SYNOPSIS: Six years after the events of “Deadpool 2” comes “Deadpool & Wolverine,” a new superhero movie starring Ryan Reynolds and Hugh Jackman, and now playing in theatres.
Now working as a used car salesman, Wade Wilson (Reynolds) has retired his wisecracking mercenary Deadpool persona. His life is up-ended when the Time Variance Authority (TVA) enlists him to undertake a new mission with another reluctant superhero Wolverine (Jackman).
“Wade, you are special,” says TVA agent Mr. Paradox (Macfadyen). “This is your chance to be a hero among heroes.”
CAST: Ryan Reynolds, Hugh Jackman, Rhett Reese, Emma Corrin, Matthew Macfadyen, Paul Wernick, Zeb Wells. Directed by Shawn Levy.
REVIEW: If the word bombastic took steroids it might come close to describing the R-rated “Deadpool & Wolverine.” Vulgar, gory with a “whiff of necrophilia” and irreverence to burn, it’s a showcase for the bromance stylings of its stars, who pull out all the stops to lovingly put a cap on Fox’s Marvel movies. “Disney bought Fox,” Deadpool explains, “[so there’s] that whole boring rights issue.”
At the film’s start, it takes some doing to explain Wolverine/Logan’s return from the dead—“Nothing will bring you back to life faster than a big bag of Marvel cash,” Deadpool says to Wolverine’s remains.—but once that convoluted (but action-packed) set-up is out of the way, the film barrels through plot with both fists flailing.
Before, during and after the big, bloody action sequences the movie cheekily blurs the line between on-screen and off-screen life. Deadpool obnoxiously calls Logan “Hugh,” and even takes a jab at jackman’s recent divorce. Later he leeringly mentions “Gossip Girl,” the show that made Reynolds’s wife, Blake Lively, famous.
That fourth-wall-breaking riffing suits Reynolds’s trademark delivery, and sets the self-aware “Deadpool” movies apart from other superhero films. ““Fox killed him,” Deadpool says of Wolverine. “Disney brought him back. They’re gonna make him do this till he’s 90!”
Humor has a place in the Marvel Cinematic Universe (MCU), in Tony Stark’s one-liners, in Taika Waititi era “Thor” movies and “Guardians of the Galaxy” to name a handful of examples, but none of those subversively poke fun at superhero movies and themselves in the way “Deadpool & Wolverine” does. What other MCU movie would self-deprecatingly admit that the characters are entering the multiverse “at a bit of a low point”?
Jackman mostly plays it straight, acting as a soundboard for “the Merc with the Mouth’s” one liners. Filled with regret over past events, the self-loathing Wolverine is a hard drinking mutant, in full comic book costume, who reluctantly embraces heroism.
Wolverine provides the story’s heart as a counterpoint to Deadpool’s constant quipping.
Both characters may be physically indestructible, but their psyches aren’t. Both are tortured, and when the movie isn’t gushing blood or cracking wise, it’s about lost souls and their search for redemption. That story chord is a grace note that often gets lost amid the film’s cacophonic action, but is a welcome relief from the constant clatter.
A love letter to the now by-gone Fox era of superhero films, “Deadpool & Wolverine” ushers in a new epoch overstuffed with overkill, cameos, Easter eggs, juvenile humour and a villain who reads minds by thrusting their fingers into their victim’s heads. It’s fun fan service, and a good time at the movies, even if the experience of watching it sometimes feels like being on the inside of a blender set to puree.
SYNOPSIS: Until a guy got in the way, college friends Lou (Susan Sarandon), Marilyn (Bette Midler), Alice (Megan Mullally) and Kitty (Sheryl Lee Ralph) were inseparable, but when Marilyn scooped up one of Lou’s crushes, they stopped talking. Fifty years later, as Marilyn prepares to remarry in Key West, Alice and Kitty trick Lou into coming to the wedding. “We need to get the gang back together before we’re 500,” says Alice. But can the joys of sisterhood and a new marriage smooth over the hurt of a betrayal that dates back decades?
CAST: Susan Sarandon, Bette Midler, Megan Mullally, Sheryl Lee Ralph, Bruce Greenwood, Timothy V. Murphy, Michael Bolton. Directed by Jocelyn Moorhouse.
REVIEW: The stars of “The Fabulous Four” have earned a great deal of audience goodwill over the years. Between them, they have Oscars, Emmys, Grammys and who knows what else. But “The Fabulous Four” is the kind of excruciating experience that burns that goodwill into ashes.
Hackneyed and beyond predictable, “The Fabulous Four” aims to be a feel-good movie about friendship and the everlasting power of sisterhood but, is instead, a charmless exercise in cliché.
The Fab Four above-the-title-stars do what they can with the material, but no amount of goodwill or years of experience can breathe life into mom jokes like, “We’re the bridesmaids…” “You mean old maids,” the lame physical humor or the strangely lifeless Michael Bolton performance.
“The Fabulous Four” means well but is a less than fabulous film that doesn’t deliver the goods.
It seems to be an unwritten rule that the best superheroes are birthed from troubled family backstories. Bruce Wayne witnessed the brutal killing of his parents, Spider-Man was orphaned at an early age and Superman was exiled from his home planet of Krypton and never met his parents. The big screen adaptation of “Blue Beetle,” a DC superhero movie now playing in theatres, breaks with tradition. “My family? That’s what makes me strong,” says Jaime Reyes a.k.a. Blue Beetle.
When we first meet Reyes, played by “Cobra Kai” star Xolo Maridueña, he is an ambitious recent college grad on the hunt for a job. Back home in Palmera City his family is in financial trouble and Jaime wants to help out.
His job search puts him in contact with a sentient ancient alien relic known as the Scarab, which kind of looks like a fancy broach my mother may have worn in 1978. The powerful, parasitical piece of biotechnology chooses Jaime as its symbiotic host, transforming the young man into the superhero Blue Beetle. Grafted together, Jaime and the Scarab now possess a glowing armor-clad blue suit and powerhouse abilities like flying through space, the manifestation of weapons and more.
“The universe has sent you a gift,” says Uncle Rudy Reyes (George Lopez), “and you have to figure out what to do with it. Maybe this time we get our own superhero.”
Trouble is, Jaime doesn’t want to be a superhero, despite being chosen by the Scarab. “How do we get it to un-choose me?” he asks.
Victoria Kord (Susan Sarandon), the super villainous CEO of Kord Industries, understands the power of the Scarab and Jaime’s Blue Beetle, and knows how to take control of it. “Target the [Reyes] family!” she says.
“Blue Beetle” makes history as the first Latino DC superhero to lead a film, but the freshness that comes along with that is overwhelmed by the usual superhero dross. The emphasis on family gives the movie a nice vibe that sets it apart from other DC movies, but the strength Jaime garners from his family and culture does not strengthen the plot as a whole. It still a superhero origin story. That means it comes weighted down with details, exposition and the usual getting’ to know you, getting’ to know all about you, tropes.
It does attempt to go deep with subplots about marginalization, resistance and even a little body horror woven into the story, but again, those elements are overshadowed by the accompanying bombast.
Maridueña cuts a swathe through the CGI noise and fight scenes with considerable charm and kind of an “aw-shucks” sensibility that grounds his high-flying character. As the comic relief, Lopez gets a few laughs and Sarandon is deliciously amoral as the billionaire villain, but this is Maridueña’s show.
Culturally “Blue Beetle” breaks ground in its depiction of Latino culture but as a superhero movie, it is the same old.
“Blackbird,” the new Susan Sarandon end-of-life drama now on VOD, is a remake of the 2014 Danish film “Silent Heart.” Equal parts heartbreaking and humorous, it’s a movie whose humanity is first and foremost.
Sarandon is Lily, a vey sick woman whose body has betrayed her. Her long battle with ALS has taken the use of one of her arms and she struggles to maintain her dignity in the face of ever declining health. A self-diagnosed A-type personality, Lily has made the decision to end her life on her own terms. With her husband Paul (Sam Neill) she has arranged one last weekend with the family, a celebration of life complete with holiday traditions.
In attendance are daughters Jennifer (Kate Winslet) and Anna (Mia Wasikowska), their significant others, husband Michael (Rainn Wilson) and girlfriend Chris (Bex Taylor-Klaus), grandson Jonathan (Anson Boon) and Lily’s lifelong friend Liz (Lindsay Duncan).
Lily has found a sense of comfort in her decision, but as the fateful time nears, unresolved issues arise as the children reveal they may not be accepting of her choice.
“Blackbird” is an end-of-life drama, bold in its presentation of delicate matters, that never dips into soap-opera sentimentality. With sensitivity and unexpected humor director Roger Michell transcends the disease-of-the-week genre, staging intricate scenes that allow for drama and discourse.
A Christmas dinner scene, for example, begins as a lighthearted gathering. It’s funny, warm, even romantic but deepens into something else as Lily gifts some of her prized possessions to family members. “I haven’t taken this bracelet off in 22 years,” she says, passing it along to her daughter. “I’ve never taken this wedding ring off.” It could have dipped into melodrama but Sarandon, in a tremendous performance, never allows the scene to become maudlin. It’s incredibly sad and for the members of her family, and for the viewer, it’s the moment when Lily’s decision to say goodbye becomes heartbreakingly real.
All the action in “Blackbird” happens inside Lily and Paul’s beautiful home, a powerful architectural presence that almost becomes a character on its own. On the downside the limited setting gives the movie a stagey feeling, as though we’re watching an elaborate play instead of a movie.
The lack of backgrounds, however, helps focus on the issue at hand. “Blackbird” doesn’t debate the ethics of assisted suicide or wallow in any sort of moral quandary. Instead, it celebrates life in all its multi-faceted and messy glory as the characters approach Lily’s end of life in their own, unique ways.
In its examination of the end-of-life “Blackbird” packs an emotional punch, illuminating not only Lily’s end but the entirety of a precious life well lived.
Richard hosted the TIFF press conference for the Susan Sarandon drama “Blackbird.” The story of a dying mother assembles her family to spend a final weekend together before she ends her life was directed by Roger Michell and co-stars Sam Neill, Rainn Wilson and was produced by Sherryl Clark.
“It’s an individual choice and it should be legal and controlled, and there are very, very strict perimeters around… talking to doctors,” Sarandon said at the press conference. “It’s not just ending your life but being able to end your life with dignity and without pain, and I think anybody that has had a family member that has really suffered is very, very much interested and pro having that choice.”
From left to right: Producer Sherryl Clark, Rainn Wilson, Susan Sarandon, Sam Neill and director Roger Michell.
The new animated film Spark: A Space Tail boasts an a-list cast, actors who haven’t done a lot of kid’s films. In an e-mail conversation with Susan Sarandon, whose voice appears alongside Patrick Stewart, Jessica Biel and Hilary Swank, the Dead Man Walking star says she took the role because, “I’ve never played a robot before.”
In the Canada-South Korea co-production she plays Bananny, the automaton nanny for the teen chimp Spark. He’s an ape and her name is a play on the word banana, the preferred simian snack. It’s that kind of movie. Once the prince of a planet of the apes called Bana (banana without the “na,” get it?), Spark lives on a tiny slice of his former home, one of many planetary bits blown into space thirteen years ago following a coup by the Napoleon-esque Zhong.
The actress, who recently won raves playing Bette Davis on the decidedly-not-for-children hit television series Feud, says the best kid’s flicks are movies, “both adults and kids can enjoy simultaneously and [ones that don’t] patronize the children. Real emotion. When the kids save the day.”
Without giving away too much, the new film stays close to the Thelma and Louise actress’ ethos. The movie draws from Star Wars, WALL-E and just about every other adolescent-in-space movie where the young’uns are the unexpected heroes.
Spark lives with former royal guard members, Vix and Chunk, warriors whose job is to protect, train and prepare Spark for his destiny—the recapture of the kingdom. He’s an underdog kids will identify with.
As a child the Oscar winner was drawn to movies with strong central characters. Her favourites included The Boy With the Green Hair, an anti-bullying movie starring Dean Stockwell and Bambi, the Disney classic about strength in the face of extreme adversity.
Sarandon, whose previous voice work includes decidedly adult entries like the female outlaw story Cassius and Clay, the comedy Hell and Back, about two friends whop must rescue a friend accidentally dragged to Hades, and kid’s flicks like the fantasy James and the Giant Peach and Rugrats in Paris: The Movie, says the animated films she gets offered differ from live action, particularly in the realm of kid’s entertainment. Children’s animated films more primal, basic, she says. “Animation allows for more fantastical stories without being too real or scary.”
Children’s animation, with no-holds-barred visuals and wild stories, she asserts, are good for kids but ultimately she takes an old school position on the significance of cartoons in the development of a child’s imagination.
“I think books are the most important, but animation tackles a lot of social interaction, so it’s really important to make sure that the moral of the story is a good, positive one.”
I hate puns and I especially hate punny titles. Imagine taking the time to read “the Long Quiche Goodbye: A Cheese Shop Mystery” or a thriller called “Doppelgangster.” The mind reels. As such, my expectations for the animated outer space monkey movie “Spark: A Space Tail” were not high. Sadly, my expectations were met.
Once the prince of a planet of the apes called Bana (banana without the “na”), Spark (voice of Jace Norman) is a teenage chimp living on a tiny slice of his former planet, one of many blown into space thirteen years ago following a coup by the Napoleon-esque Zhong (voice of Alan C. Peterson). Spark lives with robot caretaker Bananny (voice of Susan Sarandon) and former royal guard members, Vix (voice of Jessica Biel) and Chunk (voice of Rob deLeeuw), warriors whose job is to protect, train and prepare Spark for his destiny—the recapture of the kingdom. Key to Zhong’s defeat is the Galactic Kraken, a beast whose harnessed power may be the most powerful weapon history has ever known.
An air of déjà vu hangs heavy over “Spark: A Space Tail.” Anyone over the age of four will immediately recognize story elements lightly lifted from “Star Wars,” “WALL-E” and just about any other adolescent in space movie that came before. Most of the borrowed concepts were good ideas the first, second or even third time around but feel a bit been-there-done-that here.
But it’s not just the story that feels shopworn. Space underdog stories will always find some kind of audience but other than a couple of effective scenes of interplanetary dodge ball the animation here is as unattractive as it gets. Not only is “Spark: A Space Tail” saddled with a story that would have been quite at home in an early nineties direct to video release, but it has animation to match. The a-lister cast—including Sarandon, Patrick Stewart and Hilary Swank among others—cannot compensate for visuals that redefine the word generic.
Unfortunately the punny title may be the best thing about “Spark: A Space Tail.”
“My Entire High School Sinking Into the Sea” is an audacious animated film from graphic novelist Dash Shaw that has been described as, “John Hughes fused with The Poseidon Adventure.” That’s not far off the mark. It’s a bravura, bizarro-land high school disaster flick, unlike anything else you’re likely to see this year.
Animated using a colourful hodgepodge of drawings, paintings and collage, it’s the strange story of sophomores Dash (voice of Jason Schwartzman) and his best friend Assaf (voice of Reggie Watts), writers for the newspaper at Tides High School. A wedge is pushed between the junior Woodward and Bernsteins when editor Verti (voice of Maya Rudolph) offers Assaf solo assignments. To even the score Dash writes a fictitious story about his former friend’s erectile dysfunction. He is suspended and when he uncovers an actual story—their school isn’t built to code—no one will believe him.
No one, that is, until an earthquake strikes, toppling the school into the Pacific trapping everyone inside. Racing to escape the crumbling building Dash and Assaf plus a crafty lunch lady (Susan Sarandon) and school-know-it-all Mary (Lena Dunham), must battle sharks, jellyfish, senior gangs, electrocution and more.
“My Entire High School Sinking Into the Sea” startles with its originality. Visually it’s an eye-bending exercise in collage while the script’s dry wit and explorations of high school hierarchy are bang on the money. High school is about a balance of power and how better to test friendships and power dynamics than to throw everyone into a potentially life threatening situation?
“The Meddler,” a new Susan Sarandon movie, has a lot in common with its main character. Like the overbearing mother she plays in the film, the movie is frequently kind and sweet but also often exasperating.
Sarandon is Marnie Minervini, the recently widowed mother of a newly single daughter Lori (Rose Byrne). After the death of her beloved husband Joey Marnie moves across country from New Jersey to Los Angeles to be closer to her screenwriting daughter. She’s the kind of mom who drops by unexpectedly, who makes an appointment with her daughter’s therapist to snoop on her life (“Call me and remind me to tell you what your therapist said.”) and constantly mentions Lori’s former flame, actor Jacob (Jason Ritter). When Lori suggests Marni get a hobby, mom, not-so-helpfully says, “Maybe you could be my hobby.”
Fed up, Rose takes a job in New York, leaving her mom with the words, “I need to get a life of my own and so do you.” Marnie replaces her late husband and absent daughter with Apple Store employee Freddy (Jerrod Carmichael) and friend-of-a-friend Jillian (Cecily Strong), strangers she wins over with kindness and money. Blind to the fact that she can’t move on with her own life until she stops meddling in the lives of others, she almost pushes away Zipper, a charming ex-cop played by J.K. Simmons.
“The Meddler” is Sarandon’s movie. She is in virtually every frame and when she isn’t on camera her presence is felt. She hands in an amiably comedic performance— occasionally touching, occasionally frustrating—that makes the most of the script. The story is more a star showcase than a revealing look at mother-daughter relationships. MucThe Rainbow Kid, h is said, but nothing is revealed. Sarandon paints a flamboyant picture of a woman adjusting to a new kind of life, complete with a few crowd-pleasing laughs and a hankie moment or two, but this is an agreeable paint-by-numbers look at family relations, not a finely etched masterpiece.
