Logan and Rogue One

Logan and Rogue One

Saw Logan with my oldest friend Brad Stephens and we re-watched Rogue One.

Logan completely overshadows and dramatically outweighs 17 years of inferior, low-grade, and undeserving X-MEN movies (culminating in the valueless X-men – Apocalypse) slung at us by Bryan Singer and whatever out-of-reach studio green-lights his bargain-basement ideas.

Logan feels like the first legitimate X-men movie in 17 years.

Likewise, Rogue One is the first Star Wars movie in 33 years, and effortlessly eclipses the parodying prequels and the contemptible Star Wars – The Force Awakens.

If you want to truly rejuvenate the Star Wars franchise past pre-rigging open weekend profits, then entrust it to real directors like Gareth Edwards and talented writers like Chris Weitz and Tony Gilroy (script) and John Knoll and Gary Whitta (story).

Rogue One is a film in the very best sense of the word, and not one of J. J. Abrams synthetic, substandard, Millennial media-hoaxes.

In the Marvel Cinemagraphic Universe (MCU), Anthony and Joe Russo are the golden boys, and represent a new generation of talented scriptwriters who actually care about the words they put on the page, and who aren’t pre-occupied with dictating dead ideas from stoned studio bureaucrats, clubbing audiences with homoerotic subtexts, recycling dead lines and Wilhelm screams, or relying on the editor to salvage their rambling collection of pretty but meaningless shots.

Dear Film Industry: you have one job!

Ostracize marketing sorcerers and media-hucksters like J. J. Abrams and tone-deaf visualists like Zack Snyder and go back to what really works: great directors working from great scripts.

Rogue One will be remembered in 40 years as a great film while Star Wars – The Force Awakens will be relegated to an silly and unintelligible after-bubble in the same puddle as the prequels.


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