PANDA PLAN (2025, China)

February 17, 2025

Greetings again from the darkness. Jackie Chan starring as … Jackie Chan! He’s an international action-comedy star appearing in this international action-comedy as himself. In fact, one of the running gags has various people questioning if it’s really “him” and whether or not he can actually fight like he does in his movies. The film is from writer-director Luan Zhang and co-writers Wei Xu and Meng Yida.

An amped-up and expansive action sequence opens the movie. It’s also where we learn Jackie is playing Jackie. He’s a bit frustrated at the roles he’s being offered (the man is now 70 years old) and quickly jumps at the opportunity to adopt a rare baby panda. Not only does he find the cub irresistibly cute, but so does the entire universe … including a Middle Eastern dude willing to pay $100 million to a group of mercenaries to steal (bear-nap?) and deliver the panda. Jackie arrives at the island zoo at just about the same time as the bad guys’ pirate ship. What follows is rampant chaos as Jackie and the panda’s nanny, Su Xizozhu (Chi Se) try to protect the (CGI) cub.

For most of the movie the panda is referred to as ‘Big Babe’, but is blessed with an actual name later in the game. The film is purposefully cartoonish and leans heavily into Jackie Chan’s natural charm and presence. It likely would have played better as a pure family film about a cute panda, and aimed squarely at kids, but unfortunately, the action sequences pack enough violence to keep the youngsters away. There are some entertaining sequences … including a rare escape utilizing a forklift as a getaway vehicle. The finale lifts the story from the dark cloud that hung over most of the film, and Jackie Chan fans will be thrilled to know that a sequel is already in the works for next year.

On digital and Blu-ray on February 18, 2025

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THE GORGE (2025)

February 14, 2025

Greetings again from the darkness. Most every Valentine’s Day, we get at least one romantic-comedy designed for a sweet and harmless date night. Well, this one ain’t it. Instead, if you thrive on romance loaded with danger and action sequences and mysterious monsters and decades old experimental weapons … we have just the movie for you. Director Scott Derrickson (THE BLACK PHONE, 2021; THE EXORCISM OF EMILY ROSE, 2005) and screenwriter Zach Dean (THE TOMORROW WAR, 2021) deliver the rare sci-fi/action/monster/romance thriller, and were wise enough to cast two charming, well-liked young actors for the leads.

The film opens with Drasa (Anya Taylor-Joy) executing a long-distance kill shot assassination, while Levi (Miles Teller) springs out of bed in a cold sweat due to PTSD. He’s soon beckoned to Camp Pendleton by a power broker played by Sigourney Weaver. As an elite sniper who has done work for the military, Levi has been ‘retired’ for four years, and with no relationship strings attached, he’s perfect for the year-long secret mission – he must jump from an airplane in an unknown location and hike 30 km to report. He’s met there by his predecessor (Sope Dirisu) who fills him in on the basics of the mission: guard the ‘door to hell’ … the giant gorge below filled with unknown danger … while hanging out all alone in the west tower.

Guess who is in the east tower. Right! It’s Drasa, straight from visiting her cancer-stricken dad in their homeland of Lithuania. These two sharp-shooting mercenaries are perched in their opposing towers assigned with defending the gorge from unknown threats. It’s a mission I would have turned down, but it makes for a terrific movie set-up, especially since they have been instructed to avoid contact with the person in the opposite tower. But what kind of movie would that be?

A reference is made to T.S. Eliot’s poem, “The Hollow Men”, and Levi spends a good deal of each day reading and writing poetry. In the other tower, Drasa is a bit more antsy. She dances to music and doesn’t hesitate long in making contact with Levi. The two exchange cross-gorge notes, in a similar manner to LOVE ACTUALLY (2003), only with long-distance binoculars and more humor. Of course, the solitude gets to both and not surprisingly, they figure out a way to connect – as most young, beautiful, world-class snipers would. They even play chess and drums, in obvious callbacks to each actor’s most successful roles.

Their connection is fun to watch, and of course, as seasoned movie watchers, we know the unknown threat from within the gorge will soon enough interrupt the love story. Things get pretty nuts when the grisly creatures from below mix with our two lovebirds and heroes. The explanation is a bit much, but the action sequences are fine – quite the contrast to the first half of the story. We noted some similar touches to films like John Carpenter’s THE THING (1982), Ridley Scott’s ALIEN (1979), and Alex Garland’s ANNIHILATION (2018), although I don’t recall those films including a dose of romance for Valentine’s Day … and certainly this is the first featuring “O Come All Ye Faithful” performed by Twisted Sister, along with a creepy score from Trent Reznor and Atticus Ross, and cinematography from Dan Laustsen (THE SHAPE OF WATER, 2017). It’s an unusual film, and just know that Drasa and Levi will always have Eze (France).

Opens in theaters on Valentine’s Day, February 14, 2025

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GLADIATOR II (2024)

November 22, 2024

Greetings again from the darkness. Like many of you, I’m not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It’s been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he’s still a master of scope and scale and visceral action sequences.

Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.

Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we’ve ever witnessed on screen. During this battle, Lucius’ wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, “The Mandolorian”), setting off grief and a thirst for revenge in Lucius. Once he’s witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by “the rage”, and sees him as a secret weapon in his quest for power.

Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it’s Lucius and his determination that harken back to the themes of the original … oh, and a very personal connection that most will have figured out from the trailer.

The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that’s what it’s called) of hungry sharks that appear once the Colosseum floor is flooded. There’s a certain satirical symmetry to using sharks to ‘jump the shark’. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption … the only questions are how and when.

Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus – a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both ‘for’ and ‘against’ the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals – and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.

Opening wide in theaters on November 22, 2024

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CLASSIFIED (2024)

October 21, 2024

Greetings again from the darkness. Spy-thrillers typically fall into one of two categories: complex and smart (TINKER TAILOR SPY, 2011) or action-packed (KANDAHAR, 2023), although many combine the two elements quite successfully (MISSION: IMPOSSIBLE, 1996). This film from director Roel Reine and screenwriter Bob Derosa slams us with action sequences while only teasing us with bits of what could have been a clever story.

Aaron Eckhart stars as ultra-talented (dangerous) operative Evan Shaw. Yet despite his particular set of skills, it turns out Evan doesn’t even know who he works for … or at least who the guy he works for (limited screen time Tim Roth) works for. And he is somehow blissfully unaware that a young lady, Kacey Walker (Abigail Breslin) is following him. Evan always carries a sketchbook. He uses it to decode the messages he receives in the classified section of old school newspapers (the ones printed on paper), and to draw the areas and people he crosses paths with – think of it as pretty incriminating evidence of his past deeds.

At first neither Evan nor us viewers know the point Kacey is trying to make, but she certainly exposes the sham structure he’s been working under and puts them both in mortal danger. The team sent to end Evan is led by a guy carrying a GPS device and barking orders while sporting a horrible haircut. This leads to too many shootouts to count, each with some of the worst aim that we’ve ever witnessed – either that or Evan is a superhero. His flesh and blood are revealed at one point disproving the superhero theory, but it should be noted that some of the worst electronic music you’ve ever hear plays over action sequences.

On the bright side, some of the cinematography belongs in a better movie, as does Mr. Eckhart. The final shootout goes so overboard, I actually felt a bit sorry for Aaron Eckhart, the professional actor. It’s a high-octane spy thriller with lots of gunplay for those seeking more booms and bangs. For those looking for the cleverly woven multi-faceted spy plot, it’s probably best to keep looking.

Releases on VOD and digital on October 22, 2024

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WOLFS (2024)

September 26, 2024

Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It’s been twenty-three years since the two long-time friends co-starred in the first (of 3) “Ocean’s” movies, and there is no doubt they were the epitome of cool then. But what about now?  And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won’t answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.

The sound of shattering glass is followed by three F-words, the first dialogue we hear (and also the last). It turns out, the local District Attorney (Amy Ryan, “The Office”) is justified in using the language as she finds herself in a luxury hotel room with an apparently dead, underwear-clad young man on the floor, and blood all over her clothes. Now, if you or I were in this situation, we would quickly surmise there is no way out. In contrast, a powerful politician has a phone number to call. Soon, George Clooney is at her door. He’s a “fixer” or “cleaner”, depending on your preferred nomenclature. He’s calm and cool (there’s that word again) under pressure, and claims to be the only one who can do what he does. This claim is soon shattered as Brad Pitt shows up – equally calm and cool (!) – disavowing Clooney’s ‘only’ claim. If not for the blood and the body, Amy Ryan might be just fine with Clooney and Pitt popping into her hotel room. But that “if” looms large.

Circumstances being what they are, the two lone ‘wolfs’ are forced to work together. Their rivalry is enhanced by the one-liners, facial gestures, and body language that stems from Clooney and Pitt knowing each other so well. Their mission is made abundantly clear once a bag with four bricks of heroin is found … just prior to the body on the floor springing back to life. What follows is a unique and extended (too long) chase scene through the city at night. It turns out the body/young man/kid (played well by Austin Abrams, PAPER TOWNS, “Euphoria”) adds to the complication for our two fixers … despite finding them quite cool (!).

This trio crosses paths with Poorna Jagannathan (“The Night Of”) playing a Chinatown doctor they can trust, Zlatko Buric playing a nasty Albanian mob boss, and Richard Kind as the Kid’s dad with a Sinatra fixation (in a clever scene). It’s entertaining to see the long-time friends playing on screen rivals – both with bad backs, reading glasses, and a shared bottle of Advil. They probably aren’t as witty (or cool) as they imagine, but filmmaker Watts uses their camaraderie as an asset (and also Sade’s “Smooth Operator”). You’ll notice a few tips of the cap to previous characters and films, including Butch and Sundance near the end. Although she’s uncredited, you’ll appreciate knowing that is Oscar winner Frances McDormand’s voice on the phone in an early scene. Overall, it’s decent entertainment while reminding us to “check the pulse.”

Premieres on Apple TV+ beginning September 27, 2024

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THE CROW (2024)

August 22, 2024

Greetings again from the darkness. It’s been thirty years since Alex Proyas directed THE CROW (1994). Unfortunately, the cult favorite is forever remembered as being the set on which lead actor Brandon Lee (son of the legendary Bruce Lee) died an accidental and tragic death. Along the way, there have been lesser sequels. There have also been so many rumors of a re-boot over the last fifteen years, that I remained a bit doubtful until the opening credits actually began to roll.

Director Rupert Sanders (GHOST IN THE SHELL, 2017) and co-writers Zach Baylin (KING RICHARD, 2021) and William Josef Schneider have avoided the “remake” label, while offering their version of the comic book series from James O’Barr. Bill Skarsgard (Pennywise in the IT movies) and pop star FKA twigs (HONEY BOY, 2019) play Eric and Shelly, the star-crossed lovers who meet at (and escape) drug rehab. Their freedom initially leads to some smooching and giggling and a shared bathtub and bed. Of course, things change for the doomed lovers quickly when she is reminded that some really bad people who work for a really bad man are trying to kill her.

The villain is played by the always-dependable Danny Huston, who has mastered reserved on-screen evil. His billionaire supernatural demon dude puts a hit out on Shelly because of an incriminating cell phone video. When his henchmen succeed in killing Shelly and Eric, the latter finds himself in purgatory learning lessons from Kronos (Sami Bouajila). It turns out the crow will guide Eric to put the wrong things right … which means brining Shelly back to life.

Eric’s afterlife revenge mission takes up most of the film, and violence is around every corner. You should know he is basically invincible, although he does feel pain. So those many bullet holes need to heal as quickly as possible. Eric goes goth (similar to what Brandon Lee did) and sports a black duster that would make Wyatt Earp and Blade envious. A beautiful Opera House serves as the setting for a John Wick-esque parade of violence and bodies … all synchronized to the stage production. We never really know why there are so many henchmen at the opera, but it allows the bullets to fly, the sword to swing, and the blood to flow.

The film clearly falls way short of a Marvel budget, but filming in Prague brings an element of interest with some previously unseen locales – a real plus for the film. It’s a gothic love story of revenge from beyond the grave, so the dark nature of the material is accompanied by some of the darkest lighting you’ll ever see in a movie (although not quite as much rain this time). To top it off, the crows that lead Eric are very cool. Let’s not kid ourselves, it’s a (very) messy movie, but it plays to its audience.

Opens in theaters on August 23, 2024

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THE CLEAN UP CREW (2024)

August 20, 2024

Greetings again from the darkness. Even before the opening credits roll, we get a scene with gunpoint humor, as Antonio Banderas skips right over ‘chewing scenery’ and dives into devouring the scene. Banderas takes his crime lord Gabriel over-the-top, quoting Machiavelli, so that we understand we are in for an action-crime-comedy. Directed by Jon Keeyes and written by Matthew Rogers, some of it works and some of it doesn’t.

When the goal is strictly entertainment, a film should be judged accordingly, especially when it’s made under a limited budget. Three years after that opening scene, Gabriel is late on his payoff to the corrupt cops who protect his illegal business ventures, and soon enough, he discovers that a couple of over-zealous thugs have stolen (or at least tried to steal) his money. The case filled with cash is stuffed in the chimney before our next shootout, which occurs in a dark room, creating pretty cool effects.

Siobhan (Oscar winner Melissa Leo, THE FIGHTER, 2010) owns Good Life Cleaners, a crime scene cleaning company. Her crew consists of Alex (Jonathan Rhys Meyers, MATCH POINT, 2005), his girlfriend Meagan (Ekaterina Baker, THE CARD COUNTER, 2021), and Chuck (Swen Temmel, AMERICAN TRAITOR: THE TRIAL OF AXIS SALLY, 2021). When they discover the money, skittish Alex wants to turn it in. Meagan wants to keep it for their future. Siobhan and Chuck have their own secrets as she tries to keep the drug-addicted former military man on the right path.

Things really spiral once this crew begins debating what to do with the money and realizing that The Commission (Gabriel’s organization) is pursuing them. Meagan gets taken hostage, setting off a wild chain of events – most of which feature violent shootouts. In addition to Machiavelli quotes, Gabriel is also a fan of playing Russian roulette with his big, shiny pistol, and yelling at his crew to get his money back. It seems that Banderas and Meyers are the leads, but Temmel’s Chuck, a one-man wrecking crew, is the more intriguing character, and it’s a shame that Melissa Leo is mostly wasted, if not miscast here.

There is a sense that director Keeyes was going for a Guy Ritchie-type experience, however, the dialogue is never quite crackling enough for that level. The action has a bit of FREE FIRE (2016) feel to it, but again, not quite at that level. For one that’s entertaining enough to sit through, but also allows time to scroll on your phone, this one delivers.

Available on Digital and On Demand beginning August 20, 2024

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THE INSTIGATORS (2024)

August 8, 2024

Greetings again from the darkness. Add this to the long list of films reminding us to temper our expectations and high hopes prior to viewing. Still, optimism seemed reasonable given an excellent director and strong cast. Director Doug Liman has delivered such entertaining films as SWINGERS (1996), THE BOURNE IDENTITY (2002), EDGE OF TOMORROW (2016), and this year’s remake of ROAD HOUSE (2024). Matt Damon and Casey Affleck both have Oscars on their mantels, and Hong Chau has a recent Oscar nomination. To top it off, the supporting cast includes such favorites as Jack Harlow, Alfred Molina, Michael Stuhlbarg, Andre De Shields, Ron Perlman, Toby Jones, Ving Rhames, and Paul Walter Hauser. All the pieces were in place. So, where’s the spark … the pizzazz … the fun?

The premise is promising enough. Former Marine Rory (Matt Damon) is a desperate man. He needs $32,480 to reboot his life – child support, alimony, mortgage, etc – so that he can reconnect with his son and watch him play hockey. When his therapist, Dr Donna Rivera (Hong Chau, THE WHALE, 2022) acknowledges his desperation, she asks, “Have you tried everything?” The next thing we know, somehow lowlife criminal Scalvo (Harlow) has teamed Rory with ex-con Cobby (Casey Affleck) for a job masterminded by Mr. Besegai (Stuhlbarg) and Mr. Dechico (Molina). The heist involves an election night fundraiser for corrupt incumbent Mayor Miccelli (Perlman) at the Boston Wharf. Along the way, we get a glimpse of Fenway Park, the famous Bobby Orr photograph, and a popular Patriot (the football kind).

Of course, the heist goes sideways … or whatever is worse than sideways for criminal activity … and an extended (i.e., entirely too long) car chase through downtown Boston plays out while Petula Clark croons “Downtown”, and Dr. Rivera is taken as a volunteer hostage who continues to pass along advice to her patient. Now for this to work, the action needs to be thrilling and the wit amongst the three participants in the car needs to be crackling. Neither of these occur.

The script was co-written by Chuck MacLean (“City on a Hill”) and co-star Casey Affleck, and it strives to be all things to all viewers … crime-thriller, buddy comedy, and action flick. It’s watchable, yet falls into that category we’ve come to dread: mostly forgettable. Even the ‘Butch and Sundance’ jokes fall flat. All of these talented folks will move along to their next projects, just as we will move along to the next movie. No harm/no foul.

Playing in select theaters and streaming on Apple TV+ beginning August 9, 2024

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ONE FAST MOVE (2024)

August 8, 2024

Greetings again from the darkness. One result from the expansion of the movie streaming universe is that independent films with specific topics can find a home for niche audiences. Actor-turned-director Kelly Blatz (he was a co-lead in LOREN & ROSE, 2022) turns in a rare motorcycle racing movie, although to enhance the odds, it also features the familiar tropes of an angry young man, an estranged father-son reunion, and a love story.

KJ Apa (“Riverdale” heartthrob) plays Wes, the angry young man who displays poor judgment in the opening motorcycle race on a military base. After a stint in Fort Leavenworth and his discharge, Wes and his bike head out to find long-lost (by design) dad. Dean (Eric Dane, “Euphoria”, Grey’s Anatomy”) is a racer who had some success in the past, though his best days are far behind him. He’s a party boy who never grew up – one still trying to live life on the wild side through motorcycles, alcohol, and women. Wes just wants his old deserting dad to coach him on the track so he can make something of himself. Wrangling these two cats is bike shop owner Abel (Edward James Olmos). Think of him as the Mr. Miyagi for these two emotionally stunted polar opposites.

And yes, we do get a budding romance for Wes with the stunning smile of Camilia (Maia Reficco, “Pretty Little Liars: Original Sin”). She’s a charming waitress at the local diner and studying to be a nurse. The two hit it off while also keeping secrets from each other. Where Eric Dane overplays his part, Edward James Olmos and his reserved manner and screen presence brings a needed depth to the ongoings. Olmos has had quite a career, appearing in both BLADE RUNNER (1982) and BLADE RUNNER 2049 (2017), as well as “Miami Vice” and “Dexter”, and receiving an Oscar nomination for STAND AND DELIVER (1988). “Riverdale” fans will be pleased to note that KJ Apa does find reasons to lose his shirt. Motorcycle fans will be happy with the motor-revving and racetrack shots.

Releases on Prime Video August 8, 2024

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DEADPOOL & WOLVERINE (2024)

July 23, 2024

Greetings again from the darkness. The secret sauce for movies based on comic books and superheroes has always seemed pretty obvious … give the hardcore fans what they want. Somewhere along the way, the industry shifted its focus from entertainment to pushing the boundaries of technology. The result was a (many) years long stream of visual extravagance with little heart and soul. Writer-director Shawn Levy and co-writers Rhett Reese, Ryan Reynolds, Zeb Wells, and Paul Wernick have managed to right the wrong and put things back on track. Of course,  Disney’s purchase of 20th Century Fox and the Marvel Universe slowed down development, but they have finally capitalized on two fan-favorite characters developed by Rob Liefeld and Fabian Nicieza … Deadpool and Wolverine.

Billed as a ‘threequel’, this follows the 2016 and 2018 Deadpool movies that vaulted Ryan Reynolds to superstardom. His quick and colorful banter and wit were perfect complements to his physical gifts. When Reynolds’ Deadpool and Hugh Jackman’s Wolverine first shared the screen in X-MEN ORIGINS: WOLVERINE in 2009, the spark between the two was clear. Here we are 15 years later, and the two characters share an entire film – and the real life friendship between Ryan Reynolds and Hugh Jackman is well-documented.

This is not the place to come for spoilers or a recap of the story. No, that place would be the theater. What I will say is that it’s very impressive how the filmmakers get both Deadpool and Wolverine/Logan back in the saddle, while at the same time paying homage to the past. The tributes begin even as the movie starts with a new montage reminding us of those who have built the MCU. Additionally, the re-introduction of Wade Wilson’s circle (Morena Baccarin, Karan Soni, etc), is remarkably simple, yet effective … and of course, Blind Al (the great Leslie Uggams) is especially fun. However, what’s most impressive and ingenious is the manner in which Deadpool tracks down Wolverine/Logan, one who was unmistakably dead at the end of LOGAN (2017).

Together they are to save Wilson’s world … and perhaps other worlds as well. This danger occurs due to Mr Paradox (an over-the-top Matthew MacFadyen) working at the direction of Time Variance Authority. It’s really not too complicated, which is why this works. Even those of us who don’t spend hours pouring over comic books will follow the story and understand how Cassandra Nova (an excellent Emma Corrin) is the key onscreen antagonist, although it must be noted that this genre demands surprises and director Levy does not disappoint. Whether it’s Rob Delaney, twists on the Deadpool character, the Wolverine cowl, or enough F-bombs to challenge a Tarantino movie, this first R-rated Marvel film is packed with aha moments. And yes, Jackman flashes his stunning physique and the slew of cameos are sure to satisfy.

World class zingers are delivered with charm (or Logan’s trademark grumpiness), and the laughs are many, though they work well with the heart and soul of what is not just a ‘save the world’ flick, but also a terrific buddy film. The two cautions I’ll offer here: it’s definitely a hard “R” and make sure you stay for the closing credits for a bit of nostalgia.

Opens in theaters on July 26, 2024

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