Deadpool 2 (2018): written by Paul Wernick and Rhett Rheese and Ryan Reynolds; based on characters created by Fabian Nicieza, Rob Liefeld, Stan Lee, Jack Kirby, Len Wein, David Cockrum, Grant Morrison, Frank Quitely, and others; directed by David Leitch; starring Ryan Reynolds as Wade Wilson /Deadpool, Josh Brolin as Nathan Summers /Cable, Zazie Beetz as Neena Thurman /Domino, T.J. Miller as Jack "Weasel" Hammer, Brianna Hildebrand as Negasonic Teenage Warhead, Stefan Kapičić as Colossus (voice), Julian Dennison as Rusty Collins /Fire Fist, Morena Baccarin as Vanessa Carlyle, Shiori Kutsuna as Yoiki, and Terry Crews as Bedlam:
Deadpool 2 pretty much picks up where Deadpool left off, sarcastically and metafictionally trashing superheroes in general and the X-Men in particular as it follows the adventures of super-assassin Deadpool. The X-Men's Colossus and Negasonic Teenage Warhead are back, along with characters familiar to comics fans and unknown to the general public from the time-travelling Cable (Josh Brolin, relaxing after playing Thanos) to such early 1990's Marvel superhero duds as Bedlam and Shatterstar.
Is it better than Deadpool? Probably, at least for people acquainted with much of the source material. It's still desperately sentimental when it comes to the love story involving Deadpool and Vanessa despite all the sex-toy jokes. On the other hand, it makes better use of time travel than most movies, though all the really good use comes in the credits sequences at the end of the movie.
The whole project suits the ineffable weightlessness of Ryan Reynolds. Atlanta's Zazie Beetz makes a nice impression as the super-lucky Domino, while a mostly CGI Juggernaut helps us forget the terrible use of that iconic comic-book villain in X-Men: The Last Stand, in which Vinnie Jones played a Juggernaut in a goofy foam helmet. Recommended.
The Witch (2015): written and directed by Robert Eggers; starring Anya Taylor-Joy (Thomasin), Ralph Ineson (William), Kate Dickie (Katherine), Harvey Scrimshaw (Caleb), Ellie Grainger (Mercy), and Lucas Dawson (Jonas): Just about as dark as it gets for a horror movie. Robert Eggers riffs on everything from "Young Goodman Brown" to Kubrick's The Shining in this tale of dark Christianity, Satanic goings-on, and extreme isolation.
Set in New England in 1630, The Witch begins with its family of protagonists being exiled from a Puritan settlement for their religious beliefs (which may be even more Calvinistic than the Puritans). We see the first steps in that exile subjectively, from teen-age girl Thomasin's point-of-view. Her POV will dominate what comes after, though there are scenes that she isn't witness to. Probably.
Eggers drew on folktales, witch-trial court documents, and period testimonials for his inspiration. The film itself can withstand multiple, sometimes contradictory readings. Is it a paean to feminism? Is it a straight-up piece of Satanic horror? Is it a tale of madness in the woods? Is it a commentary on Calvinism? Is it a light-hearted romp? Well, no. It's not a light-hearted romp. Unless you actually are a Satanist. OK, so it could be a light-hearted romp for a certain type of person.
Filmed in the dark and humanless woods of Mattawa, Ontario, The Witch is ultimately a disquieting and unnerving 100 minutes of film-making. That it got a major release in theatres is something of a miracle -- audiences expecting another Blumhouse boilerplate horror movie clearly didn't like The Witch. So it goes. I think it's a major work of art from a young film-maker I'll be watching. And Anya Taylor-Joy is superlative as the sympathetic, frustrated Thomasin.
But the actors are all really good, from Ralph Ineson as the bumbling, weak but well-meaning patriarch and Kate Dickie as the increasingly paranoid (towards Thomasin) matriarch through Harvey Scrimshaw (what a last name!) as adolescent Caleb all the way to the two kids playing the unnervingly carefree, creepy young Jonas and Mercy. A black rabbit delivers a fine performance, as does a black goat.
Blood and gore are minimal, but when they come, they shock. Even the minimal score is creepy. This is about as good a film as one could hope for, and one that will probably spark conversations for years to come. Highly recommended.
Deadpool (2016): written by Rhett Reese and Paul Wernick; Deadpool created by Rob Liefeld and Fabian Nicienza; directed by Tim Miller; starring Ryan Reynolds (Wade Wilson/ Deadpool), Stefan Kapicic (Voice of Colossus), Brianna Hildebrand (Negasonic Teenage Warhead), Ed Skrein (Ajax), T.J. Miller (Weasel), and Morena Baccarin (Vanessa): Deadpool's success suggests that people wanted funnier, raunchier, R-rated superhero movies. And can you blame them? Deadpool may not be as funny as it seems to think it is, but it's still pretty funny.
It's also a perfect showcase for Ryan Reynolds' brand of smirky hunkiness. The script is still a bit too boilerplate for its own good -- the romance, the origin story, and the vengeance plot are all things we've seen before, though Deadpool's ongoing meta-commentary on everything that's going on keeps things lighter than the usual superhero movie: he's Bugs Bunny as Wolverine. It might be nice to see a bit less programmatic story for Deadpool 2, which looks like it's going to be Deadpool and Cable and not another revenge story.
The supporting turns from CGI Colossus -- finally used to good effect in what is, technically, an X-Men movie -- and the hilarious, angsty Negasonic Teenage Warhead (thank Monster Magnet via Grant Morrison for that name) as unwilling sidekicks/frenemies to Deadpool are quite funny. And while this Fox-Marvel movie doesn't share the same universe as the Marvel Cinematic Universe, it's also pretty funny to see a climax that really does seem to occur on, over, around, and ultimately under what looks an awful lot like a SHIELD helicarrier someone dumped in a junkyard. Recommended.
