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2010 Best Movie Bracket

There were a tremendous number of innovative and well crafted movies in 2010. This made it very hard for me to decide on my top movie for this year. A lot of the the critics that I really respect pick a ton of independent films that only 20% of film-goers have even really had the opportunity to see. I tend to watch more populist films or independent films that get a fair amount of press. As I have already expressed, I am only picking from movies that I have seen, so I had to pass over films like Never Let Me Go, or A Prophet.

Even without those films, and not counting the three that I finally chose, we still had Inception, Black SwanExit Through The Gift Shop, DogtoothTrue Grit, Scott Pilgrim vs. The World, Meek’s Cutoff, and Winter’s Bone. Yes, you heard that correctly, I am not including Inception in my top three. It is certainly a good film and I would consider it part of my top 10 of the year, but it had some big problems that I couldn’t get past. Christopher Nolan wants us to see this as his greatest achievement, and while it is gorgeous and very intricately crafted I wish he didn’t feel the need to explain everything so explicitly and the fact that we don’t get much character development.

As far as the box office for the year, it looks like this year is lining up to be very similar to 2010. Five of the top ten highest grossing films of the year were animated, six if you include Alice in Wonderland, and many of them were very good, but I think that as we march backwards through time we will see the chasm between a film’s financial success and visionary prowess shrink. So let’s see the three films that I put on the top of the heap.

3rd – The King’s Speech

Tom Hooper’s historical feature The King’s Speech was the big winner at the Oscars celebrating the films of 2010. It won 4 Oscars including Best Picture, Best Director, and Best Actor for Colin Firth who gave a fantastic central performance as a man with a crippling handicap who just happened to be Britain’s King George VI. The central relationship between Firth and Geoffrey Rush who plays his unorthodox speech therapist is filled with a wry and self-effacing sense of humor.

It’s a pleasure to watch Firth bring a heavy tension and frustration to his role as a man who cannot find his voice who has been thrust into the role of the voice of all of England. Firth begins the film by stepping up to a microphone as if he is stepping into a hangman’s noose. After a series of failed attempts with vocal coaches, his wife Elizabeth (Helena Bonham Carter) pairs him with the unconventional Rush who insists on calling the budding monarch “Bertie” and treating him as an equal. Eventually, Firth unbends under Rush’s calm, unforgiving style and unwavering good humor. Firth’s agony and this rich relationship makes this one a good candidate for the best of the year.

2nd – Toy Story 3

Toy Story 3 was the top grossing film of the year coming in almost $100 million above Alice in Wonderland. I often think about the reason why these animated films do so well at the box office. I think a huge part of it is because kids can’t go to the movies by themselves. So with every group of happy children there is at least one adult along for the ride. It is like a buy one get one deal in reverse where the theaters sell one ticket and get one more at full price for good measure. However, I think that with Toy Story 3, there may have been times when the kids were being dragged in by the parents who were hoping to catch a glimpse of the magic they saw years before.

In this third and what we thought would be final Toy Story movie, we see a bunch of toys desperately trying to force an 18-year-old to play with them the way he did a decade ago. Coming to the realization that he has moved on, they mourn and debate about their place as Andy’s toys. The Toy Story movies have always been about the joy of play, but never before has it seemed like such a drag to be a toy. The fate of most toys is probably a horror story if we think about it. Essentially, they are immortal beings whose only pleasure comes from entertaining fickle children who will quickly grow up to forget them, leaving them to be broken and discarded.

There were few grimmer movie moments in 2010 than the point where the toys face their deaths, and few more uplifting sequences than the film’s ending. It’s strange to speak of a kids’ film as challenging, moving, and heartfelt, but Pixar’s movies continue to be some of the most sophisticated and entertaining films that we see all year, bar none. They did it again this year with Finding Dory though maybe not to the extent of Toy Story 3.

1st – The Social Network

Writer Aaron Sorkin (West Wing, A Few Good Men) and director David Fincher (Se7en, Fight Club, Zodiac) make a movie about the contentious beginnings of Facebook, scored by Trent Reznor and Atticus Ross from metal band Nine Inch Nails. While that certainly sounds interesting and potentially exciting, it also sounds like it could be a bit of a mess. I remember thinking when I heard about the plans for this film that it had everything it needed to be great it just had to find a way to put all those things into one box.

That is what makes this movie is so audaciously impressive. Sorkin is famous for his extremely verbal dialogue. How could that exist alongside the visual stylings of a guy like Fincher? And what business do these guys have working on a Facebook biopic since their specialties seemed to be government corruption and cover-ups, murder, scandal, and social unrest? They made it work to amazing effect. Using the deposition recordings of two separate lawsuits against Facebook head Mark Zuckerberg  as an ingenious framing device,The Social Network traces the site’s origin in all its agonizing complexity.

Speaking of Zuckerberg, if you have seen this movie, the picture that you get in your head probably looks a good bit more like actor Jesse Eisenberg than the actual founder. Eisenberg was able to capture the innovation and youthful energy of Zuckerberg while also detailing his all too human flaws. We completely forget that this is a movie about recent events in the unfolding of the technological world and we are enthralled in this compelling story of a genius who is often petty and puerile but is also driven pathologically by the same thing that drives the 500 billion users of Facebook… the need to belong.

What do you think? Did I get it right? I’m actually going to put an asterisk on this one because I would like to potentially come back and add Toy Story 3 if I don’t use my four ties before the end.

Spielberg’s BFG (2016) Review

The BFG doesn’t waste any time getting us into the action. We are barely introduced to young Sophie (Ruby Barnhill) who is awake at 3am in her dilapidated London orphanage. After hearing a noise outside, she goes to the balcony and sees something amazing. She spots a giant around 30 feet tall shrouded with a cloak to keep himself hidden. As they meet eyes, she runs back inside to hide under her blanket, and we see a large hand come through the window. Less than 10 minutes into the movie, Sophie is already being whisked away to Giant Country where the giant tells her that he intends to keep her for the remainder of her life.

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Lucky for Sophie, the giant who snatched Sophie away is a Big Friendly Giant who sets off to Dream Country every night to collect dreams and spread them to households while bottling the nightmares away in his lab. He is indeed big, but as we soon learn, the other 9 giants are as much as twice as large as him and they aren’t so friendly. They eat humans, and children are some of their favorite snacks. With imaginative names like Meatdripper, Fleshlumpeater, Bloodbottler, and Gizzardgulper that could only be concocted by Dahl. I was disappointed that Mathison and Spielberg made these supposedly menacing creatures into giant ogres who pose dwarf-sized threats.

Continue reading Spielberg’s BFG (2016) Review

Finding Dory – So What Did You Think?

It’s been out for a week now and I know that a lot of you have seen it, so tell me what you thought.

Disney has released the latest Pixar movie, Finding Dory, the long-awaited sequel to Finding Nemo. The animated adventure brings back the blue tang named Dory, and her two clownfish friends Nemo and Marlin, for another trip across the ocean. The voice cast features Ellen DeGeneres, Albert Brooks, Ed O’Neill, Kaitlin Olson, Hayden Rolence, Ty Burrell, Diane Keaton, and Eugene Levy.

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So how is it? As good as Finding Nemo, or better? Did it make you cry? Once you’ve seen it, leave a comment with your own thoughts on Pixar’s Finding Dory.

Spoiler Warning: We strongly urge everyone to actually see the film before reading ahead, as there may be spoilers below. We also encourage all commenters to keep major spoilers from the film to a minimum, if possible. However, this is an open discussion from this point on! Beware of spoilers!

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To get the ball rolling… I loved Finding Dory. It’s entertaining, it’s inspiring, it’s emotional, and it has stunning animation. I totally loved Hank the Octopus, voiced by Ed O’Neill. His character was kind of amazing, at times the villain, others time the hero, and yet totally unique and such an integral part of the story. I could definitely see him getting his own septopod spinoff. I thought the final truck flip moment was the best in the movie. It all paid off perfectly and made me so happy because it was perfect. Another Pixar movie that I’m in love with.

Alright then… What did you think of Disney-Pixar’s Finding Dory movie? One of their best or not that good?

2015 – Best Movie Bracket

From start to finish, many of 2015’s biggest news stories were centered around violence and terror threats and they showed a general sense of fear. The year began with a targeted terror strike in Paris and closed out with another planned attack in San Bernandino, California, proving that threats around the globe remain an issue for all.

However, much of the world found a place of solace at the theater amidst the fear and violence. 2015 featured a variety of films that showed the triumph of the spirit in the face of adversity, bigotry, and evil. Movies like: Southpaw, The Good Dinosaur, Joy, The Hunger Games: Mockingjay, Room, Avengers: Age of Ultron, The Revenant, The Martian, Mad Max: Fury Road, Star Wars: The Force Awakens, and Inside Out.

As fun and epic as the continuations of Mad Max, Star Wars, and Avengers were, there was not enough to set them apart and leave a lasting legacy. Leonardo Dicaprio deserved an Oscar for what Innaritu put him through in The Revenant, but the movie itself though stark and piercing didn’t create the effect in viewers that you expect from the best. The Martian was alternatively hilarious and harrowing, and Room ripped my heart out and slowly put it back together again, but there were a lot of really good movies in 2015. I keep coming back to three films from the year that will have some staying power. Here are my top 3 films of the year. Continue reading 2015 – Best Movie Bracket

Weekend Outlook – Finding Dory and Central Intelligence

There is no doubt who will be the queen at this weekend’s box office. The only real question is whether Finding Dory will have the biggest opening ever for an animated film. Last year at Thanksgiving, Pixar’s The Good Dinosaur failed to make a significant impact on the box office, though it has had good numbers through in home mediums. This weekend though, Pixar will look to rebound in a big way with a sequel to one of their most successful films of all time. See this weekend’s offerings and my projections after the jump.

Continue reading Weekend Outlook – Finding Dory and Central Intelligence

Jungle Book Hits $900 Million

Although it isn’t the oldest or largest movie studio in the world, Disney has had no shortage of huge success stories as of late. The Mouse House, as it’s often affectionately known, has been steadily building its franchises over the years and in the process latching on to and resurrecting titles that have the proven ability to bring a steady stream of audiences into theaters around the world.

This past year alone – and let’s face it, the year’s not even half over – Disney has been responsible for no fewer than three massive hits. The animated feature Zootopia easily charmed its way into audience’s hearts, Captain America: Civil War is still going strong and Jon Favreau’s live-action adaptation of the classic The Jungle Book has been a hit so far with moviegoers both young and old. While both Zootopia and Captain America have already cleared the $900 million mark for worldwide box office receipts, the latest Disney title to do the same is none other than The Jungle Book.

Variety is reporting that Disney confirmed the impressive achievement on Thursday, with the film tallying $349 million to date domestically and $549 million internationally. Beyond this feat, The Jungle Book also holds the title as the biggest Hollywood release ever in India.

The Jungle Book, which boasts a host of celebrity voices from Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong’o, Scarlett Johansson, Christopher Walken, and the late Garry Shandling, has only been in wide release since April. With first time child actor Neel Sethi leading the story as Mowgli, the man-cub who attempts to flee a suddenly hostile jungle setting, the initial box-office success of the film surprised even the studio analysts, who didn’t foresee it scoring the opening weekend take that it did. Since that time, The Jungle Book has been a runaway success story, despite the fact that it has yet to even open in the historically Disney-friendly international markets of South Korea and Japan.

It does look as though The Mouse House is a force that can’t very easily be stopped. Ever since 2005, when Bob Iger took over as CEO, Disney’s stock has more than quadrupled. With huge franchises like Star Wars, Frozen and Toy Story to their name as well as more immediate potential juggernauts Finding Dory and Moana on their way this summer/fall, it’s hard to imagine a point in the future – near or far – where Disney isn’t going to be seriously reaping the benefits of their investments.

Furthermore, Disney announced their plans for a sequel to The Jungle Book a mere four days before Favreau’s current hit was even released. Certainly nothing is a guarantee when it comes to the crazy world of Hollywood, but success from Disney seems to be the closest thing at the moment to one.

The Jungle Book is currently in theaters.

Source: Variety

Weekend Outlook – June 10, 2016

With X-Men: Apocalypse, Alice Through The Looking Glass, and Teenage Mutant Ninja Turtles: Out of the Shadows tumbling their way down the top 10,  there’s more than enough room for a couple more sequels to make waves amid another weekend stuffed with multiple new wide releases. This weekend we will see a highly anticipated follow up to one of the best horror films of the last 10 years. Second, we have a not-so-highly anticipated sequel to a mediocre mystery drama about a troupe of magicians illusionists. Finally, we see a video-game adaption from a visionary director that has been doing amazingly well in China and Russia.

The Conjuring 2

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So far, 2016 has become a graveyard for high-profile sequels as Alice Through the Looking Glass, Zoolander 2, Allegiant, Neighbors 2: Sorority Rising, and The Huntsman: Winter’s War have all under-performed. However, both cinematic continuations hitting theaters Friday look like they will bring in respectable grosses. The Conjuring 2 will almost certainly take the #1 spot this weekend after the dazzling run of its predecessor in 2013. I won’t be watching it, because I don’t like having nightmares.

The Conjuring, based on the spooky real-life dealings of paranormal investigators Ed and Lorraine Warren, grossed $41.9 million in its opening weekend nearly three years ago. Its sequel, also directed by James Wan with Vera Farmiga and Patrick Wilson returning, is opening on approximately 3,200 screens this weekend, and will bring the series back to No. 1 at the weekend box office. For starters, strong critical reviews for a modern horror film are almost an anomaly, but The Conjuring 2 has them, as 64 percent of critics surveyed by Metacritic have given the film a positive review.

Warcraft

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While it is expected to disappoint in North America, Warcraft, however, could put up a worthy fight for the No. 2 slot. Traditionally, video game adaptations are awful, but if anyone call pull off the impossible, it is Duncan Jones the director of two of the most original and thrilling sci-fi movies of the last 20 years in Moon and Source Code. The film hits almost 3,400 North American screens this weekend with a robust international gross already under its belt. Based on the wildly popular Blizzard Entertainment video game series with millions of active subscriber accounts.

Warcraft brought in the biggest Thursday gross ever (around $45 million) in China following a huge estimated $46 million opening on Wednesday, upping its total in the country to more than $90 million and counting. Given its low critical reviews (32 percent on Metacritic) and lack of star power among the cast, the picture is seemingly selling itself on brand alone. However, with more than 1.7 million likes on its official Facebook page, Warcraft also seems to be making a decent impact with its target demographic via their go-to medium: the internet.

Now You See Me 2

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Now You See Me 2 has big shoes to fill. Its 2013 predecessor was arguably the most unexpected runaway hit of the year, grossing $351.7 million worldwide during its run. This film has a great following and has infused some new talent into it’s cast. As I watch, I’m going to be waiting for Harry Daniel Radcliffe to pull out his wand.

The only problem for Now You See Me 2, however, is that its legs are probably nowhere near as sturdy as its forerunner’s. Critics haven’t been as kind this time around (it currently sits at 48 percent on Metacritic), though audience anticipation is strong, I think we will see a fairly warm welcome from fans, but that passion will quickly die down and Now You See Me 2 will join the graveyard of 2016 sequels.

Weekend Outlook – June 3, 2016

What is your best bet at the theater this weekend? The 2016 summer movie season rolls on with three more big films hitting theaters, and after a relatively light Memorial Day holiday at the cinema, during which X-Men: Apocalypse did fairly well but Alice Through the Looking Glass bombed, this week’s releases are arguably even more forgettable than those released over the three-day weekend.

In addition to what remains in theaters from previous weeks, our latest releases include a kid-friendly cartoon adaption, an R-rated comedy packed with Saturday Night Live cast members, and a tearjerker romance based on a best-selling novel. Out of those three, the romance novel looks like the best option to me.

First, I don’t have any doubts that droves of young families will flock to see the latest from Michael Bay, but almost as many 30 somethings will come hoping that Michael Bay won’t destroy their childhood… again. Second, I like Andy Samberg as much as the next middle-aged white guy, but his latest vehicle just looks too much like other SNL productions that have left me disappointed. It could be good like Bridesmaids, but it is more likely that it will end up in the $2 DVD rack with the likes of MacGruber or The Ladies Man. If you want to hear more then I’ll share the details after the jump.

Continue reading Weekend Outlook – June 3, 2016

Batman vs. Superman: Dawn of Justice (2016)

This movie should have been great. So, what happened? In a word, Marvel happened.

I don’t get why it took so long for this to become a phenomenon. Comic books have been mixing and blending story arcs and character development for more than 60 years. In the many different comics iterations and timelines, these two Justice League teammates have battled at least a dozen times or more. So why has it taken so long for movie studios to grasp the idea that while stand alone superhero movies are great, comic book characters joining forces or engaging in battle is a golden ticket?

BATMAN V SUPERMANI can understand why and I’m personally glad that 60s filmmakers didn’t attempt to create epic superhero battles. The effects were not ready for it. Unless a talented director like Cecil B. DeMille got involved, the film would have likely never been made or would have been terrible. But since the 80s, we have been primed for some epic showdown. Imagine, instead of Batman Returns, we got Michael Keaton’s Batman joining forces with  as Wonder Woman (Michelle Pfeiffer) to defeat a Superman (George Clooney) who falls under the control of Poison Ivy (Uma Thurman). That would have been crazy. But instead, the studios were content to create their sequels.

Marvel came to understand this first. With the crazy success of Iron Man it was obvious to studio execs that even less popular comic characters could drive a story if given the right material and a chance. Since then, we have seen Marvel bet against the house with properties like Thor, Guardians of the Galaxy, and Ant-Man and they have won big. (However, they have had missteps along the way, but most of those came out of Fox. (I’m talking to you Daredevil, X-Men Origins, and the not-so-Fantastic Four.) They learned who their audience was and they played right into their pocketbooks. Not only can these properties hold their own audience, but we go nuts when you mix them together.

Batman V. Superman: Dawn Of JusticeThere are just a couple of rules to make sure that this works:

  • Stay grounded in reality. I think that Marvel has a distinct edge here because their comics are set in real cities. Spiderman web slings around New York not Gotham and even though Thor is from Asgard he lands in New Mexico instead of Smallville. This connection to the audience is crucial and shouldn’t be downplayed.

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  • Don’t take yourself too seriously. I hate to quote the Joker, but “Why so serious?” Take Batman and Iron Man as examples. They were both orphaned as teenagers, they both inherited vast sums of money and were thrust to the top of their family’s empire, they are both crazy smart and have major character flaws, they both decide to don suits of their own creation to fight crime (albeit one is for revenge while the other is for redemption). So why is there so much difference between the brooding bat, and the playboy rocketman? Maybe you have to chock it up to their personalities, but I will tell you that moviegoers may appreciate a dark and contemplative movie that wrestles with existential quandries. They may even tolerate that from their superhero movie (Thank you Dark Knight) but if every film is like that, it isn’t as enjoyable. The Marvel films have walked this tightrope brilliantly, and I believe that it has made the difference in the success of their films and the detriment of others. In a word, a comic book movie should be, above all, fun.

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  • Tell great stories. This is more of a general principle for all movies and it kinda goes hand in hand with staying rooted in reality. As a movie-goer, if you don’t give me a compelling story that I can follow, I don’t care if you are Stanley Kubrick or Michael Bay, I will not care for your movie, because there is nothing to care about. That means that you can’t give me a movie that is so complex that I need to take notes as I go, and it can’t be so vapid that I feel like it has about as much substance as a balloon. When you have a huge film like Spiderman 3 with 3 newly introduced villains and then you waste precious character development time by throwing in a street dancing emo Peter Parker, the audience says nope, not worth it. On the flip side, you can have Captain America: Civil War with 12 Marvel Characters including a handful that we just met and as long as you give me funny dialogue, awesome special effects, and a believable story arc, they will be with you all the way.

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I will say this, I didn’t hate Batman vs. Superman. It just left me wanting more and less at the same time, if that makes any sense. I wanted to see more depth of character than brooding and contemplative stares. I wanted the movie to be boiled down to a simple plot without DC getting ahead of itself and setting up a whole range of other movies that are in the pipeline. If the movie I’m watching isn’t great, it makes me much less excited about the future movies in the franchise.

This movie was almost enough to push the viewers into clinical depression. it is extremely dark and foreboding. Where was the fun DC? It left me craving Joel Schumacher Batman. I’m hoping that the DC universe is going to be darkest before the dawn, and now that we are after the dawn they will come out of their moody teenage angst. Tell me what you thought.

Deadpool (2016)

It’s hard to believe that it has been two years since we saw some exciting leaked footage, and who can forget (although I wish I could) his first big screen appearance seven years ago in X-Men Origins: Wolverine. Deadpool is the first R-rated mainstream comic book film adaptation. Had the aforementioned footage not been leaked (and subsequently gone completely viral) many believe that the studios would have never had the courage to make the Deadpool movie that fans really wanted. Lots of vocal and devoted fans stepped forward to pine for this movie’s creation, the most notable being its leading man. There is now a good case to be made that this will not be the last Deadpool film, much less the last adult themed comic book adaptation: This movie is legitimately good.

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Without giving too much away, you need a simple primer on the Merc with a Mouth. According to Marvel’s info sheet, Deadpool possesses a superhuman healing factor, similar to but even greater than that of the mutant Wolverine, which allows him to regenerate damaged or destroyed areas of his cellular structure at a rate far greater than that of an ordinary human. As such, he can regrow severed limbs or vital organs. This healing factor also affords Deadpool an enhanced resistance to diseases and an extended life span. Due to the presence of this superhuman healing ability, many of Deadpool’s natural physical attributes have been enhanced, granting him superhuman levels of stamina, and his natural strength, agility and reflexes have been increased to levels that are beyond the natural limits of the human body. As if that weren’t enough, Deadpool is an extraordinary hand-to-hand combatant and is skilled in multiple unarmed combat techniques. He is a master of assassination techniques, is an excellent marksman, and is highly skilled with bladed weapons.

Say what you will about this sword-wielding, gun-toting, foul-mouthed, chimichanga-loving, fourth wall-breaking anti-hero, but Tim Miller and company absolutely nailed the character in his self-titled movie. Reynolds was always the prefect actor to play Wade Wilson as is evidenced by the brief introduction we have to his character in X-Men Origins: Wolverine before that awful transformation, but Deadpool also gave Ryan Reynolds a chance to spring back from the comic book purgatory which he landed in after his Green Lantern disappointment.

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Deadpool did so much well. I was genuinely surprised by the way that it addressed my hopes and fears and still exceeded my expectations as a fanboy. In other words, I went in hoping for something appeasing and walked away having watched a genuinely good super hero movie. Here’s what the movie did particularly well:

  • The humor was almost perfect.  I use the qualifier “almost” because there were more than a couple instances when I felt like jokes were being thrown at me simply because one had not been uttered in the last few seconds. And, while some of the pop culture references hit me as a thirtysomething, I’m sure they missed the mark of an 18-year-old who may have never heard of Wham!, Ferris Bueller’s Day Off, or Faulty Towers. Criticism aside, the overwhelming majority of the jokes landed well and made sense in context. They didn’t overplay the fourth wall breaking and they managed a solid mix of witty (or obscene) one liners and hilarious physical comedy. You’ll laugh a lot, and you’ll probably feel guilty about some of the laughs, unless you’re a sociopath. But a lot of them are just good fun!
  • Origin story was told well.  The movie flip-flops between past and present with obvious transitions that did not jar the narrative flow. In fact, I think choosing to tell the story non-linearly was a great move especially given that Deadpool himself is our narrator and his mind moves as quickly as his swords. We get the great origin story and get to see the suit immediately.
  • The supporting characters are handled well.  Weasel holds his own as a character with T.J. Miller’s signature brand of comedy and gives us the origin of the Deadpool moniker. Deadpool 3Blind Al and her relationship with Wilson makes sense and makes me want to see more (no pun intended). I think more could have been done to the connection between Colossus (who feels like a big jab at Green Lantern showing that a CGI character can work) and Deadpool than the implication that they’d discussed Wade’s joining the X-Men before, but the dynamic amongst that trio including Negasonic Teenage Warhead (who they completely revamped for this movie in a good way) is fantastic and it was fun watching the two X-Men go from policing Deadpool to having his back.
  • Deadpool is an anti-hero.  You see him make selfish decisions. You see him make selfless decisions. You see him play nice with the good guys. You see him do things that the good guys definitely frown upon. In no moment is his antihero quality on display more perfectly than when he’s got his nemesis, Ajax, in his hands and Colossus intervenes. Perfect depiction, perfect ending.
  • They have fun with Deadpool’s powers.  From the obvious consequences of punching Colossus bare-fisted to exploring the speed and process of his regeneration when it comes to lost limbs, the movie uses his powers as a medium for more of Deadpool’s trademark comedy. But they also do a great job of showcasing how hard it is to slow down, significantly harm, or even kill the guy. At one point he’s got a combat knife wedged into his skull and is hardly any worse for the wear.
  • The violence, while significant, is not too much.  Deadpool definitely comes by its R rating honestly. It is not a movie for minors. Nudity and language aside, the violence element was actually well managed. It was never in your face and gratuitous; instead you saw what you would expect to see when an accomplished combatant utilizes guns and swords in the melee and Deadpool kills a lot of people in this movie.

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So here’s my final verdict. Assuming you’re at least of the legal age to watch this R-rated offering, and have an open mind about murders of revenge, hired hitmen, torture, and strippers, watch it. If you are like me, you will watch it multiple times then add it to your Blu-ray collection that stays out of the reach of your children’s fingers. All in all, as a stand-alone, origin story of a controversial but extremely popular character, they knocked this out of the park and it should be counted as one of the best of an ever growing list of great Marvel movies. I for one can’t wait to see Deadpool’s next adventure.