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There should be a special level of hell for adaptation writers. Truthfully there can’t be a harder job in Hollywood that someone who is tasked with taking an existing story, universe, or timeline and adapting it for a feature film. Over the years we’ve seen hits and missing to both extremes, and at times we pleaded Hollywood to give up, but then rays of hope appear like Iron Man or The Dark Knight and our lust for our favorite properties on the big screen is renewed. Then there are films like Wolverine, which is sure to feel the wrath of fanboys and general comic book fans for years to come for basically not caring at all.

Wolverine is a passable action movie if it didn’t include some of host hallowed Marvel mutants this side of Captain America, as a comic book movie the film is terrible throwing caution to the wind the filmmakers, producers, and writers tear down one of the most beloved characters in comic book history and reassemble him, with a few other mutants in a film that should never have been made. Regardless of how you feel about prequels and origin stories, these types of films, if done right, are usually a great way to reconnect with characters created in a great film. Bryan Singer’s X-Men ushered in the new wave of high-budget, well written comic book movies only exemplified by the aforementioned Batman reboot, Spider-Man 2, and the X-Men series’ pinnacle, X2: X-Men United. Sure what Singer did wasn’t totally perfect, and the liberties that he took to modernize the series were also ambushed by the rabid, but his film started a franchise that has been run into the ground. Wolverine is to X-Men as Batman & Robin was to Batman, the fourth film in a franchise that basically murders it just for the hell of it.

The biggest obstacle for Wolverine was to meet up with the original X-Men film, after all, we see Sabertooth, Cyclops, Storm, and Wolverine all again. As the film ends you wonder how Liev Schreiber’s Sabertooth (who looks and acts totally different than Tyler Mane’s in X-Men) basically becomes a pitiful dumb-ass in the course of fifteen years. Here he’s able to sustain direct blasts from Cyclops (or Cyclops’ power, more on that later), jump off a cooling tower at a nuclear power plant and survive yet in X-Men he falls off the statue of liberty, into water, and dies. That’s consistency, look it up. Its like everyone who made this movie didn’t bother to even watch X-Men, even Hugh Jackman, who was IN the movie, let this pass. Didn’t he think anyone and everyone would call him out on this stuff? Lets not even get nitpicky with stuff like adamantium bullets, how Wolverine can heal his metal skull, how Stryker knew that Wolverine would survive a bullet to the head, but his memories wouldn’t, how Deadpool can have full swords in his arms, and still bend them.

While we’re on the subject, why did they even include Deadpool, or Wraith, or Gambit, or Silverfox, or Blob or anyone besides Wolverine? Each of the aforementioned gets about 10 minutes of screen time total, with the exception of Silverfox, and one of the biggest hyped additions was Reynolds as Wade Wilson, who basically has one scene and doesn’t even play Deadpool when he’s created. Each of the above characters is mutilated to the point they’re almost beyond recognition.

There’s just so much wrong with the film that it would take pages to explain just how terrible it is, how clearly and utterly pissed off a lot of people are, and should be, after viewing this train wreck. There was no care and no love put into this film, and the few good parts are marred by everything that’s bad. This film is a testament to what’s wrong with modern comic book filmmaking to the point where X-Men: The Last Stand starts to look like Citizen Kane.