The Weekend Australian - Review - - Out & About - Stephen Romei DS SR DS

(MA15+) Lo­gan is the stun­ning third — and per­haps fi­nal — in­stal­ment in the Wolver­ine movies that have made Aus­tralia’s Hugh Jack­man a Hol­ly­wood star. This is a Wolver­ine we have not seen be­fore. This is Lo­gan, a 50some­thing man with a bat­tered black suit, a limp, bloodshot eyes, scruffy beard. He scrapes a liv­ing as a limo driver along the US-Mex­ico bor­der. His des­per­ate life changes — for the worse — with the ap­pear­ance of an 11 or 12-year-old girl named Laura. She has claws just like him, and knows how to use them. Lo­gan is a fine ex­am­ple of the su­per­hero film where fan­tasy is tame and re­al­ity is wild. Alone in Ber­lin (M) Ber­lin in 1940 is the set­ting for this grim drama in which an av­er­age cou­ple (Bren­dan Glee­son, Emma Thomp­son) finds an un­usual way to protest against Hitler and the Nazi regime. The film is, per­haps, rather too taste­ful for its own good — but the story it tells is a time­less one of courage and self-sac­ri­fice.

T2 Trainspot­ting (R18+) It’s fas­ci­nat­ing to watch the 1996 heroin ad­dic­tion tour de force Trainspot­ting to­day and think about who the young ac­tors have been on-screen since. Now they have re­united for di­rec­tor Danny Boyle and screen­writer John Hodge in the much-an­tic­i­pated se­quel, Trainspot­ting, and sadly it will not be re­mem­bered as the best work of any of them. New ma­te­rial, such as Mark and Si­mon hav­ing to sing in a pub they plan to rob, feels more like a skit than some­thing real.

Aquarius (R18+) A highly re­garded and prized Brazil­ian film from di­rec­tor Kle­ber Men­donca Filho that stars the great So­nia Braga as a woman who has lived for most of her life in a low-level beach­side apart­ment and now re­fuses to sell to a de­vel­oper. There is so much that’s en­joy­able here that the ex­tended run­ning time (nearly 2½ hours) seems even more ex­ces­sive.

Richard III Kate Mul­vany’s Richard III (pic­tured) is fas­ci­nat­ing in Bell Shake­speare’s lat­est pro­duc­tion. She brings a new per­spec­tive to this great vil­lain, not be­cause she is a woman (she plays the role as a man) but be­cause of the level of hu­man­ity she al­lows to emerge, grad­u­ally at first, as Glouces­ter wades through blood and per­fidy to be­come King Richard. Her Richard’s body is

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