Film Review - "Joker: Folie a' Deux"

This one's for you, Tom...

Joker: Folie a' Deux

Directed by Todd Phillips

Starring Joaquin Phoenix, Lady Gaga, and Brendan Gleeson

I'll admit, my feelings on the original Joker have changed since its release. The pacing is off, the script is a tad unfocused, while at the same time it spends too much time beating the protagonist down to get to a point where he can become The Joker, and the inclusion of The Wayne Family doesn't add much beyond "Bat-flavor". 

That...and the idea of The Joker turning as a result of mental illness just...I don't know it doesn't sit right with me but that's a topic for a different day-ANYWAY, this is a long-winded way of saying, despite my problems with the film, I can still find something in it worth revisiting almost five years later. 

One thought on the film I had that has NOT changed five years later, is that it didn't need a sequel...or at least, a sequel like this...

Folie a' Deux finds Arthur Fleck (Phoenix) resigned to a miserable existence while incarcerated at Arkham, two years after the events of the first film, and awaiting trial. While at a music therapy session, he befriends a woman named Lee (Gaga) who is obsessed with his Joker persona, and they begin a toxic romance...and uh...yeah that's kind of it. Honestly, how did they make this over two hours-oh right it's a musical. I guess.

It's truly a sight to see...when a sequel spends its entire runtime actively tearing down its predecessor. Folie a' Deux has no idea where it wants to take its titular character, or should I say Arthur, because this film spends a good amount of time trying to make the case that Arthur is not the Joker after all ("Hey Murray, when you bring me out, can you introduce me as Joker?" He said that. Word for word. In the first film.)

One thing I actually appreciated about Joker is that it left it up to interpretation on whether Arthur was the definite Joker or he actually inspired the Joker that Batman would go on to fight. Not to get into spoilers but the film takes away that ambiguity. The message of the sequel is incredibly muddled. Was Arthur gaslit into becoming the Joker by SOCIETY,  is Joker an alter-ego that came about as a result of his mental illness (Dicey...), or is he just a bad person? Well you can present all those things during the trial sequence and leave it up to our interpretation, but the problem is we saw the first film. He killed all those people of his own volition. Thanks for wasting our time.

This film was sold as a Joker & Harley romance, but Harley "Lee" Quinzel's inclusion in this film is pretty superficial. She doesn't act like "the devil on Arthur's shoulder" the film would make you think she is, and Lee is pretty absent for a majority of the film's biggest plot points. It all just feels like a waste of Lady Gaga's time and talent, which brings me to my next point.

What really sets me off, in the deepest part of my Disney-raised, songbird, ballroom-dance-trained heart, is this film is an AWFUL musical. I don't particularly like jukebox musicals (Musicals that interweave already established songs into a new narrative) because they can take you out of the experience of the film. Folie a' Deux could've used original songs or covers and it wouldn't matter because Todd Phillips does not know how to do a musical.  Are the musical numbers in Arthur's head, or are they real? Are they singing on camera, or is it a soundtrack? Is the music diegetic or no non-diegetic? MAKE UP YOUR MIND, TODD. 

Call me old fashioned, but aren't musicals are supposed to be grand spectacles with extravagant song-and-dance numbers? Instead we mostly just get Arthur shuffling around dirty rooms in Arkham singing Stevie Wonder and Frank Sinatra. I am truly baffled Joaquin Phoenix was nominated for an Oscar playing Johnny Cash in Walk The Line. I don't know, maybe his bad singing in this film was a character choice...or maybe he didn't want to come back for this film so he just half-assed it. But the film just feels so devoid of life. I said the first film had pacing issues but this one I couldn't believe how slow it moved. Normally a musical number would inject some life into a film but here it was more like "Oh please God no not again..."

Ugh...I need to try and say something good about this film. The cinematography is good. The intro sequence was well-animated. The supporting cast are all great, including Catherine Kenner, Brendan Gleeson, and Steve Coogan. Major props to Leigh Gill as Gary Puddles for his one scene during the trial. Everybody on the internet pretty much agrees that's the best part of the film, and perhaps if the rest of the film was like it, I wouldn't be writing this review. 

There's more things I could say, like how the inclusion of Harvey Dent (Harry Lawtley) is purely, again, "Bat-flavor" (also, how are the Waynes not mentioned ONCE throughout this film) or how Arthur's character takes a turn before the third act has...ghastly implications. But I've wasted enough of my time on this film. Joker Folie a' Deux is an unfocused, half-baked mess, and one of those rare sequels that spends its entire runtime giving the middle finger to its predecessor. I'm almost tempted to rewatch it again for research purposes, but I love myself too much to inflict such self-harm.

Perhaps the theories are true, and Todd Phillips really didn't want to make a sequel so this was just a big F.U. to the world. If so, the joke's on us, and we're not laughing.

Film Review - "Moana 2"

Back in the early nineties, Disney began production on a television series that would be a follow-up to their film Aladdin. The premiere of the series was going to be an hour-long special, as was common for many Disney animated series, but along the way gears were shifted and the first four (five?) episodes were strung together as a "feature-film". 

This would become The Return of Jafar, the first of (unfortunately) many direct-to-video Disney sequels. The film was not well-received by critics, but easily made back its small budget and became one of the best-selling home-video releases of all time.

Thirty years or so later, history has repeated itself...

Moana 2

Directed by David Derrick Jr, Jason Hand, and Dana Ledoux Miller

Starring Auli'i Cravallho and Dwayne "The Rock" Johnson

The follow-up to 2016's Moana was initially planned as a series on Disney Plus, but then the world was surprised to find out in February of 2024 that the series had be reworked into a feature-film and that it was due for theatrical release last November, only nine months after the first teaser dropped. 

Critics were lukewarm on the final product, but Moana 2 would go on to become the fourth highest-grossing film of 2024, remaining number one at the box office for nearly a month, and smashing all sorts of records, including doubling Frozen 2's opening weekend numbers. History really does repeat itself.

Some of the more cynical critics and content creators will tell you Moana 2 is another sign of Disney's downfall, a disgrace to the brand, you know how it goes...I'm not one of them. While it doesn't reach the heights of the original, I enjoyed the film, and it doesn't (totally) feel like it was a miniseries that was reworked in the eleventh hour. I will explain...

Moana (Cravallho) now spends her days exploring the waters beyond Motunui in search of other tribes but to no avail. A vision from her ancestors say this is because the storm god Nalo once sank the island Motufetu which connected all the islands in the ocean (Like Yggdrasil The World Tree for you Norse mythology fans). Moana must embark on a deadly quest to raise the island, to reconnect the people of the ocean, and save her tribe from eventual extinction.

At its basic core, the story is pretty much following the same map as the original i.e. Moana going out on a daring voyage to a legendary island to "save the world" but the film progresses the story to a natural place. Moana is now Motunui's lead voyager. The first film was about her reconnecting her people with the ocean, now it's about her reconnecting everyone in the ocean. 

There was only one particular sequence in the film that I could identify as "an episode" of what was once the miniseries, but on future rewatches maybe others will become clearer. One returning character's role definitely seemed like it was cut down to save time, or maybe that's just the impression the editing on their first scene left. Regardless, everything flows pretty naturally from beginning to end. The climax is particularly thrilling and certainly gave the film a boost of adrenaline in its final moments, however a couple of cliche' moments sort of weighed it down (avoiding spoilers).

The film's greatest weakness is its new characters, who all are very one-note and don't offer very much to the plot. Moana's crew contains Lolo (Rose Matafeo), an eccentric inventor, Moni (Hualālai Chung) a fanboy of Maui, and Keke (David Fane), a grumpy farmer. That's pretty much all there is to these characters. I cannot think of anything significant any of them contributed. Then there's also Matangi (Awhimai Fraser) who is Nalo's enforcer and a demigod who controls bats. The first half of the film spends time setting her up like she will be a big player later on, but that never turns out to be the case (aside from singing the best song of the film). I hate to say it, but I feel like in what was once the miniseries, each of these characters were given their due.

The animation, despite not being produced in house at Disney (It was done at the Vancouver Studio) is very gorgeous. While it may not dazzle or break ground like the animation in the original, it still reaches the Disney standard. The water effects are still beautiful and make me wish I lived on an island and had a boat. 

Everybody has made some sort of joke or comment about what the loss of Lin-Manuel Miranda has done to this film and its music. First of all, Mark Mancia and Opetaia Foa'i returned to do the score so there's that. Second, I thought the songs were just fine. Again, Matangi's song, "Get Lost" is the best song of the film and I was playing it on loop on the car ride home from the theater. Maui's new song "Can I Get A Chee Hoo?" is a fun "pump-up" song but man, it sounds kind of similar to The Rock's "Its about drive, it's about power" rap in places and that's funny to me. I concede that you can't Out-Lin-Manuel Miranda Lin-Manuel Miranda but these new songs by Abigail Barlow and Emily Bear get the job done.

I don't have much to say about the voice acting. Auli'i Cravallho is still an international treasure and crushes every second of playing Moana. I will die on the hill that Maui is Dwayne "The Rock" Johnson's best role. He has some really good moments in this film, but I still say his performance in the original is better. Everyone else is fine, but again, there characters really didn't have much to do or leave much of an impression.

I would love to have been a fly on the wall in the editing room, or at the very least in the meeting where they decided the miniseries was going to be retrofitted into a sequel. We may never know what really went down, but if they could give us a whole miniseries showing the behind the scenes of Frozen 2 (Streaming on Disney Plus and a worthwhile watch) I suppose anything's possible. Moana 2 is no The Return of Jafar. While it may not reach the grand heights of the original, it is a very enjoyable film that easily surprises many of Disney's direct-to-video sequels (and Ralph Breaks The Internet I'm not afraid to say it). 

It's still playing in theaters because it made all the money (and January is a crapshoot for films) but you probably wouldn't be missing out too much if you waited to watch it on Disney Plus (as God intended?).

Anyway, tune in next time when I tell you about a sequel I really did not like...or I finally do my Top 10 Lists of 2022, 2023, and now 2024. I don't know. We'll see what happens...

...Damn I didn't even touch on the fact Moana has a little sister now....She has a little sister now...cool.

 

Film Review - "The Wild Robot"

Lot of animated films about robots coming out lately...

The Wild Robot
Directed by Chris Sanders

Starring Lupita Nyong'o, Pedro Pascal, and Kit Connor

Based on the book by Peter Brown, The Wild Robot tells the story of a service robot, ROZZUM Unit #7134, or "Roz" for short (Nyong'o) who becomes stranded on an island devoid of humanity. Roz stumbles across the egg of an orphaned baby goose. The baby, a runt, hatches and imprints on the robot, seeing her as his mother. Roz is built to serve and assist, and makes it her mission to raise this goose, later named Brightbill (Connor) and teach him to survive in the wild.

That's the basis of this beautiful, deeply-layered film from Writer-Director Chris Sanders, who has previously brought us the likes of Lilo & Stitch and How To Train Your Dragon. There's so much to take away here, for both kids and adults. The Wild Robot is rich with themes of nature vs nurture, overcoming adversity, blood family, found family, parenting, community, and acceptance. It's a film that audiences are able to walk away with something new after every viewing. 

The film also has a lot of dark humor which I got a kick of, and apparently a lot of the young kids in my theater did too. It's nice to see animated films not play down to children. The film gives off vibes of a Don Bluth film or classic Disney works, which isn't surprising since Sanders got his start with the latter. The visuals and aesthetic can drum up memories of Bambi or The Fox & The Hound, and it's easy to draw comparisons to Wall-E or Big Hero Six. However The Wild Robot is so much more than that...like if 

Bambi and Wall-E had a baby, and that baby was raised by Baymax from Big Hero 6.

All that being said, the film has its own unique look and is absolutely gorgeous. The scenery and background almost look hand-painted. The way they play with colors and lighting is stunning. There is so much iconic imagery that made me go "I want to try and draw that shot." Roz's design is very sleek and simplistic, but how the lighting plays into her programming is what takes it to the next level. All the animals have a very classic "Dreamworks" look to them but their textures and movements make them deceptively look hand-drawn at times.

This is a very personal side-note, but when the first trailer for this film dropped, I was very intrigued because it had no dialogue, and the idea of a mainstream animated film with minimal dialogue excited me. I should've realized that wasn't the case right away, because they list all the famous voice actors at the end of that exact trailer. As more marketing for the film came out, they naturally started to show the animal characters talking, which I have no problem with. That's a trait hundreds of animated films share, many of which I love. The idea of one that deviated from the norm just intrigued me. Hell, I think not having the animal characters talk was one of Pocahontas's greatest strengths.

Regardless, I think the way this film allows the animals to talk is very clever, and the film is all the better for the fact that they talk. Not an animal in the film, but Lupita Nyong'o is perfect as Roz, balancing the technological and the emotional aspects of the character. Pedro Pascal disappears into Fink and gives a very charming performance as only he can. Kit Connor is a real standout as Brightbill, capturing the true essence of a young man (or goose) going through growing pains. It's just as much his film as it is Nyong'o's/Roz's.

The supporting cast is delightful. Catherine O'Hara is per usual both sweet and sassy as a mother opossum, and her babies steal a lot of scenes. Matt Berry has some fun moments as a beaver named Paddler. Ving Rhames pops up for a brief but delightful scene as a falcon who helps teach Brightbill to fly (If I had a nickel for every time Ving Rhames showed up unexpectedly in a 2024 animated film...) Bill Nighy is recognizable but nonetheless iconic as Longneck, an elder goose. I won't spoil Mark Hamill's character as I was waiting the whole film for him to show up, but when he does...it's great.

Composer Kris Bowers knocks it out of the park with the score. The music is so powerful, and reminiscent of John Powell's work in How To Train Your Dragon. I want this film to be nominated (and maybe win) Best Animated Feature at the Oscars this year, but I hope Bowers gets recognized too. This is a score worthing buying on vinyl.

The Wild Robot may just be one of Dreamworks Animations' best films yet. It's familiar but so powerful, and beautiful. I highly recommend seeing this one on the big screen with your families. Audiences of all ages can walk out with a smile of this one. In a year where we've already had the emotional gut-punch of Inside Out 2, the delightful surprise of Transformers One, and now this, it looks like this could be the first year in a while where there is no clear animated frontrunner come awards season...and that excites me. 

Animation. Is. Cinema...

"Hercules" - Disney's Superman

A quick Google search just told me that I am far from the first person to talk about this, but I'm going to still go for it. Maybe I can add something new to the conversation, or at least reignite it.

Sometimes you really have to sit back and admire the pipeline of Disney Animation in the nineties. The studio went from a French fairy-tale (Beauty & The Beast), to an Arabian fairy-tale (Aladdin), to Shakespeare's Hamlet with talking lions (The Lion King), to a fictitious dramatization of American history (Pocahontas), to a family-friendly but somehow still-faithful adaptation of a Victor Hugo novel (The Hunchback of Notre Dame) and then...Hercules. What range.

What is Hercules? You're probably saying "Well obviously Chris, it's an adaptation of Greek mythology." and you would be right...in a way. As I learned long ago in my high school Mythology class, Disney's Hercules is an adaptation disconnected to its source material even more so then Hunchback...but maybe not as much as Pocahontas. Seriously there's "Pocahontas & John Smith are the same age and romantically involved" inaccurate, and then there's "Zeus is a loving and loyal father figure" inaccurate...also Hades wasn't evil, Hera wasn't Hercules's mother, Hera killed Meg and Hercules' children, Hercules was born a demigod first because Zeus slept with a mortal woman, there was no Phil, the protagonist's real name isn't even Hercules. It's Heracles, but I digress...

Alright so if Hercules isn't a Greek mythology film then what is it? Easy my friends. It's a superhero film.

Obviously the film is inarguably saturated with Greek mythology. I'm not trying to do this Disney-Adult version of gaslighting on you. But when you look at the story in its base form, Hercules has more align with a classic superhero origin story. Specifically one superhero origin story in particular.

That film being Richard Donner's 1978 film, Superman, starring the late Christopher Reeve. A film that has recently come back to the forefront of my mind, thanks to a recent screening of the documentary Super/Man: The Christopher Reeve Story I attended (Great film by the way. Reeve really was Superman. Bring tissues.) 

It's weird how the mind works sometimes. Listening to Christopher Reeve talk in the documentary, something inside me said "His voice has a similar cadence to Tate Donovan. I think if they ever did a biopic Tate Donovan might play a good Christopher Reeve." Then I remembered Tate Donovan voiced Hercules. As Kronk in The Emperor's New Groove would say "Oh yeah. It's all coming together..."

Hercules's story starts out almost identical to Superman's. He is the descendant of these beings from another world with godlike strength, and due to unfortunate circumstances, he is left alone as a baby on Earth, and lo and behold adopted by farmers.

When Hercules and Clark Kent both start to feel like outcasts due to their extraordinary abilities, they leave home searching answers. This leads Clark to the Fortress of Solitude, and for Hercules that is the Temple of Zeus. Whereas a projection of his late father Jor-El comes to Clark/Kal-El, a projection of Zeus comes to Hercules.

Both heroes start to gain fame and notoriety through public acts of heroism, and they're is a cynical, female love-interest there to witness it all (Megara for Hercules, Lois Lane for Superman). There's not much of a comparison between Lex Luthor and Hades (They do both have cartoonishly large maps of the worlds they wish to conquer though). If anything, I'd say Pain and Panic and Otis have more in common.

The true parallel comes in the final act(s). Megara lays dying as Hercules fights to save Olympus from Hades and The Titans. Lois Lane gets trapped in her car during an earthquake, as Superman works to prevent other natural disasters. Neither hero is able to save both the world and their love...or are they?

Both Hercules and Superman defy fate to save their loves. Hercules rescues Megara from the underworld, risking his own life. Superman goes against Jor-El's teachings, and uses his powers to turn back time and save Lois. This is a critical moment for both. Hercules learns that his heart, his humanity, is what makes him a true hero. Not his godlike powers. 

Conversely, Kal-El had been instructed by his father to only inspire humans, and not to interfere with them. He even says to his son that he will be like a light to them to show them the way, almost like a God. But when the woman he loves dies, Kal-El chooses humanity over divinity, and that is what makes him a true hero. And similar to how Kal-El continues to live among humans in the guise of Clark Kent, Hercules decides to remain on Earth with Megara, declaring it's where he belongs.

Maybe it's just a bizarre coincidence that Tate Donovan was cast as Hercules, and it wasn't because the directors were looking for a "Christopher Reeve-type" to voice the character. Maybe I'm the only one who hears the similarities in the two actors' voices. But it got me here. Down this rabbit hole. A place where many others have been before. The place where we all know Hercules is Disney's Superman.

...Maybe I should do those Top Films of 2022 & 2023 now...or just go to bed...

Film Review - "Transformers One"

If I had a nickel for every time a prequel to a long defunct franchise, which I cared very little for, ended up being the best film in the series, I'd have two nickels. Which isn't a lot, but it's weird that it happened twice, right?

Transformers One

Directed by Josh Cooley

Starring Chris Hemsworth, Brian Tyree Henry, and Scarlett Johnansson

To be clear, I haven't seen anything that says One is canon to Michael Bay's series of big-blow up Transformers films but hey, why not make the Phineas & Ferb, two-nickels joke when you can?

Transformers One takes us back to the planet of Cybertron, long before Optimus Prime became Optimus Prime, and Megatron became Megatron. Here they are buddies Orion Pax (Hemsworth) and D-16 (Henry),  who work in the Energon mines of the city of Iacon (All these names sound silly to me but I'm sure they're business as usual for you diehard fans). Pax is a rebellious, free-spirit with big dreams for himself and his home planet, while D-16 is more uptight and by-the-book.

One day the two friends come across a lost distress signal from The Primes, the long-lost Defenders of Cybertron. Together they, along with fellow miners Elita-1 (Johansson) and B-127/Bumblee (Keegan-Michael Key) go on a mission to the uncharted surface of the planet, uncovering information that will shape their future and change Cybertron forever.

This is a well-made prequel. The story beats may seem familiar but there's so much that makes this film *sigh* more than meets the eye (The first of two times I will make that joke). First of all, the relationship between Orion and D is incredibly fleshed out. Their best friends-from-work-turned brothers relationship is the core of the film and it might not have worked if the script didn't give it the proper attention. Hemsworth and Henry also have great chemistry and completely...(I am so sorry)...transform into their respective roles.

I never knew that Transformers had so much lore, and I understand that it all sounds like very silly, almost cliche', science-fiction to the uninitiated. It did to me writing just the first few paragraphs of this review, and I've already watched the film. But One does a great job of initiating new fans into this world while also giving longtime fans plenty to enjoy. Never does the script get lost in exposition. It's short, simple, and sweet...as is the whole film, which barely clocks in under two hours.

The animation is very sleek and eye-catching. The environments aren't groundbreaking but they're perfect for a Transformers film. The world the animators built just works. Additionally, the lighting in some particular shots is very impressive. However, what really stands out is the animation of the characters, or I'll say the main characters. They're so colorful and vibrant. They look like robots but their faces are so expressive and human. These are qualities I feel like get lost in the translation to live action in the other films. A lot of the background characters and extras just fall into "generic robot" category.

(Author's Note: I feel like there were some Easter Egg appearances of other Transformer characters I didn't pick up on, because I know next to nothing about this franchise. But there were some shots that felt like "Yeah...thats somebody noteworthy.")

The voice cast is superb, many who are no strangers to animation. Hemsworth does great at making Orion Pax his own without impersonating Peter Cullen. It is very much Hemsworth's voice that you will hear but  there's a lot of passion and energy in his performance. The same goes for Brian Tyree Henry as D-16. Henry has that natural "big bro" voice and cadence about him, but he seamlessly juggles his performance between the light and the dark, as D-16 goes down a sinister path. Keegan-Micheal Key is delightful as Bumblee. He doesn't go over the top with his comedy, although some jokes run on too long. Scarlett Johansson is sweet and sassy as Elita-1, and has natural chemistry with her fellow Marvel alumnus Chris Hemsworth. Jon Hamm is a standout as Sentinel Prime, and Laurence Fishburne is giving his best Lauren Fishburne as Alpha Trion.

Last thing I want to say is that film has guts. What do I mean by that? It has the guts to go dark, to not undercut serious moments with jokes, and to stay unapologetically true to its source material. These are things I just feel like we don't see much of in film adaptations of popular franchises, or animated films in general.

Transformers One did something I never thought possible. It got me to care about Transformers. This is a well-crafted, well-acted, well-animated prequel, that fans old and new can enjoy. I know a lot of people love to see life-size Transformers fight it out and destroy Chicago or whatever city the Bay films take place in, and I'm sure there are many people that would dismiss this film as inferior to them because it's animated. Regardless of the medium, what One does that sets it above those other films is that it puts. Story. First. At the heart of this film is a story of two friends, brothers, fated to become enemies.

Yeah on the surface, it's a film about alien robots that can become muscle cars, but trust me...it's more than meets the eye. Publish Review.

Film Review - "Deadpool & Wolverine"

Deadpool & Wolverine

Directed by Shawn Levy

Starring Ryan Reynolds, Hugh Jackman, and Emma Corrin

Deadpool has returned and he's come to save The MCU...not really though.

Deadpool & Wolverine is, quite unexpectedly, not a grand celebration of The Merc with a Mouth's entrance into the larger than life franchise, that arguably, could use a shot of Super-Solider Serum to get back on its feet. No, Deadpool & Wolverine actually is a surprisingly fun and touching buddy-adventure that earnestly pays tribute to a series of films, again, that arguably, deserve a lot more recognition than they get.

Wade Wilson (Reynolds) has fallen into a bit of a midlife crisis. He no longer suits up as Deadpool, and he desperately wishes to find meaning in his life again. On his birthday, he is whisked away to the headquarters of the Time Variance Authority, (The TVA, from Loki!) and meets Agent Paradox (Matthew Macfadyen) who offers him a place on The Sacred Timeline (aka The MCU).

It's not all puppies and NSYNC dance parties for Wade however, when he discovers his universe and many others are in jeopardy. He recruits a very disgruntled and very reluctant variant of James "Logan" Howlett aka The Wolverine (Jackman) in his quest to save his world. Along the way, they run afoul of Cassandra Nova (Corrin), the twin sister of Charles Xavier.

Much like the last two Deadpool films, this one gets raunchy, rambunctious, and surprisingly heartfelt. Yes the goal of our heroes is to "save the universe" but their journey is very much a personal one. Themes of self-worth, how we see each other vs how others see us are quite cleverly interwoven throughout the narrative. Wolverine has always been such a rich character on screen, but Deadpool's journey in this film I think is truly special. Am I reading too much into a superhero comedy? Maybe, but stay tuned for the video essay.

As mentioned earlier, this is not a "Welcome To The MCU, Deadpool" Party. No doubt you all remember when Disney bought 20th Century Fox a few years ago. Through that purchase, Marvel got the theatrical rights back to many characters they had once sold off, such as X-Men, Fantastic Four, and Deadpool. For many years Fox made a lot of Marvel films on their own featuring these characters in a clunky, fluctuating in quality, universe. Avoiding all the spoilers, but Deadpool & Wolverine pays sincere tribute to this era of superhero films, and in a way, this film is its swan song. There are plenty of cameos and moments that will garner cheers and applause from longtime fans, but it never comes off like cheap fan-service, akin to 

dangling shiny keys in front of a baby. The film also gets delightfully meta in its commentary, but again, maybe I'm reading too much into it.

Both Reynolds and Jackman slip perfectly back into their roles. Reynolds was born to be Deadpool. What else is there to say? Jackman, who quite notably ended his tenure as Wolverine in 2017's Logan, gives it his all (Again this is a variant of Wolverine so Logan's ending is not undercut). There is so much passion in his performance here, he could've easily phoned it in considering he was well and truly done, but he delivers. The two of them also have amazing chemistry. It's so amazing to finally see them onscreen together (properly). The film would not work so well if not for these two.

Emma Corrin is delightfully wicked as Cassandra Nova. They give off huge Hela in Thor: Ragnarok vibes. However much like Hela, her character motivations are rather thin. Still, another enjoyable MCU villain. Matthew Macfadyen gives a fine performance as Paradox and he has some funny back and forth with Reynolds. Most of the supporting characters from the Deadpool films return but none of them get to shine quite like Rob Delaney's Peter. There are plenty of other performances I could talk about in this film but again, avoiding spoilers...

The action in the film is pretty good, but only one or two fight sequences really stick out after viewing the film. One between Deadpool and Wolverine mid-film is probably the best one, and the opening sequence is iconic. There's nothing really striking as far as visuals, but this isn't Eternals, and a majority of the film takes place in The Void (Where The TVA drops all the junk from discarded timelines) so what are you gonna do. The soundtrack is wild and eclectic as one would expect from previous Deadpool films, but did anyone else get Guardians vibes here?

This review is pretty barebones, because honestly much of the joy of Deadpool & Wolverine comes from witnessing it for yourself. Do yourself a favor and go see it in a big, crowded theater. It's a really fun film with plenty of moments to make you laugh and smile. Probably the most fun a superhero film has been since...maybe Deadpool 2? It's great to have Reynolds as Deadpool back on the big screen, and it's great to see Jackman as Wolverine again. But Disney don't listen to them. Don't make them do this until they're 90.

(See how I didn't scream THE MCU IS BACK? Let's keep our expectations calibrated going forward, people.)

Film Review - "A Quiet Place: Day One"

A Quiet Place: Day One

Directed by Michael Sarnoski

Starring Lupita Nyong'o, Joseph Quinn, and Alex Wolfff

I may not be a big horror film fan, but I have loved the A Quiet Place series. A unique premise combined with heartfelt storytelling and compelling characters make these films easily stand out in the genre. A prequel showing us the day "the world went quiet" could be considered unnecessary, particularly when you remember Part 2 gave us a good glimpse into that. A Quiet Place: Day One doesn't bring a lot of new material to the table, but don't let that dissuade you. It's a more than worthy prequel that delivers the same quality filmmaking you'd expect from the series while still leaving its own emotional impact. 

Sam (Nyong'o) is a terminally-ill cancer patient living in hospice. The day she reluctantly joins a group-outing in Manhattan is the day those terrifying monsters with exemplary hearing crash-land on Earth and begin terrorizing the population. 

While those that survive the initial attack shelter in silence and await military extraction, Sam makes a personal pilgrimage to Harlem for reasons I will not share here. Along the way she meets a distressed young man named Eric (Quinn) who she reluctantly allows to join her. Oh and there's also Sam's cat Frodo who you're either gonna love or hate because this is the luckiest, most chill cat in apocalypse-movie history.

(Wait...Sam...Frodo...son of a-)

Again, Day One doesn't add much to the lore of the franchise. It's still people trying to stay as silent as possible to survive, getting from one place to another. I will say though that Day One enforces the foundation the first two films laid out, specifically in how the inhabitants of this world will come to combat the monsters. There's no outright moment where someone goes "Oh you know what...we should shut up." but there's little clever moments here and there where you see how the world got from A to B.

But it's interesting to see how different characters in different environments and under different circumstances react to all this. Sam and Eric are not as fleshed out as the Krasinski-I mean Abbott Family in the first two films, frankly their motivations are little thin, but Nyong'o and Quinn's great performances help us to connect with the characters. Both of them are great at conveying so much with saying so little. Nyong'o arguably gives one of her best performances just on the fact alone. She's so expressive and so emotional. She lays it all out there on the screen for the viewer. I only watched the first season of Stranger Things, but I like this Joseph Quinn guy. He threads the line between charming and vulnerable very well. It's also nice to see Djimon Hounsou again, providing a nice connection to Part 2, although he doesn't do too much.

Once again the use of sound in a Quiet Place film does not disappoint. Simple, mundane noises like the crunching of concrete beneath sneakers, or the dropping of a briefcase, hit the ears like a tone of bricks. Not just because of the sound editing but because the films have conditioned us to know that silence is golden.

I don't think I've ever praised a Quiet Place film for its music, but the soundtrack in this one resonates just a bit more. The piano plays a significant part in Sam's backstory, and its use in the score help strike an emotional chord (Heh.) Also, this film features one of my absolute favorite needle-drop moments in cinematic history. You'll know it when you see it.

A Quiet Place: Day One is a delightful prequel that lives up to its predecessors. It may not be as suspenseful or as groundbreaking, but it's got heart, and it's got thrills. It's part I Am Legend, and part Seeking A Friend for The End of the World. A true summer blockbuster in an age where blockbusters are fighting to survive.

Speaking of fighting to survive, there's no way I would stay alive in these movies. I mean, with my seasonal allergies, and the way I sneeze? God help me...