen superheroes that — along with the help of Bryan Cranston and Bill Hader’s characters — can protect the planet from a power-hungry alien invader (Elizabeth Banks). THR film critic Justin Lowe writes in his review that director Dean Israelite “orchestrates a vastly more complex array of characters, action set pieces and technical resources for a combined effect that maintains dramatic tension even while teetering on the brink of excess.”

Life

Ryan Reynolds, Jake Gyllenhaal and Rebecca Ferguson star in Daniel Espinosa’s sci-fi thriller where a journey to find new life on Mars turns into one of survival. A team of scientists aboard the International Space Station are suddenly placed in a life-threatening situation where they must destroy a replicating extraterrestrial before it hits Earth. THR film critic John DeFore writes that the “Alien-derived creature feature may” suffocate in the anticipatory atmosphere surrounding Alien: Covenant, and the PR boost from this unmerited closing-night SXSW slot shouldn’t help much. Insatiable genre fans who do buy a ticket will likely send lukewarm responses back to the wait-and-see crowd.”

CHIPs

Dax Shepard and Michael Pena star in the big-screen remake based on the popular ’70s cop show chronicling the shenanigans of two California highway patrolmen originally played by Larry Wilcox and Erik Estrada. THR film critic Frank Scheck writes in his review that the original ’70s show “shines as a beacon of excellence compared to the big-screen redo.” Sheck adds, “A puerile combination of raunchy sex comedy and bland action vehicle, CHIPS will likely manage the difficult feat of simultaneously alienating fans of the original series and newcomers who will wonder why a buddy cop comedy displays so much homosexual panic.”

Wilson

Woody Harrelson is the lonely, neurotic and honest grouch Wilson who attempts to take another shot at life and connect with his estranged teenage daughter. Based on the novel by Daniel Clowes, Wilson learns of his daughter after tracking down his ex-wife (Laura Dern) and sets out to spend time with her, which includes beating up her bullies at the local mall and taking her on kiddie rides with her mother. Judy Greer, Margo Martindale and Cheryl Hines also make appearances in the film. THR film critic David Rooney writes that the film “boasts some funny vignettes but fails in the crucial test of making us care much about the title character.”

I Called Him Morgan

The iconic jazz career of trumpeter Lee Morgan is explored in Kasper Collin’s second feature documentary where stunning visuals combined with Morgan’s extensive repertoire tells his story of touring with greats including the Dizzy Gillespie Big Band and Art Blakey and the Jazz Messengers before developing a cocaine addiction and later being shot dead by his wife. THR film critic Boyd van Hoeij writes in his review, “Though not as masterful as that work, Morgan should nonetheless rake up quite a few festival miles, please niche distributors and (re-)introduce a larger audience to the amazing work of Morgan, one of hard-bop jazz’s true geniuses. The story also is iconic and drama-filled enough to potentially appeal to producers of fiction films.”

Slamma Jamma

River Rain’s basketball drama follows a college slam dunk star (former Harlem Globetrotter Chris Staples) who was wrongly sentenced to prison for six years and must now repair his relationships and his career. The film features appearances by former NFL player Michael Irvin, former MLB player Jose Conseco and slam dunk champion Rafal Lipinski. THR film critic Frank Scheck writes in his review that the film “hits its emotional points in a blunt, heavy-handed fashion that may resonate with some viewers.”

The Leveling

The drama, which premiered at the Toronto Film Festival, follows a young vet’s rigid relationship with her father after she returns home due to her brother’s unexpected and tragic death.

2 In Theaters This Weekend: Reviews of Power Rangers, Life, CHIPs and More

Spider Man Homecoming 1 Hes one laid back superhero! Tom Holland chills out in his suit in first Spider Man: Homecoming poster

So laid back: Sony and Marvel released the first posted from Spider-Man: Homecoming on Friday, showing a very relaxed young webslinger, due out in the US and the UK on July 7.

He doesn’t seem to be taking his role as a superhero very seriously.
A very laid back Spidey dons a yellow leather jacket over his signature suit as he lounges on a wall next to the river with the New York skyline on the other side in the first poster released from Spider-Man: Homecoming on Friday.
Fans of the Marvel franchise will spot the high-rise of billionaire Tony Stark, aka Iron Man, played by Robert Downey Jr. towering over other buildings.

Tom Holland, 20, stars as Spider-Man, whose alter-ego is Peter Parker, in the reboot that takes the web-slinger back to his high school days

The first action-packed trailer for Homecoming was released in December and it showed the youngster beginning to feel out what being a superhero really means under the watchful eye of his new mentor Tony Stark.

Spider Man Homecoming 2 Hes one laid back superhero! Tom Holland chills out in his suit in first Spider Man: Homecoming posterSuperhero in training: Tom Holland, 20, stars as Spider-Man, aka Peter Parker, in the reboot that takes the web-slinger back to his high school days Spider Man Homecoming 3 Hes one laid back superhero! Tom Holland chills out in his suit in first Spider Man: Homecoming poster

Older but necessarily wiser: Robert Downey Jr, who plays playboy Tony Stark and Ironman, offered the young Spidey some very iffy advice on being a superhero in December’s trailer
Spidey made his brief debut in last year’s Captain America: Civil War.
Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May, played by Marisa Tomei.
He tries to go back to his normal daily routine on Stark’s advice.

But he’s distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man.
And when the Vulture, played by Michael Keaton, emerges as a new villain, everything that Peter holds most important is threatened.
Directed by Jon Watts, Spider-Man: Homecoming will swing into theaters in the US and UK on July 7,

Spider Man Homecoming 4 Hes one laid back superhero! Tom Holland chills out in his suit in first Spider Man: Homecoming posterSo debonair: Tom suited up in very different attire for the UK premiere of The Lost City Of Z at The British Museum in London on February 16

Robert Downey Jr Robert Downey Jr. to star in new Dr. Dolittle film

Jamie McCarthy/Getty Images
 Robert Downey Jr. is about to venture into the animal kingdom. EW has confirmed that the Iron Man star’s next project is a new Dr. Dolittle film for Universal, based on the 1920s children’s books by Hugh Lofting.

The film will be called The Voyage of Dr. Dolittle, and though it nearly shares a title with one particular 1922 Lofting book, exact plot details are still under wraps. The central premise (of a human doctor who can talk to animals in their own language) remains intact.

The Voyage of Dr. Dolittle will be directed by Stephen Gaghan, who also wrote the most recent version of the screenplay. Gaghan is an accomplished screenwriter, having won an Oscar for writing Stephen Soderbergh’s Traffic, and most recently directed the Matthew McConaughey-starring Gold. 

The Voyage of Dr. Dolittle will be the third film featuring Lofting’s character, after the 1967 musical (starring Rex Harrison) and 1998 reboot (starring Eddie Murphy). Murphy’s version was notably looser with the Lofting source material, and it remains to be seen how faithful the newest adaptation will be.

The Hollywood Reporter was first to report the news.

jackie chan Filmart First Look: Jackie Chan Is Ready to Rumble in Mystery of the Iron Mask: Journey to China

Russian Film Group Corporation / ‘Mystery of the Iron Mask: Journey to China’

Arnold Schwarzenegger and Jason Flemyng also star in the fantasy thriller about mapping the Russian Far East for Peter the Great.

Jackie Chan is ready to rumble in Mystery of the Iron Mask: Journey to China.

Chan produced and stars in the $48 million fantasy thriller, penned by Russian writer-producer Alexey Petrukhin. Also featuring Arnold Schwarzenegger, it stars British actor Jason Flemyng as an 18th century English explorer ordered by Peter the Great to map the Russian Far East.

The film traces his long and perilous journey to China, during which he meets deadly martial arts masters, beautiful Chinese princesses and a terrifying mythical monster.

Russian Film Group Corporation is handling international sales at Filmart.

aquaman 1 Aquaman Relocates to Avatar 2 Release Date in 2018

YouTube/Screengrab
‘Aquaman’
The Warner Bros. film will now open on the date that was once presumed to belong to the James Cameron sequel.

Aquaman will be swimming into theaters a little later than originally planned.

The DC/Warner Bros. film is moving from Oct. 5, 2018, to the middle of holiday season, Dec. 21, 2018. It will open in 3D.

Aquaman is moving into a slot that is currently still occupied by an untitled Fox film from James Cameron’s Lightstorm Entertainment that was presumably being held for Avatar 2; however, that pic has not yet been given an official release date. Last week, Cameron said Avatar 2 would no longer be released in 2018 as expected.

Dec. 21, 2018, could now be the site of a DC vs. Marvel showdown. Sony Animation’s Spider-Man movie, starring the character Miles Morales, is also set for that date. The closest the two comic book companies have come to a head-on box-office collision came when, for a time, the films that would become Captain America: Civil War and Batman v. Superman: Dawn of Justice were both set for May 6, 2016. Marvel had initially staked out the date with an untitled film, and Warner Bros. moved their Batman-Superman showdown to the same date. Eventually, Warners moved BvS earlier to March.

On Thursday, Warner Bros. also announced that its PG-13 comedy Bastards will open on Dec. 22 of this year, and Horse Soldiers, a special-forces drama starring Chris Hemsworth, will be released Jan. 19, 2018, in Imax.

Jason Momoa is playing the hero in Aquaman, with James Wan directing. Amber Heard is also starring as Mera, Aquaman’s royal love interest; Willem Dafoe is playing Aquaman’s advisor, scientist Dr. Vulko; and Patrick Wilson will play Orm, a villain who is also Aquaman’s half-brother.

Momoa will appear as Aquaman in November’s Justice League.

henry cavill Henry Cavill Joins Cast of Mission: Impossible 6

Getty Images Henry Cavill
Superman himself has officially joined the Mission: Impossible crew.

Director Christopher McQuarrie announced the news that Henry Cavill has signed on to the upcoming sixth installment in the long-running action series in a unique way on Instagram Thursday evening.

“Say, @henrycavill. Had a thought. Curious if you’re interested in a role in the 6th installment of Mission: Impossible. No pressure.,” the director wrote to caption a photo of himself atop a rocky outcrop near a river.

“Oh ok…I’m in!” the Batman v. Superman star replied. cm Henry Cavill Joins Cast of Mission: Impossible 6

Instagram

Cavill will join stars Tom Cruise, Rebecca Ferguson and Jeremy Renner in the upcoming Paramount release, set to hit theaters in 2018.

Cavill is repped by WME, The Garcia Companies and attorneys Gang, Tyre, Ramer and Brown, Inc.

venom Spider Man spin off Venom gets 2018 release date

SONY PICTURES
 Aquaman‘s Christmas move has provided a gift for a different comic book character.

In the wake of Warner Bros. shifting Aquaman to Dec. 21, 2018, Sony has taken the opportunity to quickly slide Venom into the vacated date of Oct. 5, 2018, EW has learned.

The move comes only a few months before Sony releases its latest Spider-Man reboot, Spider-Man: Homecoming, which swings into theaters on July 7.

This wouldn’t be the first time the Marvel villain has hit the big screen. In Sam Raimi’s Spider-Man 3, Topher Grace donned the black suit as Eddie Brock, a rival photographer of Peter Parker (Tobey Maguire), who soon becomes Venom.

A Venom spin-off had been announced back in 2013, along with the villain team-up Sinister Six, but the underwhelming performance of The Amazing Spider-Man 2 halted such plans.

Russell Crowe 1 There is a way of bringing Maximus back from the dead: Director Ridley Scott teases a Gladiator sequel with Russell CroweBack for more? Director Ridley Scott has teased a possible Gladiator sequel
Director Ridley Scott has teased a possible Gladiator sequel.
The 79-year-old director helmed the critically acclaimed 2000 historical drama movie – which starred Russell Crowe as Maximus Decimus Meridius – and has revealed he’s figured out a way of creating a sequel, despite the fact that Maximus dies at the end of the original movie.
He said: ‘I know how to bring him back. I was having this talk with the studio – “but he’s dead.” But there is a way of bringing him back.’

Ridley isn’t convinced fixing the plot holes will work, however, as he admits 52-year-old Russell has ‘changed a little bit’ in the 17 years since the first movie.

He added to Entertainment Weekly magazine: ‘Whether it will happen I don’t know.

‘Gladiator was 2000, so Russell’s changed a little bit.

‘He’s doing something right now but I’m trying to get him back down here.’

The news comes after Russell reportedly commissioned musician Nick Cave to write a sequel script which had Maximus travelling through the afterlife in 2009, but it is unknown whether Ridley’s idea is linked to this in any way.

The original Gladiator movie also featured Joaquin Phoenix, Derek Jacobi, Connie Nielsen and Oliver Reed, who filmed his role in the project prior to his death in 1999.

Russell Crowe 2 There is a way of bringing Maximus back from the dead: Director Ridley Scott teases a Gladiator sequel with Russell Crowe

The star: Ridley isn’t convinced fixing the plot holes will work, however, as he admits 52-year-old Russell Crowe has ‘changed a little bit’ in the 17 years since the first movie

Oliver was posthumously nominated for Best Actor in a Supporting Role at the 2001 Oscars for his performance.

At the same ceremony, Gladiator took home five gongs in total for Best Picture, Best Actor in a Leading Role for Russell Crowe, Best Visual Effects, Best Costume Design, and Best Sound Mixing.

Ridley himself received a nomination for Best Director, but lost out to Steven Soderbergh for Traffic.

Russell Crowe 3 There is a way of bringing Maximus back from the dead: Director Ridley Scott teases a Gladiator sequel with Russell CroweHis co-star: Joaqion Phoenix delivered an incredible performance as Commodus Russell Crowe 4 There is a way of bringing Maximus back from the dead: Director Ridley Scott teases a Gladiator sequel with Russell CroweThe female element: The woman both Commodus and Maximus wanted was played by Connie Nielsen
Crowe was recently subject to romance rumors with Terri Irwin, the widow of Crocodile Hunter Steve Irwin.
Russell denied the claims in a recent tweet to his 2.2 million followers: ‘I have such a dramatic life in bulls**t magazines.’
He slammed the publications saying: ‘Last week New Idea magazine said I was getting married, now Woman’s Day (sic) saying the weddings off.’
Earlier this week, he teased the idea of starring in Deadpool 2. Russell Crowe 5 There is a way of bringing Maximus back from the dead: Director Ridley Scott teases a Gladiator sequel with Russell Crowe

Nothing ties him down: Crowe was recently subject to romance rumors with Terri Irwin, the widow of Crocodile Hunter Steve Irwin. Pictured May in Rome

The estranged husband of Danielle Spencer retweeted ‘fan art’ of himself as Cable and asked Deadpool creator Rob Liefeld what he thought.

‘Hmmm… @robertliefeld thoughts?’ he tweeted.

oscar 2017 How the Academy Failed the Transparency Test

Tim Boyle/Getty

The Oscar disaster should be a signal for deep and far-reaching change.

Way back in the days when the Oscars mattered less, when a clubby group of insiders gathered annually at such venues as the Cocoanut Grove and the Hollywood Roosevelt Hotel to present each other with their treasured trophies, the grandees of the motion picture business realized they had a problem.

There was a gap between quality and reward, between a film or performance’s artistic merits and the prizes it received. Clearly there was a connection between the chums who did the giving, and the chums who did the receiving.

Where there was smoke, there was fire, and in 1934 the seven-year-old Academy moved to douse the flames, hiring Price Waterhouse (as it was then known) to tabulate the results.

Since then, nobody has questioned the authenticity of the process; nor did anyone do so at the first Academy Awards where the accountants did their job, in 1935, when It Happened One Night was named best picture, with its stars, Clark Gable and Claudette Colbert, winning the two sole acting awards.

Eight decades have passed since then, and during that time the whole world has changed. We’ve gone through a world war, a civil rights battle, a media upheaval and a computer revolution. And yet, throughout, the Oscars and their selection process have barely changed.

True, each year there are tweaks to the system, subtle calibrations to allow more gas per mile, rather than replace the combustion engine. The Academy understandably has been cautious about reinventing the machine or abandoning a tradition that lends its such gravitas. But this year’s Oscar fiasco throw this to the winds: A system that places its nuclear button under the fingers of two flawed and fallible accountants alone is too perilous to continue.

It’s time for radical change.

I don’t mean the Academy should necessarily throw PwC overboard (though the captain who crashed this ship, Brian Cullinan, ought to have had the decency to resign); I mean the Academy should reconsider its entire approach to the awards, along with much of its secretive way of doing business.

Let’s be clear about one thing: The Oscars are not handed out by a small coterie of pals who meet in private to discuss contenders’ strengths and weaknesses; they’re determined by a vast group — and one that’s getting vaster by the year — of 7,000 men and women divided by oceans and mountains, by geographical as well as cultural difference. They’re linked by little more than their cinematic achievements. They encompass representatives not only of the American film industry but of industries around the world, whose decisions impact not merely individual careers but even relations between nation states.

In the age of the Internet, a win for Iran’s Asghar Farhadi (whose The Salesman was named best foreign-language film) —and even more importantly, his decision not to attend the awards because of Trump’s travel ban — has political as well as artistic ramifications. And yet the Academy and its leadership seem oblivious to this brave new world, to the giant implications of an Oscar victory, to the need for the utmost clarity and transparency in choosing whose victory that is, given its potential effect.

The Academy’s members are not part of a private club; they’re part of a global electorate, their elections scrutinized on an international stage. And because of that, those elections should be ruled by the principles we apply to all such plebiscites.

Free and fair elections should adhere to the following core values: (1) Voting should be open and transparent; (2) The voting system should be clear and simple enough for everyone to understand; and (3) Each vote should have the same weight as any other.

Right now, none of these principles apply.

1. Transparency

More than any nonprofit organization comparable in size and prestige, the Academy keeps its decision-making to itself. Its governors are tight-lipped, its executives notoriously loath to debate their decisions in the open. Much of what goes on within the organization remains hidden even from the bulk of its members. How, for instance, do its elected president (Cheryl Boone Isaacs) and its appointed CEO (Dawn Hudson) divide up their tasks? How often and effectively do they communicate? How did they reach their path to broadening the membership (following the #Oscarssowhite debacle)? What’s at the core of their new diversity program? These questions remain unanswered, and are unanswerable by most members.

The Academy rarely, if ever, opens its discussions to large groups, let alone the press. As a result, it has frequently been caught flat-footed, not least with the furor that followed its plans to phase out older members who had not been active for years, a response to the desire for diversity that led to allegations of ageism as well as racism.

In an attempt to let in fresh air, then-president Hawk Koch held an open membership meeting in May 2013; it was a mixed success, partly because it felt more orchestrated than spontaneous, but the idea was right. Since then, there’s been nothing of the kind.

Only by creating real openness will the Academy regain credibility and redeem its gold-plated image, tarnished by this year’s Oscars.

Above all, that includes being open about the Oscar votes. The time of secrecy should be at an end. Just as in any other election, the voting tallies must be revealed. Let us know who got what, even if it causes consternation among the runners-up.

That alone will eliminate doubts and speculation, hints of unfairness and incompetence. Above all, it will show audiences worldwide that the Academy is an exemplar of democratic openness — something that can hardly be said right now.

2. The voting system

One reason advanced for retaining PwC following the La La Land/Moonlight debacle was that PwC could understand Oscar’s complex voting methodology, when others might not.

If so, that goes counter to the most basic tenets of democracy, which depend on clarity and on their voters’ understanding. Without this, one can only wonder when hanging chads and their like will pervade the Oscars and cloud subsequent races, just as they did the Bush/Gore election.

No election methodology is entirely fair; it’s not for nothing that Churchill called democracy the worst of all government systems, except for all the others. But the current, preferential-voting system muddies the results — and the results become even more confusing given that different rules cover one category and another, and the nomination process versus who actually wins.

Not too long ago, the Academy favored a basic, first-past-the-post approach — the same used to elect U.S. senators and congressmen: whoever gets the most votes wins. Now ballots are counted and redistributed; low-vote contenders are eliminated and their votes transferred, and then transferred again and again. It’s a system rife with confusion, and made worse by being handled in secret; it runs the risk of rewarding not so much the best film as the least bad.

The Academy should consider a return to the simpler method, where whoever gets the most votes wins. Then make the precise vote tally available for public consumption.

3. Each vote should have the same weight

Not all Oscar votes are created equal. Case in point: the foreign-language category. I’ve applauded the results of recent changes, which have eliminated the stodgy winners of years past. But in all fairness, the new process is about as undemocratic as it can get, vesting extraordinary power in the hands of a 30-strong foreign-language committee that can effectively determine the nominees. Other categories (short films, etc.) are equally undemocratic.

This is where things get tricky. The current system might be undemocratic, but it’s produced good results, and I’d be reluctant for the Academy to throw out a process which merits some praise. Still, it’s inherently unfair, and that’s inherently wrong.

This, more than any category, needs simplifying and clarifying. If the Golden Globes can figure out how to have just as many contenders and still come up with a worthy winner, the Oscars can too, without this rigamarole and confusion and over-concentration of power.

It’s time for the Academy to shine the light on these problems, before others do so in its place. A dubious, hidden and arcane system is ripe for hacking; and what that hack reveals may hurt the Academy far more than anything it chooses to reveal on its own.

batb 1 Theater cancels Beauty and the Beast due to gay character

LAURIE SPARHAM/DISNEY
 An Alabama theater has canceled its plan to screen Disney’s Beauty and the Beast due to the inclusion of a gay character.

The new owners of the Henagar Drive-In theater alerted its customers via Facebook that they have decided to not screen the film as previously planned after reports surfaced this week confirming the live-action remake’s version of LeFou (Josh Gad) is gay.

“When companies continually force their views on us we need to take a stand,” read the post. “If we can not take our 11-year-old granddaughter and 8-year-old grandson to see a movie we have no business watching it. If I can’t sit through a movie with God or Jesus sitting by me then we have no business showing it. I know there will be some that do not agree with this decision. That’s fine … We will continue to show family oriented films so you can feel free to come watch wholesome movies without worrying about sex, nudity, homosexuality and foul language.”

In Beauty and the Beast , LeFou is the sidekick of vain villain Gaston (Luke Evans). He flirts with Gaston in several scenes and is later shown dancing with another male character during the film’s finale.

“Bill Condon did an amazing job of giving us an opportunity to create a version of LeFou that isn’t like the original, that expands on what the original did, but that makes him more human and that makes him a wonderfully complex character to some extent,” Gad said at the film’s premiere. Of the finale, Gad called the dance scene “subtle but incredibly effective.”

Previously director Bill Condon told Attitude Magazine that Beauty and the Beast would feature an “exclusively gay moment” with LeFou, who is being cited as the first gay character in a Disney film.

“LeFou is somebody who on one day wants to be Gaston and on another day wants to kiss Gaston,” Condon said. “He’s confused about what he wants. It’s somebody who’s just realizing that he has these feelings. And Josh makes something really subtle and delicious out of it.”

Disney did not immediately reply to a request for comment.

Logan Logan: Hugh Jackman opens up about the ending (spoilers)

Spoiler warning: This article goes into detail about the ending of Logan.

Over dinner after finishing work on The Wolverine in 2013, Hugh Jackman asked Jerry Seinfeld — they’re friends — about the comedian’s decision to walk away from his sitcom and how Seinfeld knew the time was right to depart. Seinfeld’s advice: leave a little in the tank.

“The moment he said it, I was like, ‘This is it,’” Jackman recalls during an interview. “I’m quite indecisive, but when I get that gut feeling, it’s kind of a relief to me. When I met my wife, I knew. With the kids, I knew. When I was talking to Jerry that day, I was like, ‘Oh, yeah.’”

In that instant, Jackman realized he had one last thing to give Wolverine: an ending.

It was director James Mangold who first proposed the idea that Logan should die at the end of the new film. Jackman was open to it, but not without a serious caveat. After all, Unforgiven, a major inspiration for Logan, ends with Clint Eastwood’s Bill Munny walking away. “I thought, ‘This is a reason to do another movie and a reason to do no more after it,’” Jackman says. “But we really needed to earn it.”

They do. Having already delivered Laura (newcomer Dafne Keen) to the Canadian border, Logan sacrifices himself in a fight against a merciless clone, also played by Jackman, to secure her safe passage to the north. “As soon as I saw the script, I got it,” Jackman says. “Logan is someone who is most scared of intimacy and so wants to be alone and do things for himself. The idea that in the

“As soon as I saw the script, I got it,” Jackman says. “Logan is someone who is most scared of intimacy, and so he wants to be alone and do things for himself. The idea that, in the end, he must give his life to save someone else… I thought that was really powerful.”

As serious as Jackman seems about laying Logan to rest, he does have an escape clause (escape claws?) should he change his mind. The X-Men universe, as recently as Days of Future Past in 2014, established alternate timelines, and Professor Xavier bounced back swimmingly from vaporization in 2006’s Last Stand. Plus, Jackman has previously said he’d love to bring Wolverine into an Avengers movie, à la Spider-Man.

But don’t get too excited about that idea. Jackman insists he’s done. “I know this doesn’t sound right coming from an Australian, but at some point, you’ve got to leave the party,” he says, laughing. “It’s time to go home.”

oscars 2017 2 Academy breaks silence on best picture mix up: We apologize
HOLLYWOOD, CA – FEBRUARY 26: ‘La La Land’ producer Fred Berger (R) speaks at the microphone as production staff and representatives from PricewaterhouseCoopers, Martha L. Ruiz (R) and Brian Cullinan (C), consult behind him regarding a presentation error of the Best Picture award (later awarded to ‘Moonlight’) onstage during the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California. (Photo by Kevin Winter/Getty Images)

The Academy of Motion Picture Arts and Sciences has finally issued a statement on Sunday night’s shocking mix-up in which presenters Warren Beatty and Faye Dunaway were given the wrong envelope and incorrectly announced that La La Land was the recipient of the Best Picture prize. The error was corrected minutes later, with the academy handing the award to Moonlight, but only after both producers Jordan Horowitz and Marc Platt gave their acceptance speeches.

Here is the Academy’s statement in full:

We deeply regret the mistakes that were made during the presentation of the Best Picture category during last night’s Oscar ceremony. We apologize to the entire cast and crew of La La Land and Moonlight whose experience was profoundly altered by this error. We salute the tremendous grace they displayed under the circumstances. To all involved — including our presenters Warren Beatty and Faye Dunaway, the filmmakers, and our fans watching worldwide — we apologize.

For the last 83 years, the Academy has entrusted PwC to handle the critical tabulation process, including the accurate delivery of results. PwC has taken full responsibility for the breaches of established protocols that took place during the ceremony. We have spent last night and today investigating the circumstances, and will determine what actions are appropriate going forward. We are unwaveringly committed to upholding the integrity of the Oscars and the Academy of Motion Picture Arts and Sciences.

Earlier Monday, accounting firm PricewaterhouseCoopers accepted “full responsibility” for the mistake, noting that one of two accountants on-site at the Academy Awards had erred in handing the wrong envelope to presenters Dunaway and Warren Beatty. The Hollywood legends received the best actress envelope, which had La La Land actress Emma Stone listed as the winner, instead of best picture.