Deadpool 2
Dir: David Leitch
2018
****
There was much talk following 2016’s Deadpool about how they should approach a sequel. Deadpool 2 was actually green-lit a couple of days before the first film was released but months later director/producer/co-writer Tim Miller left the film stating creative differences. Many speculated that it was Ryan Reynolds that was the problem, with the actor given more say and creative control, but the media and fanboys do need to calm down a bit, film makers can disagree and still remain on good terms. I dare say Miller left for his own integrity and it is often best for the project and everyone involved when someone who disagrees with the direction of story steps aside. It’s sometimes knowing when to leave that makes a good film maker. Miller later stated that he didn’t want the film to get bigger as is the case with most superhero sequels and that he wanted the follow up to retain the same DNA as the first. Fine. It’s a little odd though, because while Deadpool 2 may have more elements to it, its very much the same Deadpool from the first film and still true to the comic book origins. There was worry that the introduction of X-Force would overshadow the film’s main character but this isn’t at all the case, in fact, this worry is immediately addressed in full on Deadpool fashion. No one like a an actor who gets too big for their boots either but Ryan Reynolds/Deadpool are a different kettle of fish, it’s the perfect marriage, and when you hear that Miller left in the end because he wanted Kyle Chandler to play Cable while Reynolds’ overruled him to chose Josh Brolin, then I can’t help but side with Reynolds. I didn’t think much of Atomic Blonde but new director David Leitch has proven his worth as a 2nd unit director and as the uncredited director of the great John Wick. He does a great job with Deadpool 2, capturing many of the action scenes in the same vein as the comics while adding an extra level of comedy action. The film didn’t come without its problems, after Tim Miller left, actor T.J. Miller received Sexual misconduct allegations and seem to go off the rails somewhat and was later arrested for calling police with a false bomb threat. There were calls for him to be removed from the film but editing had already begun and re-shoots would have been impossible. The biggest tragedy was the death of stunt-women Joi Harris who died as a result of a motorcycle crash. Harris was not wearing a helmet because the character she was portraying, Domino, does not wear one in the scene, and there had not been time since she joined the film to create one for her to fit underneath the Domino wig. Veteran stunt double Melissa Stubbs had been available and willing to do the stunt, but the inexperienced Harris was preferred due to her skin color being a match for actor Zazie Beetz. This decision was criticized by multiple stunt professionals, with many noting that Harris' experiences racing motorcycles did not necessarily qualify her as an able stunt performer. This is unforgivable and everyone involved should be duly punished. It’s just a film, no one should die making it and for this reason I wouldn’t be upset if the film failed. It won’t because it is great and it wouldn’t be fair on those that had nothing to do with the accident but it doesn’t sit well. However, I will continue with the review of the film. It is not a carbon copy of the first. The plot is completely different and now that the character is established, the writers have come up with a clever and exciting scenario that is original and gives fans old and new, exactly what they want as well as a few treats they didn’t even know they wanted. Deadpool's abilities are explored to great creative effect and the pop culture references keep coming thick and fast. His digs at both Marvel, Sony and DC are direct and on point, although this time Sony do good by him and gives the audience some unexpected pleasures. The forth wall is broken many times, indeed, the forth wall is broken within the forth wall, without it ever seeming as complicated as it sounds. The introduction of X-Force could have been awful but the way they handled it was superb and incredibly funny. Brolin was the perfect Cable and Zazie Beetz’s version of Domino is far more interesting and likable than the Domino of the comics. Negasonic Teenage Warhead and Colossus return from the first film and I still can’t get over how close Brianna Hildebrand looks to the Negasonic Teenage Warhead of the comics. They are joined by other established characters such as Bedlam, Shatterstar, Zeitgeist and Vanisher, who are all shown up for the floored characters they are. Juggernaut was a particularly impressive addition to the line up but I’m shocked there were no Vinnie Jones references. A new comer to the team was Peter, a normal guy who just wants to get involved. Peter steals the show somewhat in a way that no one else could other than in a Deadpool film. It was great to see Julian Dennison again following Hunt for the Wilder People as Russell "Hot Stuff" Collins, aka Firefist. His characters addition to the story made a lot of sense and I’m glad it wasn’t all just about revenge. I wasn’t too keen on the dream-like elements of the film each time Deadpool nearly dies but I expect them to make fun of this in Deadpool 3. The film is worth seeing for the mid-credit scenes alone to see Deadpool go through time and correct his and Ryan Reynolds mistakes of the past. It is more of the same (what we all want from Deadpool) with a few new ideas thrown in for good measure. The possibilities remain endless for Deadpool and I hope they keep them coming, because as tired as I am of X-Men and as brilliant as the MCU is, it’s good to have Deadpool somewhere in the middle causing trouble.

Atomic Blonde

Dir: David Leitch

2017

**

Atomic Blonde is extremely stylish. It really does look the business, with lots of fancy fight choreography, stunning visuals and great composition. It captures the neon-lit style of the late 80s rather wonderfully, indeed, it made me feel all nostalgic and the choice 80s tunes were brilliant. However, it is very much a case of style over content and I’m afraid the visuals weren’t enough for the film to rest on. The fight scenes were very impressive but they weren’t enough, and they soon became rather samey. I’ve read several critics congratulate the film for its remarkable editing but personally I could tell the action scenes weren’t all one take as they jolted backwards and forwards to a giddying degree, so much so, that I actually felt it uncomfortable to watch at times. It says it’s based on the 2012 graphic novel The Coldest City by Antony Johnston and Sam Hart but it is very different and only really shares the basics of the overall plot. The truth is, Charlize Theron wanted to do an action film in the vein of John Wick and thought that the graphic novel’s story would lend itself to it successfully. She bagged John Wick co-director David Leitch, copied all of John Wick’s choreography and visual flare, and even trained alongside Keanu Reeves as he prepared for John Wick 2. The finished film is nothing like John Wick, indeed, John Wick is much better, instead, it’s like a sickly-neon action version of Tinker, Tailor, Solder, Spy – something I’m not sure anyone really wanted. It’s hardly a film ‘based on a graphic novel’ in the classic sense, these days it sounds good and gives people an idea of what they can expect. Truth is, the film is full of false promise. I like Charlize Theron very much, she can certainly do action competently, but I don’t think it is where she excels. She can certainly kick ass but I’m afraid the quieter scenes are a bit laughable and she often forgets she is playing a British spy and often slips into her normal American accent. Theron’s original character isn’t bi-sexual in the novel but she does have a sex scene with a female French Spy (Sofia Boutella) in the film. I believe there needs to be more representation on film, but only when the film benefits from it. Any sex scene, whether it be man and woman, man and man or woman and woman, has to have a point to it – here it is pure titillation. Nothing new there but everyone involved sound really proud of it, like they’ve done something profoundly good, which is really a load of nonsense. You see, James McAvoy stated in an interview that he read up on post-World War II MI6 recruits to get into character and discovered that many of them were functioning alcoholics, drug addicts and gay men because they had usable experience in holding a big secret. McAvoy, who played a double agent, requested his character be a bit of a druggie and homosexual. The producers said yes to the druggie but no to the gay, stating that Theron’s character was already gay and they couldn’t possibly have to homosexuals in one film. It’s pure titillation, which is fine, as long as they don’t pretend it is anything but. The film has no integrity, no originality and absolutely no charm at all. It looks cool as hell, but strobe lighting is no good for when you want to read. It’s a one trick pony, and to be honest, that one trick gets tired quickly. The characters had no development behind them, McAvoy did well considering but at the end of the day none of the characters had any mystery to them and nor did I care what they did, who they really were or if they lived or died. The flashback narrative was a weak plot structure and the final twist is probably the most underwhelming twist I have ever seen. Seriously, I think I’d rather just watch a neon light and listen to Depeche Mode instead of watch this again, or the inevitable sequel.