LOGAN : Awards Nominations and Wins

[jo]

[jo]

[jo]

What's amazing was the water tower was not constructed from scratch! It functioned as something else in real life and was no longer functioning when they came upon it...how Francois Audouy was inspired enough to recreate almost a replica of where Prof X housed Cerebro also had a bearing on the new character arc for the sick mentor of the X-Men. It was also hoped that the Professor will feel very much at home in almost familiar surroundings. I also like the small touches - for one, the use of small potted herbs and other plants gave the Professor of a sense of living things to encourage his return to some form of normalcy.

My other well-liked outdoor design was the holding place for the young mutants, up in the mountains, surrounded by a vast amount of open air and glimpses of the sunrise ( that was what made me write in that congratulatory reply linking the sunrise to their hope of a better place to live in and exist) -- that made such a striking contrast to the dark themes that pervaded most of the movie.

Jo

[jo]

Revisiting the recent cover story from VARIETY -- James Mangold described Hugh Jackman, the performer, so well!

“He has such a humongous range,” says Mangold, who has worked with Jackman on three films. “He’s like a fine musical instrument. He can play comedy and go light, but he’s also capable of delivering a performance of tremendous power. He’s got this incredible masculinity and strength and the courage to throw that all away and do a musical on Broadway.

Too bad the Oscars have been turning a blind eye to all that talent residing in one actor!


Jo

[mamaleh]

Hmmm, I take exception somewhat to part of Mangold's statement. I've seen plenty of "masculinity and strength" in musicals. I'm a little disappointed that he's indulging in stereotypes of musical performers.

Ellen

[jo]

Maybe he was just referring to THE BOY FROM OZ

Sadly, there is a lot of thinking along those lines -- especially if the role requires both singing and dancing

Especially if they ever visit some theatre boards.


Jo

[jo]

Will Oscar voters go with LOGAN?

www.cbr.com/logan-deserves-academy-award/

Why Logan Deserves An Oscar Nomination – And A Win
18 hours ago
by Tom Speelman
in CBR Exclusives


The question of why Logan became the third comic book movie (as in, film based off a comic) in recent memory to be nominated for an Academy Award for Best Adapted Screenplay initially provokes a cynical response. It was nominated, so this line of thinking goes, because it subtextually and textually takes the piss out of the superhero genre while being itself essentially a Western in the mold of Unforgiven or The Searchers. While still a “genre film,” it’s a genre that the large body of mostly old, mostly male, mostly white, mostly straight men who make up the Academy of Motion Picture Arts & Science’s voting body grew up on and have extreme respect for.

Logan‘s metatextual piss-taking of superheroes is present throughout but it’s best demonstrated by the hotel room scene where Logan (Hugh Jackman) angrily confronts Laura (Dafne Keen) and Charles Xavier (Patrick Stewart) over the fact that “Eden,” the North Dakota-located paradise and mutant refuge that Laura’s late mother figure/nurse/rescuer Gabriela (Elizabeth Rodriguez) begged Logan to take his cloned child to, turns out to have been lifted from the pages of an old X-Men comic. (Created especially for the film by Dan Panosian and Joe Quesada.)

“Maybe a quarter of it happened, but not like this,” Logan groused. “You do know they’re all bullshit, right? Maybe a quarter of it happened, and not like this. In the real world, people die, and no self-promoting asshole in a…leotard can stop this…This is ice cream for bedwetters,” he snarls. When you hear that line, it’s not hard to imagine an elderly Oscar voter chuffing in agreement. Why YES, there are too many of these damned superhero movies, this hypothetical voter might think. Why, back in my day, we only had them in movie serials. And otherwise, it was nothing but Westerns and crime pictures all the day long!

The subtextual teardown of superheroes — and specifically, other superhero movies — is a bit harder to immediately grasp, but is an undercurrent from the very beginning of the film. Remember, this movie begins with Logan waking up in his backseat to an attempted carjacking and the title appears right as Logan is lying prone in the dirt, having been knocked down by a gangster.

“Yeah, ya see that?” you can imagine the movie saying. “That’s what I think of your precious Wolverine! He’s old and weak now. Deal with it, nerd!”

But such a cynical response — it dresses down superheroes, so of course a voting body full of old people is gonna nominate it — is, while understandable, also pretty unfair, both to the film and screenwriters James Mangold (who also directed the film), Michael Green and Scott Frank. Instead, it’s pretty obvious why Logan earned its nomination. In the end, it’s a powerful piece of writing that does what it sets out to do; namely, provide a swan song for Hugh Jackman’s 17 years as Wolverine. More than that, it’s also a brilliantly bleak, but not hopeless, meditation on aging, regrets and coming to terms with your actions.


In order to accomplish this, and to its great credit, the film takes the general idea of the Mark Millar/Steve McNiven “Old Man Logan” storyline — that of an aging Wolverine embarking on a cross-country journey in a dystopian America while grappling with the life he’s led . Then, the film excises that story’s plot and more cringe-worthy elements, both for legal reasons (an X-Men movie made by Fox, at least until next year anyway, can’t include the Hulk) and for reasons of good taste (in the original story, the Hulk is the leader of an inbred clan of violent hillbillies with his wife, She-Hulk. No, really).

The final result is a story utilizing elements from both classic X-Men (the paramilitary force chasing after Logan, Charles and Laura are called the Reavers) and newer additions (Richard E. Grant’s Dr. Zander Rice is an aged-up version of the scientist who tormented Laura as a child). It boils all of that down, for much of the movie’s runtime, into a simple chase narrative, which makes the action clearly linear and very easy to follow.


Within that linear story are plenty of somber, reflective moments where Jackman’s bravura performance and Mangold’s confident direction combine to sell the idea that Logan is haunted by his past. He’s wracked with guilt over surviving whatever it is the film implies happened to the X-Men due to Xavier’s wasting brain causing his psychic powers to go haywire. In those moments, you see how the guilt, pain and, above all, sheer exhaustion of Logan’s century-plus life is weighing on him.

But what’s crucial — and helps explain why the film got nominated — is that all of this is shown, not told. Granted, a lot of what winds up on screen in most any movie is the result of multiple takes, spontaneous director/actor decisions and so on, but at some point, somewhere, the decision was made to not give Logan any real expository monologue of any sort. The closest thing given to a speech by anyone in this movie is Logan’s heartbreaking speech to Laura about how everyone closest to him dies.

Similarly, like Logan is with Laura, we’re dropped into this situation. It’s 2029, the rest of the X-Men and apparently the majority of the mutant race are gone, Logan’s healing factor is gone somehow and he’s being slowly poisoned by his adamantium skeleton. And we don’t know why. You don’t really learn too much about Logan‘s bad guys here. You don’t know where the Reavers or Donald Pierce (Boyd Holbrook) are. You don’t know where Caliban (Stephen Merchant) comes from. It’s somewhat the opposite of the more fanservice-y MCU films or even the direction the Fox X-Men films have taken lately.

The film tells you exactly what you need to know, when you need to know it, and only as it relates to the plot. But that’s why it works. That’s why it got nominated for an Oscar. And why it deserves to win is, it tells a great story first… and a Wolverine story second.

[jo]

Fans will recognize their own choice of meritorious achievements --

I almost teared up when he talked about our favorite superhero and favorite superhero film - more like a tribute than just an award! Hopefully, someday the AMPAS will open its eyes that certain movies deserve recognition regardless of unnecessary genre classification!

Do watch the clip because his choice of nominees were also very highly rated by critics.

The work of Dafne Keen was also recognized as a nominee, in competition with Patrick Stewart's portrayal.

Hugh's makeup was so good that people who saw THE GREATEST SHOWMAN thought he was de-aged throughout the SHOWMAN movie because his LOGAN makeup was very credible

.

[jo]

www.theringer.com/movies/2018/2/8/16988944/logan-best-adapted-screenplay-oscars-2018-james-mangold-scott-frank-michael-green

So, Adapted Screenplay it is. This is a nomination that feels like an acknowledgment for the genre as a whole. The Academy has fallen just short of pinching superhero movies’ cheeks and exclaiming they’re all grown up—but in this case, they are. Logan didn’t innovate superhero prestige. But it’s a positive reminder of how far the genre has yet to go.

[jo]

What an "R" rating meant for LOGAN --

www.cinemablend.com/news/2308982/why-logan-needed-to-be-rated-r-according-to-james-mangold

[jo]

A respected site, LRM, lists LOGAN as the top movie that was snubbed for a Best Picture nomination --

partly basing it on the overall rating aggregated at Rotten Tomatoes, Metacritic, and IMDB.

lrmonline.com/news/this-years-biggest-oscar-snubs/

[jo]

James Mangold writes this piece for The LA Times on the Logan storyline and screenplay --

Logan' director James Mangold on writing a superhero film without the trappings of the genre

By James Mangold

Feb 20, 2018 | 6:00 AM



"Logan" director and co-writer James Mangold (Mel Melcon/Los Angeles Times)


Several years ago, after completing work on "The Wolverine," Hugh Jackman and I found ourselves facing the prospect of making one final film about this character. It would be Hugh's last after a 17-year run.

Hugh was hesitant to commit to another if it wasn't special in some way, and I shared his reticence as I was yearning to return to more human-scaled films like "Girl, Interrupted" or "Walk the Line."

I started to feel this film should be about whatever most frightened Logan. This certainly wasn't a new villain (he had seen them all), nor the end of the world (which he might relish), and it wasn't his own demise (which, it seemed to me, Logan had been looking forward to for a hundred years now). It struck me that the only thing Logan was truly terrified of was... intimacy… vulnerability... emotional dependency. I wondered whether Logan's nemesis in this film could simply be love in its purest form: family.

Dafne Keen as Laura, Hugh Jackman as Logan / Wolverine and Patrick Stewart as Charles in the film "Logan." Credit: Ben Rothstein / Marvel / Twentieth Century Fox (Ben Rothstein / Marvel / Twentieth Century Fox)



A series of ideas suddenly fell upon me. Finding Logan living with Charles Xavier (Professor X), caring for this ailing "father" in hiding across the border, probably because the real border had become such a focus of political attention. Mirroring what many families are going through with their elders, I posited that Charles' most powerful mutant asset, his mind, had degenerated and become out of control and dangerous to anyone around him. I imagined Logan kept Charles in a metal tank to keep his lethal brain waves from hurting civilians.

Into this situation, a daughter could arrive in the form of X-23, a young female clone of Logan, a wonderful character established in the comics and on an animated show but never given screen time. She could double the pressure on Logan to step up as the leader of this ragtag family.

I imagined Logan struggling to make a living as an Uber driver. Why an Uber driver? I don't know. I think I wanted him to have a big stretch limo so perhaps the movie could become a kind of '70s road picture, like Eastwood's "The Gauntlet," which at this point was becoming a real inspiration.

I wrote a sort of "Taxi Driver" opening, a menagerie of characters stumbling into his stretch, one or two who perhaps recognize him. I wrote a Travis Bickle-like voice-over culminating with a fatalist noir line – "Nature made me a freak. Man made me a weapon. And God made it last too long." There were a lot of good ideas, it was an interesting stew, but I was struggling to fashion it into a workable story.

This is where both screenwriters, Michael Green and then my longtime friend and collaborator Scott Frank, came into play to help me break out these ideas, enriching and shaping them into a full screenplay.

The effort to carve out this narrative without resorting to an aggressive plot or supervillain became an exercise for each of us in resisting the gravitational pull of more standard "superhero" plot lines. Scott was instrumental in pushing even more severe limits to our heroes' powers, so our story efforts would be forced further toward the intimate from the large.

One day, early on, Scott came to me with a passage he had written which was less about what the movie was, than about what it wasn't. It was awesome and it went like this:


"Basically, if you're on the make for a hyper choreographed, gravity defying, city-block destroying, CG f—athon, this ain't your movie. In this flick, people will get hurt or killed if they get hit with something big and heavy like, say, a car. Should anyone in our story have the misfortune to fall off a roof or out a window, they won't bounce. They will die."

In the weeks that followed, almost everything we wrote became infused with a conscious effort to undermine some of the norms of comic book films: If these characters are usually strong, ours would be weak, powers failing. If their motives are righteous, ours will be selfish or fearful. If most of these films exist in a green screen world of landmark locations, ours will exist along the dusty roads of America's heartland. If most heroes embrace the predicament of a young child in jeopardy, ours will hesitate. If these heroes usually take pride in their past accomplishments, ours will view their legacy with more jaundice, perhaps wondering if any of these previous battles were worth the sacrifices, or even real.


The point wasn't just to be rebellious for its own sake, but to take away the life preserver of spectacle and bombast and see if these unique characters could hold a film simply on the basis of who they were, their pain, evolving relationships and vulnerabilities. Hugh and the studio were deeply supportive throughout, offering us a huge amount of trust with the jewel of their franchise, even allowing us to make the film R rated and drop the most recognizable word ("Wolverine") from the title, both choices to the dismay of their marketing departments.


Making "Logan" was deeply gratifying, not merely because of the embrace of audiences and critics, but also because the process itself was so free and independent for an expensive film with profound expectations upon it. To have our efforts honored by the WGA and the academy and others is a wonderful recognition for an innovative genre that, like other more popular forms, has often been overlooked.


[e-mail]

Hope Oscar voters this time will be open-minded and will welcome the fresh and innovative manner in which this last tale of a superheroic but often-tormented man is told!

[jo]

The true film buffs regard screenplays as a real driver of the success of a film -- in this case, a scene in LOGAN is cited as to why the movie's adapted screenplay is highly thought of!


filmschoolrejects.com/oscars-2018-best-original-and-adapted-screenplays/

Having a phenomenal cast feels like the battle already half won, but taking these talented individuals and putting their limits to the test was also a trend with the Oscar contenders. Logan director and co-writer James Mangold revealed how Dafne Keen had to remain mute for a long period of time while shooting. When she finally got a chance to express herself, Keen went all in on co-star Hugh Jackman, cursing and ad-libbing lines (“You never listen to me. You never look at me. You’re not kind to me.”) with such a fervency that it delighted the crew. This created a dynamic energy that made for an extremely memorable, if simultaneously hilarious and subtly heartbreaking scene in Logan.

Contrasting emotions were indeed an unusual hallmark of a film that was part of a superhero franchise!

[jo]

Maybe poor consolation but some sectors think HUGH JACKMAN was the most overlooked actor who should have been nominated for LOGAN --

culturedvultures.com/alternative-oscars-2018-nominated/

Best Actor – Hugh Jackman, Logan

I originally wanted to pick James Franco’s turn as Tommy Wiseau in The Disaster Artist for my Best Actor snub, and I still agree that he was. However, considering the social and political climate of this year’s awards season and the allegations against Franco in the past month, I completely understand the Academy avoiding him. With that in mind, I too will instead give my nomination to Hugh Jackman’s woefully underrated final bow as the Wolverine in Logan. Not that the film itself was underrated, but considering that the film received a Best Adapted Screenplay nod this year, I would have loved for the Academy to extend that same olive branch to Jackman, who gives not only his best turn as Wolverine but one of his best performances period.

It’s a shame when a performance like Denzel Washington’s in Roman J. Israel, Esq. is nominated just for the sake of it, when there are performances this year that are overlooked and deserve that recognition. Jackman is easily one of the best leading men in Hollywood right now, but his skills as an actor I think have been somewhat forgotten about considering his blockbuster background. He has been nominated before for Les Misérables, and it would have been great to see that same recognition for Logan.


Max Marriott

[jo]

Another cynical attitude towards the true integrity of the Oscars towards art of filmmaking and its focus on social justice issues. Variety says that Hugh Jackman and James Mangold are two of the names who should have been included in the awards conversation. Instead it is " Oscars: A Season of #MeToo, Guns, Oprah Winfrey and, Oh Yeah, Awards".

variety.com/2018/film/news/oscars-awards-season-protest-alexandre-desplat-oprah-winfrey-1202710728/

[jo]

Another regret that LOGAN didn't get that much Oscar love!


www.urbandaddy.com/articles/41815/taking-down-the-oscar-frontrunners


Excerpts --

2. If you could pick one person or movie to nominate that wasn't recognized by the Academy, who/what would you choose and why?


Geoff Rynex: I would have liked to see Logan tossed into the mix for Best Picture since the field is so wide and since the Academy left the tenth nomination slot open. There’s something to be said for the quiet ambition and all-in seriousness of the final chapter in Hugh Jackman’s Wolverine story. Take away the claws and the (incredible) action sequences, and you’ve still got an interesting existential road movie, and a fine grace note for a character who, for better or worse, defined the modern era of the comic blockbuster (and thus, the film industry as a whole as it now functions).

[jo]

Increasingly, there is a divide between the AMPAS choices and people's awards!


www.joblo.com/movie-news/the-winners-of-the-17th-annual-golden-schmoes-are-in-156

The results are in!

The Schmoes have spoken and the winners of the 2017 Golden Schmoes are here! While it was a mix of films and talent that took home some of the awards, it was very clear that you guys were pulling for one specific film and that's James Mangold's LOGAN, which took home the most awards, including Favorite Movie and Best Actor.

But, others took the spotlight, too.

GET OUT, THOR: RAGNAROK, BLADE RUNNER 2049 and STAR WARS: THE LAST JEDI dominated in repeat wins in different categories with a good bach of individual wins for some films, including BABY DRIVER, THE SHAPE OF WATER, JOHN WICK: CHAPTER TWO and, yes, even BAYWATCH (for the only reason it SHOULD win anything, anyway). Personally, I love that LOGAN got so much love, as it's worthy praise for a film that has been far too overlooked in all the "official" awards circling the drain at the moment.

MOST WINS
LOGAN: 6 wins
(Favorite Movie, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Blu-Ray, Most Memorable Scene)

[jo]

Mar 3, 2018 21:46:04 GMT -5 jo said:

Interesting detailed comments from a lady member ( no age given) of the 1218-member of the Actors Branch of the AMPAS ( total voting members of 7258) on what and why she would or has voted for each category --

www.hollywoodreporter.com/lists/brutally-honest-oscar-ballot-get-filmmakers-played-race-card-just-sick-meryl-streep-1090440/item/best-production-design-2018-brutally-honest-oscar-ballot-2-1090490


Re the films involving Hugh Jackman --

Best Adapted Screenplay

I eliminated Logan first because I really hated that movie — I like a good comic book movie, but they made this one so dark that it wasn’t fun...

Lol - she seems to have misunderstood what the genre can stand for. Maybe she never even saw the first XMen movie - which re-established the moribund comic-book movie genre -- there was not much comedic or fun about it, maybe except for witty one-liners esp from Wolverine. Maybe with her mindset of what the genre stands for, it will never advance to award-quality recognition?

Best Original Song

I liked [Mudbound’s] “Mighty River” and [Call Me by Your Name’s] “Mystery of Love” when I heard them, but I couldn’t really remember them afterwards. I do like [Marshall’s] “Stand Up for Something.” But it was between “Remember Me” from Coco and “This Is Me” from The Greatest Showman. I loved both of those, but ultimately I went for “This Is Me” because it was a catchy song and, honestly, I loved that movie — I know it wasn’t an Oscar movie, but there something wonderful about it. It was such a feel-good movie, and I know people who have been seeing it over and over again.

My Vote: “This Is Me” (The Greatest Showman)

Her vote reflects public sentiment, compared to how the movie press has been trying to lionize Remember Me ( no offense meant, but from just what I have observed).

I wonder if FOX submitted the movie for awards consideration, if it would have its fair share of AMPAS fans?


Jo

No love lost for LOGAN

She seems to have misunderstood the excellent cinematic vision of LOGAN -- it's a comic-book movie, so it should be fun


Jo

[jo]

Excellent article on how LOGAN's attempt to deconstruct the genre was successful ... leading to an Oscar nomination...and the potentials for how the genre should move on.

www.moviemaker.com/archives/news/genre-interaction-oscar-nomination-superhero-film/


Do check out the article and a related video.

A screenplay nomination, while not of course as completely impressive as a Best Picture nomination, speaks well of the artistic quality and appeal of this movie. It was in this aspect of film-making which was instrumental in deconstructing the superhero movie which highly pleased both critics and fans...and now the Oscar gods!

[jo]

LOGAN lost in its bid to be an Oscar winner!

But we are still very glad for this first-time recognition of storytelling in a superhero tale context... and the brilliant performances to portray it!


Jo

[jo]

A little late but still so sincerely said --

[njr]

Mar 4, 2018 22:34:49 GMT -5 jo said:

LOGAN lost in its bid to be an Oscar winner!

But we are still very glad for this first-time recognition of storytelling in a superhero tale context... and the brilliant performances to portray it!


Jo

☹️ I knew it wouldn’t win. At least Daniel Day Lewis didn’t win! Lol!

Nancy

[jo]

It looks like the a member of the Oscar-nominated writing team for LOGAN, Scott Frank, has been signed up by Fox to do a rewrite of THE FORCE, with James Mangold developing and likely to direct the film adaptation.

deadline.com/2018/03/scott-frank-the-force-don-winslow-james-mangold-logan-reteam-fox-1202338646/

The novel reads like a Sidney Lumet movie, and is a close cousin to police-corruption films Serpico, Prince of the City and The Departed and tells the story of a corrupt detective in the NYPD’s most elite crime-fighting unit. Sgt. Denny Malone is forced to choose between his family, his partners and his life. To stop the city’s long-simmering racial tensions from exploding, he must reconcile the idealistic guardian he still views himself to be with the corrupt cop he’s become. He then finds himself attacked on all sides: Harlem drug gangs, the mob he’s in bed with, the brother cops he’s about to destroy, the mayor’s office who fears what he knows and who he can implicate, the relentless federal investigators who want to put him behind bars but, most of all, his own demons.

There is a strong male lead role here in the corrupt crime fighter, and several A-list actors are in the mix. Steve Asbell has been overseeing for Fox.

A review by The Washington Post of the book --

www.washingtonpost.com/entertainment/books/don-winslows-summer-blockbuster-the-force-is-ready-made-for-hollywood/2017/06/12/ad3b537a-4a2f-11e7-9669-250d0b15f83b_story.html?utm_term=.ea1067126ceb



Could Hugh Jackman be ones of the actors in the running for the role of Denny Malone?



Why not ??

*He has once played a rogue cop in A STEADY RAIN on Broadway

*The role is that of a police officer who has been in the force for 18 years ( early 40's??)

*He can easily adapt a New York accent -- he lives there and he and Jess Platt have been a good team adapting different accents. Denny from STEADY RAIN is Italian-American. Denny from THE FORCE is Irish-American.

*He is fit-looking to be a cop.

*Mangold, Frank, and FOX exec Steve Asbell were all involved in the winning team of LOGAN -- why leave out the most important person in that successful superhero film drama?

*Hey, even the name of the cop ( Denny) is the same to his own alpha male rogue moniker of DENNY in STEADY RAIN


Btw, according to ScreenRant, the movie is set for a March 1, 2019 release date ( confirmed at Box Office Mojo). Hugh doesn't seem to have any commitments for this year, so far.


Jo

[jo]

Nominations from SATURN AWARDS --

www.bleedingcool.com/2018/03/15/here-are-the-44th-annual-saturn-awards-nominations/

The Saturn Award[1] is an award presented annually by the Academy of Science Fiction, Fantasy and Horror Films; it was initially created to honor science fiction, fantasy, and horror on film, but has since grown to reward other films belonging to genre fiction, as well as on television and home media releases.

What one-year period do they follow as cut-offs. Films released in 2018 ( Black Panther) competing with films released in 2017 ( such as LOGAN)?

The award was originally referred to as a Golden Scroll. The Saturn Awards were created in 1973 and are the oldest award ceremony that rewards the achievements of science fiction, fantasy and horror films.

[jo]

Mar 15, 2018 18:39:38 GMT -5 jo said:

It looks like the a member of the Oscar-nominated writing team for LOGAN, Scott Frank, has been signed up by Fox to do a rewrite of THE FORCE, with James Mangold developing and likely to direct the film adaptation.

deadline.com/2018/03/scott-frank-the-force-don-winslow-james-mangold-logan-reteam-fox-1202338646/

The novel reads like a Sidney Lumet movie, and is a close cousin to police-corruption films Serpico, Prince of the City and The Departed and tells the story of a corrupt detective in the NYPD’s most elite crime-fighting unit. Sgt. Denny Malone is forced to choose between his family, his partners and his life. To stop the city’s long-simmering racial tensions from exploding, he must reconcile the idealistic guardian he still views himself to be with the corrupt cop he’s become. He then finds himself attacked on all sides: Harlem drug gangs, the mob he’s in bed with, the brother cops he’s about to destroy, the mayor’s office who fears what he knows and who he can implicate, the relentless federal investigators who want to put him behind bars but, most of all, his own demons.

There is a strong male lead role here in the corrupt crime fighter, and several A-list actors are in the mix. Steve Asbell has been overseeing for Fox.

A review by The Washington Post of the book --

www.washingtonpost.com/entertainment/books/don-winslows-summer-blockbuster-the-force-is-ready-made-for-hollywood/2017/06/12/ad3b537a-4a2f-11e7-9669-250d0b15f83b_story.html?utm_term=.ea1067126ceb



Could Hugh Jackman be ones of the actors in the running for the role of Denny Malone?



Why not ??

*He has once played a rogue cop in A STEADY RAIN on Broadway

*The role is that of a police officer who has been in the force for 18 years ( early 40's??)

*He can easily adapt a New York accent -- he lives there and he and Jess Platt have been a good team adapting different accents. Denny from STEADY RAIN is Italian-American. Denny from THE FORCE is Irish-American.

*He is fit-looking to be a cop.

*Mangold, Frank, and FOX exec Steve Asbell were all involved in the winning team of LOGAN -- why leave out the most important person in that successful superhero film drama?

*Hey, even the name of the cop ( Denny) is the same to his own alpha male rogue moniker of DENNY in STEADY RAIN


Btw, according to ScreenRant, the movie is set for a March 1, 2019 release date ( confirmed at Box Office Mojo). Hugh doesn't seem to have any commitments for this year, so far.


Jo

One film site is asking --

www.denofgeek.com/us/movies/the-force/271819/logan-team-to-reunite-for-nypd-corrupt-cop-thriller-the-force

Malone is a strong lead male role some of Hollywood's elite actors should want to take a crack at. Hey, maybe Hugh Jackman is available!