Us Review

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Jordan Peele’s directorial debut, Get Out, took the world by storm. It was lauded by audiences and critics alike for its social relevance, unique ideas, and thrilling twists. It even garnered Peele a Best Director nomination and Best Original Screenplay win at the Academy Awards. Naturally, his sophomore effort has caused collective anticipation from enthusiastic audiences. Us focuses on a family that is attacked by seemingly alternate malevolent versions of themselves. Lupita Nyong’o plays the lead role of Adelaide Wilson, a mother of two children, who is disturbed by the return of the doppelgangers since she once encountered her evil counterpart as a young girl. As the fight for survival between the original family and the counterparts continues, Adelaide must face the dark secrets of her past and uncover the truth behind why the doppelgangers are attacking.

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Lupita Nyong’o steals the show as Adelaide Wilson 

Us is an extremely well-directed, exciting, and suspenseful film that unfortunately has a confusing resolution that doesn’t give the satisfying final “oomph” moment that the rest of the film was building up to. I won’t be going into spoilers in this review until the very end. First, the good things in the movie start with the absolutely breathtaking performance of Lupita Nyong’o. She conveys vulnerability and then strength as Adelaide Wilson, and manages to elicit a steady dose of fear as her malicious doppelganger. There is already early Oscar buzz for her, and after seeing her incredibly compelling performance I am not one to argue. Winston Duke plays the part of the comical and blundering father of the family, with Shahadi Wright Joseph and Evan Alex as the two children. The interplay between the family, especially thanks to Winston Duke’s comedy, helps to build empathy for them and allows us to root for them when things go sideways. After an initial slow build that creates intrigue, the second act of the film is easily its best, as the family is confronted by their doppelgangers and have to frantically grapple with their counterparts. This is where the scares and horror stylings are their best. Peele litters this film with references to Jaws, A Nightmare on Elm Street, and The Shining. The directing is expertly executed, as Peele can go from expansive shots of devastation to small and claustrophobic moments dripping with suspense. There is a particularly important reason for cutaways in the film that leads up to the big revelation at the end. The music is also well done, with the sharp staccato notes of the violin as the film’s main theme creating terror with its shrill sound. There are quite a few twists and turns that are sure to surprise audiences. Some of them are welcome, however as I said, some of the twists at the end are a little head scratching. Specifically, the reason behind how the doppelgangers came to be and are doing what they are doing is disappointing and unfulfilled. It seems there was a lot more that could have been filled in and the end product creates a major suspension of disbelief that hampers the quality of the film slightly.Image result for Us jordan peele family

The build-up to the end is incredible, everything from the comedy to the drama, suspense, and horror, however, considering that the film is predicated upon the fact that the secrets of these doppelgangers would be a groundbreaking revelation that puts the story into perspective, there just isn’t enough to leave the kind of impact that I expected. The ending of the film isn’t bad or terrible per se, but the meaning of the narrative could have certainly felt much more powerful had the end not been so filled with needless exposition and inconsistencies that were created despite all of the exposition. For example, there is a scene between Lupita Nyong’o’s character and her doppelganger where the doppelganger is explaining certain things that she shouldn’t have been able to explain given the fact that she was a doppelganger. It seems that in order to sell the twist in the film, certain glaring inconsistencies were left open, especially when exposition is being given by characters that can’t be giving that exposition since they were never in the position that they are describing, as confusing as that all sounds. In the end, I enjoyed the film, but Peele is asking me to ignore too many inconstancies and plot points that don’t make sense in order to feel the weight of the narrative. Us delivers a powerful message that is unfortunately kept short of tying up a brilliant first two acts due to several irregularities with the film’s final act. It ends up being too contrived and focused on selling a big twist rather than finding a natural resolution to such an interesting premise.

Warning: The rest of this review contains spoilers so read no further unless you’ve already seen the movie or just don’t care.

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So, going into spoilers, it’s revealed in the end that Adelaide’s encounter with her doppelganger back when she was a child turned out quite differently than we were led to believe. It turns out that on that night, the doppelganger attacked her original, crushing her throat and dragging her back to the underground facility where the doppelganger trapped the original. Thus, the doppelganger Adelaide, known as Red, actually switched lives with Adelaide and lived her life on the surface world while the real original Adelaide was forced to live her entire life underground with the rest of the Tethered. This suggests that nurture reigns over nature, as with enough connection to society and family, the Tethered Red was able to develop into a fully functioning person with a family whereas the imprisoned Adelaide became a menacing psychopath. While this is certainly a good reveal, it doesn’t make sense why the real Adelaide who we thought was the doppelganger the whole time should be explaining what the Tethered are to Red, since Red already knew what was down there as she had grown up in it until she switched lives with the real Adelaide. It seems that the closer someone is to their tethered counterpart, the more likely they are of encountering each other, or at least that’s the case with Adelaide. So why didn’t any of the other Tethered wander up to the surface? How was Red able to go up there in the first place? And if Red was able to go up and escape, then why wasn’t Adelaide also able to go up the escalator and find the surface. Another confusing element is how the Tethered seem to mirror the movements of their surface world counterparts, so how come Red wasn’t controlled by Adelaide’s movements. The implication perhaps is that when Red went to the surface world the power struggle shifted in her favor, but that still doesn’t explain how Adelaide was able to just escape after all that time. Once the switch is revealed, it strengthens the beginning of the film since it makes sense that Red would be scared of going back to the place where she left Adelaide, but then why would she go at all and risk the chance of her counterpart resurfacing for revenge? There is also no explanation for how Adelaide was able to organize and communicate with millions of grunting vapid Tethered and convince them to organize the “Hands Across America” movement. The facility seemed to be one of many, so how was she able to get across to the millions of Tethered how to escape their facilities and link up? It’s also not explained why the Tethered exist in the first place. It’s simply stated that “The government started cloning people to try and control us but couldn’t replicate the spirit so they just let millions of zombies wander underneath the surface of America”. What exactly were they trying to control in people? Why couldn’t they replicate the spirit through education and nurture? There are so many leaps in logic and suspensions of disbelief that it is simply too much, in my opinion, to truly drive the film home. The answer to all of these questions seems to be, unfortunately, “because, it just works so that we can have a movie”, which doesn’t quite cut it for me. What I believe Peele is trying to do is force us to reflect on the nature of our situation, and the status and comforts that we have as a result of other people suffering and doing the difficult work that keeps our luxuries belonging to us. The Tethered making a statement is reminiscent of protests from unions and blue-collar workers. The underground facilities and scissors are potential mirroring’s to sweatshop labor and the mistreatment of sweatshop workers, especially children. It reminds the viewer that the clothes on their backs and the ground that they walk on have been shaped by people, some of whom do not have the prosperous lives that we have. Unfortunately, in regards to the film, there is too much left in the air, and too little explained for the dramatic effect of the ending to be truly resonant

The Marvelous Mrs. Maisel Season 2 Review

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Really? Is that it? Surely there must be more right? These were the questions manifesting in my head after another stellar season of The Marvelous Mrs. Maisel, a show that provides far too much joy and entertainment in such small doses. The first season of this show was as close to a masterpiece as masterpieces go. We were introduced to the character of Mrs. Miriam “Midge” Maisel, a 1950’s Jewish woman in her 20’s with two supportive parents, a happy marriage and two children. Unfortunately, her world gets flipped upside down when her husband Joel admits to having an affair and leaves her. Fueled by the problems of her personal life, Midge discovers an outlet through stand-up comedy and meets the irreverent but hilarious Susie Myerson, a tomboyish club manager who decides to become Midge’s manager. What was magical about the first season of the show was how relatable of a character Midge was. Like any millennial today, she’s a true multitasker, trying to balance her family life, kids, a job, and of course, her passion for comedy. Her pursuit of her comedy career, however, is where we see the difficulty she has to go through in being not only a woman in a male-dominated society but also a woman in a male-dominated industry. Seeing how she overcame these challenges and struggles was a highlight of the show. Unfortunately for her, the challenges she faces especially in regards to her gender are only amplified in Season 2 alongside all of the family drama that is constantly surrounding her.

Season 2 picks up right where the first season left off and carries the same amount of charm and wit and style. One important thing to note is how lived in the world feels. 1950’s New York has never been replicated so well on television. From the fast-moving upper West Side to the lower streets of Greenwich Village, every setting is filled with activity. It’s truly effective in reminding the viewer of the living history of New York City. On top of the rich atmosphere, the characters themselves are perfectly embedded into this breathing world. Mrs. Maisel walks with the typical gate of women of that time period, and Joel Maisel quips in the fast-talking style typical of the 1950s. There isn’t a modern idiom or suggestion in sight. In fact, the entire show comes off more like an old movie or a stage play from the 50’s itself. In short, there could not be a more perfect period piece for this era.

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Combined with the perfect setting is some absolutely brilliant directing. This season also decided to become slightly more experimental with long takes, sweeping shots, extreme long shots where characters are spouting dialogue moving in and out of a house, and many more interesting and unique ways to convey the experience. The music is excellent as always, the soundtrack brings in many more key pieces appropriate to the time period. The score itself adds to the levity or intensity of each scene. I noticed a few musical references calling back to earlier tracks from the first season during scenes that were also harkening back to moments from the first season. The show also switches things up by changing locations and having part of the season take place in Paris as well as at a family getaway in the Catskills. The Catskills was actually a prominent vacation spot for Jewish Americans at the time and so, of course, that also had to be captured as a living and breathing locale by the show. It’s another example of how excellently this series integrates its fictional characters with real-life locations as well as some real-life characters as well (i.e. Lenny Bruce).

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Speaking of characters, now we get to the real heart of the show. Rachel Brosnahan delivers another phenomenal performance as Mrs. Maisel, and Alex Bornstein continues being awesome as Susie. Their chemistry together also continues in stride however this time around with a little more conflict. One character that stole the show in the first season and comes back again for a full course is Abe Weissman, Midge’s fastidious father. Some of the best humor from the first season resulted from Tony Shalhoub’s portrayal of Abe, and the same case applies for season 2. Joel continues to be a character of contention, garnering sympathy at times while also coming off as a bit of a loser. It’s clear that since the first season he has realized his mistake and is now afraid to let go of his love for Midge. Some new characters also grace the screen, Zachary Levi of Chuck fame is particularly noteworthy as a character with a major role.

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Despite the constant barrage of humor, there is an equally impressive display of drama. In fact, another feature of the show’s brilliance is how it manages to blend drama and comedy so deftly. There will be moments where you will cry, and moments where you will laugh. There will be moments where you immediately go from laughing to crying, from crying to laughing, and doing both at the same time. At times, it can start to feel like everything is too episodic in nature and that there is a stagnating of the narrative, however, the very moment that you might feel that is when the narrative hits the hardest. There is very little fault to be found in The Marvelous Mrs. Maisel’s second season. If there were anything to nitpick about, it would be that the season concludes with another cliffhanger of an ending in a similar way to the first season. Still, the ending is understandable as a means to build anticipation for the already confirmed third season.

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There are a million more things to say about The Marvelous Mrs. Maisel but all of these things can’t convey what can be conveyed by simply watching the show. If you haven’t seen it yet and have Amazon Prime, watch it. It’s a magnificent period piece, a witty comedy, a socially aware drama, and a wonderful work of television.

 

 

Thoughts on the Oscars’ “Popular Film” Category

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The Academy Awards, also known as the Oscars, are an annual set of televised awards given out by the Academy of Motion Picture Arts and Sciences. Each year, the esteemed voters of the Academy gather together a host of important Hollywood contributors in an event dedicated to recognizing the best in cinematic achievement. These awards include “Best Actor in a Major Motion Picture”, “Best Actress in a Major Motion Picture”, “Best Director”, “Best Cinematography”, Best Original and Adapted Screenplay, and of course, the coveted “Best Picture” award. To win an Academy Award is considered a prestigious honor that few in the film industry will ever have the opportunity to receive…or so it was thought. This week, the Academy announced that they would be adding “a brand new category for outstanding achievement in popular film” which has been dubbed the “Popular Film Category”. The official details as to the criteria for this category have yet to be announced. What is certain, however, is that this is a completely moronic idea that is insulting towards the majority of films.

I first saw this news on an Instagram post. My initial reaction was that this must be a meme poking fun at the Oscars, but then I noticed that the post was published by none other than Rotten Tomatoes. This prompted me to check the official statement by the Academy to confirm that this was a legitimate motion by them. Upon learning this, I went nearly blind with fury. The idea of a popular film category is terrible for a few reasons, but before I dig into that, I need to give a little context about the current state of the Academy Awards.

In 1992, the Disney animated film, Beauty and the Beast became the first ever animated feature to be nominated for Best Picture. The significance of its nomination was rooted in the fact that animated films had long been considered unsophisticated entertainment for kids. By earning the nomination, Beauty and the Beast showed the world that an animated movie could have the grace and subtlety in its storytelling to be recognized alongside other live-action drama films. Furthermore, it opened the door for other animated features in the future to be recognized. However, in 2001, the Academy decided to create a category for Best Animated Feature. From that point on, any critically acclaimed animated films would go into that category. Now, it is true that UP (2009) and Toy Story 3 (2010) received Best Picture nominations after the new animated category, but I’ll discuss that more in a moment.

The real historic and groundbreaking moment in the film industry took place in 2004 when The Lord of the Rings: The Return of the King (2003) was nominated for and won 11 Academy Awards including Best Picture. It was the first time that a fantasy film had ever won Best Picture and the first time that a true genre film outside of drama and musical had won. This move showed that no matter what kind of film was made, as long as it was dedicated to the craft of filmmaking, it could be recognized for being the best among all films. Then, the moment that changed the film industry forever, making it what it is today; The Dark Knight (2008), Christopher Nolan’s critical and commercial hit masterpiece, was snubbed at the 2009 Academy Awards by not being nominated for Best Picture. As a response to the massive backlash for this decision, the Academy decided to expand its Best Picture category from five films to ten. This allowed for more films to be recognized in the category and is the major reason as to why Toy Story and Up were nominated as animated films. There is still debate as to whether this was a good decision since it gives more films the opportunity to be recognized but may also lead to the Academy recognizing more of the conventional drama films that fit their criteria even though they don’t deserve the nomination. Regardless, The Dark Knight’s impact paved the way for a growing superhero genre that has, for the most part, avoided any prestige from the Academy.

Still, the push for recognition from genre films increased in 2016 and 2017, with some success. Logan (2017), the emotional homage to Western films featuring a grizzled Wolverine, was nominated for Best Adapted Screenplay at the 2018 Oscars. Get Out (2017), a popular horror/thriller was nominated for Best Picture. Both of these films took strides towards bringing in more recognition for their respective genres. It seemed like the film industry was making progress and moving towards opening its tight circle of smaller and more obscure films…. until this latest announcement.

Now, all the work that has been going towards genre recognition will be eradicated. The Popular Film Category will essentially take whatever is a big hit, regardless of quality or cinematic achievement, and give out empty, meaningless awards to these films. Rather than having the quality of comic book films increase to where they can be recognized as Best Picture candidates, they will just be assigned to the Popular Film Category. If this Popular Film Category were around in 2004, The Lord of the Rings would not have won Best Picture, let alone been nominated. It would have simply been a “popular film”, and all of its cinematic splendor would go unrecognized in the real category. It’s almost like an award for participation. These films wouldn’t be awarded for being good, but instead, for being “popular”. What’s next? A category for Best Film Featuring Product Placement? Best Vegetable in a Movie? In fact, why have a single category at all, just break up the genres now. Best Biopic, Best Comedy, Best Supernatural Thriller. Each of these ideas is equally as ridiculous as the popular film category. Instead of adding legitimate categories that many people have been asking for such as Best Stunt Coordination or Best Voice Acting Performance, we get this. The only explanation for this, outside of sheer stupidity, is that this is an attempt to increase viewership for the awards show by having more popular films feature.

Hopefully, the amount of backlash this receives will change the Academy’s mind, and from the looks of it, there does seem to be a lot of backlash. Just check the comments in the Rotten Tomatoes post or read an article about it. Industry disapproval has spread with actor Rob Lowe and director Adam McKay (The Big Short) being some of the many vocal opponents. This may sound one-dimensional, but as it stands, this move by the Academy feels like a last ditch effort from a bunch of tight-lipped arthouse film snobs to boost viewership while keeping only a neatly-defined criterion of film designated for any true recognition.

 

Classic Film Review: Jaws (1975)

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The sound of waves crash against a small fishing boat floating on the waters of the ocean. The character of Quint, played by Robert Shaw, bites down on a biscuit. He is seated next to a giant fishing reel. The splashes of the ocean and the creaking of the boat are interrupted by slow, low notes from a string section of an orchestra. The reel begins slowly ticking, coming into focus and catching the attention of Quint. Martin Brody, played by Roy Scheider, sits at the edge of the boat, trying to tie a bowline knot. Quint slowly grabs the rod as the camera focuses on the large reel. Suddenly, Brody shouts “Hey, I’ve got it!” as he finishes the knot. This break in tension segues into a frenzy as the line begins rapidly pulling forward, propelling the film towards its next thrilling sequence. This brilliant moment is one of many that exemplify the brilliance of Steven Spielberg’s 1975 classic, Jaws. I’d never seen the movie until now, but a classic is a classic for a reason. Jaws is a tightly-wound masterpiece. Its narrative and characters feel as if they leaped off the page of an intricately-woven literary novel. If that isn’t enough, its cinematography, music, acting, and production cement the film as one of the greatest examples of cinema in history. It is also, in my opinion, one of the best-directed films ever made. Though this is only Spielberg’s second directing gig, he manages to rival Hitchcock in his ability to build suspense and keep the audience’s attention on what he wants. Jaws is also commonly accepted as one of the most influential films in history. The anticipation, release, and success of the film made it essentially the first major summer blockbuster. The sheer amount of accomplishments that this film was able to garner is astounding when considering its troubled production, filming drama, and costly budget for the time. Spielberg insisted on filming at sea, and the entire second half of the film was shot completely on a small boat. The amalgamation of production and budget restrictions that hindered Spielberg’s vision for the film ended up benefitting the film, as Spielberg was forced to think out of the box and employ new and revolutionary tactics in filmmaking and direction.

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Jaws, as most people know, is the story of a giant killer shark that terrorizes a small beach town and is pursued by the chief of police, Martin Brody. Brody is an honest man with a wife and two kids. The brilliance of Roy Scheider’s performance as Brody is that despite having the outward appearance of a stern and hardened man, his demeanor is actually soft and reflective. It really feels like he’s just an ordinary guy trying to do his best to protect the people of the town. When casting for the film, Spielberg didn’t want to have big name actors appear in the movie since he wanted the events of the film to “believe this was happening to people like you and me”. In fact, Charlton Heston was originally interested in the role but Spielberg felt his grand image would detract from the ordinary every-day setting and the terror and connection that the audience would feel for Brody. As much of a thriller as Jaws is, the first half of the film is actually dedicated to building the character of Brody, and in analyzing the fear and paranoia of the townspeople in response to the shark attacks. A difference in ideologies takes place early in the film between Brody and Mayor Larry Vaughn, one of the many colorful characters in the movie. The mayor has his eyes set on continuing the beach tourism that drives the town’s economy while Brody is more concerned with the safety of its citizens. Brody’s anxiety is depicted through close up shots of Roy Scheider’s concerned expressions. In a particularly memorable scene, Brody sits on the beach, and as other people cross the screen, the camera cuts in closer to Brody’s face. Even during the shark attack sequences, the camera focuses on the movements and reactions of the people as a brilliant depiction of fear and panic. It’s as if the conflict doesn’t come from the shark itself, but rather the people’s fear of it, and how it causes them to act.

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But to cite the fear of the shark as the main conflict in the film would do an extreme disservice to the shark itself. Even without actually being on screen, the shark’s presence is always felt. Originally, Spielberg had designed several mechanical sharks, but they all constantly malfunctioned. To film around this issue, Spielberg showed only portions of the shark at a time. In some scenes, its tail or fin could be seen, and in others, it would be shown as a prop shark head. Aside from the practical effects, the shark’s terror came from its unseen presence more so than what was actually seen. Spielberg would have a large barrel, or a log slowly move towards the characters to represent the shark’s movement. The greatest fear comes from the imagination of the audience, and so by hiding the shark, it’s appearance could be hyped by the audience as more terrifying than what could be shown in a practical prop. Of course, none of the terror would be possible without John William’s excellent score. The simplicity of two alternating notes in a minor 2nd interval proves to be so impactful in its ability to indicate the presence of lurking dread. The increasing speed and volume of the notes as they crescendo into a symphony of cacophonous sound only further builds the suspense. Aside from the ominous main theme, Williams’s score is quite upbeat, with a sense of adventure created by animated and energetic violins.

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As the film progresses, more and more interesting characters get featured, such as oceanographer Matt Hooper, played by Richard Dreyfuss. Hooper adds some levity to the film with his slightly more buoyant personality. He provides just the right amount of quirk and humor to not distract from the film’s serious tone. Robert Shaw’s Quint, the shark hunter, is another character that is rich with personality. His pursuit of the shark comes off as very Melvillian, often harkening to the literary obsessiveness of Captain Ahab in Moby Dick.  The second half of the film relies on the strength of the character interactions between Brody, Hooper, and Quint. Jaws can actually be considered two movies with two separate environments. The first hour introduces the shark and focuses on the town, whereas the second hour is a shark hunt on a fishing boat that takes place entirely out in the ocean. This is where the acting really shines. The scientifically inclined Hooper comes into conflict with the hardened Quint while Brody acts as a straight man to both. Eventually, they feel and function like a unit and bond as they try and hunt down the shark. Scenes between the three involving Quint and Hooper comparing injuries, followed by the three characters singing chanteys are some examples of the excellent character moments in the film. The action and adventure also heighten in the second half as more of the shark is seen and as the fishing boat becomes more and more damaged after each run-in with the creature (even some live footage of actual sharks was integrated into the filming). These scenes, with the combination of brilliant acting, character development, music, and directing are some of the greatest examples of movie magic that you will be hard-pressed to find replicated in most movies today.

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When I finished watching Jaws, I had this great feeling, as if I had just come back from a big adventure. There are not one, but several scenes that can be considered some of the best scenes in film history. The camera and the music felt like characters just as much as the actors did. The selective views of the shark along with the initial point-of-view shots from the shark’s perspective cement it as one of the most iconic creatures in horror. There’s no point in reiterating how impactful this film was to Hollywood, but what I can say is that it more than earns its status. It’s a carefully constructed and thoughtful yet wild adventure that builds to an epic encounter between a terrifying force of nature. It’s an inward look at human psychology and response to fear. It balances its narrative in just the right ways and rewards and punishes characters in a way that consistently aligns with their actions and choices. At the end of the day, Jaws is one of the greatest movies ever made.

 

 

 

Deadpool 2 Review

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When the first Deadpool came out in February of 2016, it came out of nowhere and took the world by storm. Boasting a $132 million opening weekend, Deadpool officially became the highest grossing R-rated film globally of all time. It was also a massive hit with the critics and fans, with heaps of praise piled upon Ryan Reynold’s portrayal of the titular character, and the scripts boldness in pushing the envelope with its humor and content. I had been a fan of Deadpool long before news of his feature debut. I loved his meta humor and morbid yet funny defilements in the comics, and I, like many others, was extremely disappointed in how Deadpool was depicted in X-Men Origins: Wolverine. By 2014, I had long given up on the idea of a Deadpool movie, and I didn’t even think it would be possible to replicate such a character on the silver screen. Luckily, after some leaked test footage, Deadpool was greenlit and the best marketing campaign of any film in history convinced me that it would be awesome, and it was. The original Deadpool is one of my favorite comic book movies of all time, so naturally, I’ve been anticipating the sequel along with the rest of the millions of people that saw and loved the first movie.

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I can say without a doubt that Deadpool 2 is the most entertaining film that I have seen in theaters all year. This movie had me hooked from beginning to end with its lightning fast jokes, dizzying action, and surprisingly dark and emotional moments. While the first Deadpool did feature lots of violence and humor inappropriate for many, it was a surprisingly light-hearted film. The sequel has some heavier themes, dealing with abuse, death, and family. In every way, it feels much bigger in scale than the first, with a plethora of new characters and additions to the Deadpool universe. Ryan Reynolds once again steals the show, effectively cementing himself as an actor that will have a hard time being separated from the character he plays. Alongside Deadpool are some fan favorite returning characters including Colossus, Dopindar, and Blind Al. Even T.J Miller, who despite having faced some recent controversy, was funny (he did have most of the same jokes as he did in the first movie, but just like Drax doing the same thing over again in Infinity War, it was still funny to me somehow). Some notable new additions include Domino, played by Zazie Beats, and Cable, played by Josh Brolin. There was a lot of anticipation for Cable since he and Deadpool had a very established relationship in the comics. Unfortunately, the relationship between Cable and Deadpool isn’t explored as much in this movie, and Cable isn’t in the movie enough to make a massive Thanos-level impact or to stand out particularly amongst the other side characters. The point is, this is still entirely Deadpool and Ryan Reynold’s show. To that end, the movie is filled with more pop culture references, meta humor, and celebrity cameos than ever before. Everything feels consistent with Deadpool’s character, he feels more alive and relevant than ever before. As I said, Director David Leitch, who was one half of the directing pair responsible for John Wick, did a fantastic job with the action scenes in the movie. The action is bigger and better than the original. This combination of humor and thrills creates a complete package of an excellent action comedy that deserves to be seen.

Though not without some weird moments and the occasionally overdone joke, I couldn’t find much wrong with Deadpool 2. It was exactly the movie that I was hoping for, and I left with a smile on my face. This film is even more unafraid to take the humor and violence of the Deadpool character to greater lengths. Though I would say the story is slightly convoluted compared to the simplistic and easily understood love story/revenge plot of the first film, the charisma of the characters and the combination of humor and action will most definitely keep viewers engaged throughout. Along with one of the best end credit scenes in any movie, Deadpool 2 is a major success. It’s a dark and twisted, yet hilarious and thrilling romp that continues the tradition of an unkillable anti-hero in a red suit continuously satirizing the comic book and comic book movie genres as well as society in general. Whereas the Deadpool of the comics pokes fun mostly at the Marvel comic book universe, this version of Deadpool is able to draw upon and target the collection of comic book movies and the cinematic universes of DC and Marvel that have amassed over the past 10 years or so.

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So getting into spoiler territory, the first big surprise of the film comes before the opening credits with the death of Vanessa, Deadpool’s wife/girlfriend/it’s never revealed or not if they married. The opening credits capitalize on the moment with title cards like “Did They Really Just Kill Her?”, “Presented by What the Fuck?”, and “In Association With I Don’t Understand?”. The opening credits are all set to an original song by Céline Dion just for this movie called “Ashes” and all done in a James Bond style of opening sequence. Regardless, this opening surprise death forces Deadpool into a depressed state of longing for his own death. It’s surprisingly fatalistic coming from such a boisterous character, and the emotional tones conveyed during the dream sequences with Deadpool seeing visions of Vanessa are surprisingly heartfelt and bereft of jokes that would undercut said emotional tones. The changes that they made to Cable’s backstory were also appropriate for the film, as his motivation for going back in time and killing the mutant that would kill Cable’s family gives him a solid motivation. The mutant kid, Russel AKA Firefist, played by Julian Dennison, is a serviceable character, though I didn’t think there was anything extraordinary involved in either his portrayal or his character arc. Julian Dennison does give a good performance, and there was always the possibility of the movie going down the common path of the child actor/character being annoying. Luckily this wasn’t the case, although Firefist as a character could have been more compelling. The surprise villain of Juggernaut was a fun reveal also, and the moment he rips Deadpool in half is one that can’t be missed, however, he was primarily used for a third act CGI fight with Colossus. There wasn’t really a single villain to follow, which wasn’t as effective as the first film in terms of antagonistic quality. I for one was a big fan of Ed Skrien as Ajax in the first movie.

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The other big twist is that the X-Force team that was teased in the trailers was just a big lead up to a joke where all of them except Domino end up dead. For fans looking forward to seeing characters like Terry Cruises’ Bedlam or Bill Skarsgard’s Zeitgeist, it may be disappointing since Bedlam is hit by a bus and Zeitgeist lands into a wood chipper when the H.A.L.O jump sends the team all over the place due to high winds. Even Rob Delaney’s Peter, who was hilariously advertised in the trailers as an average joe looking to excite his life, gets dissolved by acid vomit. Though I was looking forward to seeing members of this team, I was pleasantly surprised and just as thrilled to see the end result of the team being the spontaneous deaths of each member.

There are several fourth-wall breaking moments that stand out, like the movie opening with a wind-up doll of a dead Wolverine from the events of the movie Logan. There is the scene where Deadpool autographs a Wolverine cereal box with Ryan Reynold’s signature. Some external non-comic book references that had me laughing were “Jared Kushner” and “Mission accomplished? Well, in a George W. kind of way”. The end credit scene is particularly funny, as Deadpool borrows Cable’s time traveling device to kill the Deadpool from X-Men Origins: Wolverine and to kill Ryan Reynolds as he is reading the script for the 2011 Green Lantern.