I was a little mixed on Deadpool 2 when it came out in May. If I had known the entire summer after it was about to do a group dive down the toilet I really would have cherished the experience more. A day after Fox announced that it would screen an uncut version of the film at San Diego Comic-Con, it announced the digital and home video release date for the film along with a slew of special features. The film will release digitally on August 7, 2018, and on 4K and Blu Ray August 21, 2018. More details below from Coming Soon. Continue reading Deadpool 2 Blu Ray Release Date and Special Features
I think it’s fair to say that rarely has a film’s cast and crew been happier to make a sequel than Deadpool 2’s. Deadpool was a giant surprise in 2016. Surprising in that it ever happened period, and that what we got was so good. Deadpool 2 gleefully jumps back into the Merc With a Mouth’s world, but the results this time are hit and miss. Overall, it hits a lot more than it misses, and if you liked the first film, you’ll like the sequel. It is, however, like a lot of sequels, a bag of diminishing returns. Going to get a bit spoilery below so warnings all around.
Continue reading Movie Review: Deadpool 2 (2018) *Mixed Bag of Maximum Effort*
RED BAND CLIP WARNING (NSFW)
Deadpool was a wildly successful surprise in 2016 because it gleefully embraced the character and gave comic book fans and movie fans in general a hysterically inventive impish bag of just plain wrong. Deadpool’s hyper violence and super embrace of its R-Rating isn’t an indication that all super hero films need to be R-Rated, but Deadpool is an R-Rated character and one that Ryan Reynolds gets to a disturbing degree. After seeing the character maligned in the regrettable X-Men Origins: Wolverine, Reynolds made it a personal crusade to get an unplugged Deadpool onscreen and was rewarded with huge box office and a Golden Globe nomination.
Deadpool doesn’t work because it’s hyper violent and contains possibly the most amazingly inventive bag of swearing I’ve ever beheld (and I-no joke-used to live on the docks). It works because THAT is who Deadpool is, and Reynolds manages to still make the sociopathic fourth-wall-breaking mutant relatable, sympathetic, and somehow endearing despite the mayhem he leaves in his wake. Picking a favorite example of that is tough, but I love the contrast between Colossus, occupying the opposite end of the moral spectrum in the X-Universe, and Wade. Watching Deadpool literally pulverize himself while trying to beat up Colossus may be the hardest I laughed in a film that consistently entertains start to finish. Deadpool 2 has a tough act to follow.
WatchMojo has a great idea for a list this week with the Top 10: Movie Villains With Justifiable Motives. The best villains believe they’re the hero of their own stories. The elite make the audience believe their actions, no matter how heinous, are justifiable. Think of the best screen villains, and you usually know why they’re doing the things they are. One of the MCU’s biggest problems until recently was a lack of motivation given to the villain. Most non-MCU comic book films focus on the villain almost to the detriment of the hero (most Batman films), but the MCU took the opposite route and poured all its character development time into the heroes. Phase 3 took a different approach and gave us more nuanced villains like Ego, Killmonger, Zemo, and even, yes, Thanos, were given a twisted logic for their crusades. WM went with The Vulture for their list, and that’s a good pick. I actually don’t have much of a problem with any of their picks: Silva from Skyfall, Syndrome from The Incredibles, Koba, Magneto, etc. I think the only flaw in the list is that it doesn’t go back any further than 1982’s Blade Runner for candidates, but I’m sure everyone can think of a few baddies who had motivation enough for some sympathy. Who would you have put on this list?
One of the primary reasons that James Mangold’s Logan works so well as a send-off to Hugh Jackman’s 17 years playing Wolverine is that it does the opposite of nearly every superhero movie convention expected. The end result earned critical and commercial acclaim and an Oscar nomination for adapted screenplay (a Wolverine movie got an Oscar nomination for screenplay; thought I’d say that again). More than a superhero film, Logan has more in common with the Western where an old gunslinger goes out on a final quest (more Unforgiven than X-Men).
In fact, my favorite cut of the film is Logan Noir: the black & white version of the film included as bonus feature on the Blu Ray. Denuded of a lot of the effect of the blood, the film feels more in tune with an old warrior’s final journey. But Mangold does give the fans, at the end of the film, one final berserker charge from Wolverine as he races to save his daughter and the last mutant children from the Reavers. Even that scene though, if you put him on a horse and swapped his claws for six-shooters, would be straight out of a Western. Kudos to Jackman for 17 years as the world’s favorite mutant, and to James Mangold for figuring out a way to give us a Wolverine that was off his leash, yet more true to the character’s roots than in any other film he’s been in.