Deadpool & Wolverine (2024) | REVIEW

Deadpool looking up at the Wolverine in Shawn Levy’s DEADPOOL & WOLVERINE — PHOTO: Walt Disney Studios Motion Pictures.

Directed by Shawn Levy (Free Guy; The Adam Project) — Screenplay by Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells, and Shawn Levy.

Later this year, it’ll have been 7 years since Disney’s acquisition of Fox was announced. Included in the Fox acquisition were its assets including ‘their’ portion of Marvel characters, which had long been unable to be a part of Disney’s immensely popular Marvel Cinematic Universe of stories. I think a lot of fans out there will have, at that time, thought that years later they would have all been integrated into the Disney-Marvel-connected universe of live-action films, but, in actuality, it’s been quite slow. Certain characters have popped up in relatively insignificant ways, the classic X-Men theme song has played once or twice, and, sure, Sam Raimi’s Doctor Strange in the Multiverse of Madness (2022) did have some non-committal fun with the characters that Marvel fans have been desperate to have alongside the Avengers. Now, though, a significant part of that wait is over. Shawn Levy’s Deadpool and Wolverine is the first Marvel Studios film to be explicitly about a Marvel-Fox character and his integration into Marvel Studios. And, as if that wasn’t enough, it’s the one character that is the least audience-safe Disney character of them all: Deadpool, who is known for his R-rated violence and crude humor. Going into this film the big question for many fans was whether or not Disney, through Marvel Studios, would allow Deadpool to actually be the character that fans have come to know and love. The answer, which I can now give after having seen the much-anticipated film, is a resounding ‘yes.’

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2023 TV Catch-Up / Backlog: The Mixed Bags | Bite-Sized Reviews

(L-R) The Changeling (Apple TV+); Monarch: Legacy of Monsters (Apple TV+), The Crown (Netflix).

In this edition of Additional Bite-Sized Reviews, the point of this post is to function as a review compilation, if you will, of some notable 2023 television series that I’ve either caught up with in the last few months or which I never found the time to write about when they were released way back when (i.e. my review notes backlog). For this post, I have specifically highlighted three shows from the past year that didn’t fully work for me, even though I liked a fair bit about them.


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Twisters (2024) | REVIEW

(L-R) Daisy Edgar-Jones, Anthony Ramos, and Glen Powell in TWISTERS — PHOTO: Universal Pictures / Warner Bros. Pictures (Still image from trailers).

Directed by Lee Isaac Chung — Screenplay by Mark L. Smith — Story by Joseph Kosinski.

Reportedly, one of the first (if not actually the first) films to be released on the DVD format was Jan De Bont’s disaster classic Twister. The Dutch cinematographer-turned-film director delivered a genuine hit about a fear of the uncontrollable power of Mother Nature, and, now twenty-eight years later, it finally has a sequel. Twisters is one of this year’s big summer movie releases, and it has somewhat of an unlikely filmmaker in the director’s chair. Twisters has been made by the award-winning and critically acclaimed director of the American Dream/immigration film titled Minari, Lee Isaac Chung. Though perhaps a surprising choice of filmmaker, rest assured that the end product more than lives up to the original and that he has done his best to infuse the film with a human story at the center so that it isn’t all about CGI tornados.

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‘Napoleon,’ ‘Beyond Utopia,’ and More | Bite-Sized Reviews

(Clockwise L-R) MAD MAX BEYOND THUNDERDOME (Roadshow Film Distributors), BEYOND UTOPIA (Roadside Attractions / Fathom Events), NAPOLEON (Columbia Pictures / Sony Pictures Releasing), TUCKER AND DALE VS EVIL (Magnet Releasing), and SHALLOW GRAVE (Rank Film Distributors).

In this edition of Additional Bite-Sized Reviews, I give you my thoughts on 1) Mel Gibson’s final appearance as Mad Max, 2) one of last year’s best documentaries, 3) last year’s much-discussed historical epic from Ridley Scott, 4) Danny Boyle’s directorial debut, and 5) a horror comedy cult classic.

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Aquaman and the Lost Kingdom (2023) | REVIEW

Jason Momoa as Arthur Curry in James Wan’s AQUAMAN AND THE LOST KINGDOM — PHOTO: WARNER BROS. PICTURES (Still image from trailers).

Directed by James Wan — Screenplay by David Leslie Johnson-McGoldrick.

Once upon a time, the kickstarting of the DC Extended Universe (DCEU) felt like such a big deal. Warner Bros. was going to do what Marvel did and actually have a connected cinematic superhero universe and it was going to be this prestige project with the first film, titled Man of Steel, echoing a kind of director-led importance that was supposed to follow in the footsteps of Christopher Nolan’s critically acclaimed Dark Knight trilogy. I think, however, that it is fair to say that it never got off on the right foot. Their Superman-universe opener was met with a mixed critical reception and fans criticized certain choices that they felt were against the core tenets of the beloved iconic character. In the next years, the DCEU was never fully embraced despite certain successes along the way (e.g. Patty Jenkins’ Wonder Woman) in large part due to several films that missed the mark in one way or another (e.g. David Ayer’s Suicide Squad). Online toxicity, director idolization, and mild-at-best reception followed, and now the universe is being fully rebooted by James Gunn. Before that could happen though, they had to release a couple of ‘lame duck’ films that they already had in the can but which everyone knew mattered not. Aquaman and the Lost Kingdom is the last one of those, and, unfortunately, the DCEU went out with a whimper. 

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