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Deadpool 2 (2018)
It took the leaked release of the Deadpool test footage, and the ensuing enthusiastic fan response, before Fox finally decided to invest in a big screen, R-rated superhero movie. The result was 2016’s Deadpool, a huge smash and proof that a lucrative audience will turn out for more adult-oriented, outrageous, grisly versions of comic book movies. Because of Deadpool, we finally got an R-rated Logan that proved to be an outstanding swan song for Hugh Jackman’s iconic hero. Now Deadpool is getting the spotlight he has earned with a big, splashy summer release, but with success come expectations. Can it live up to the ever-increasing hype? In short: if you were a fan of the original, you’ll be happy enough, because Deadpool 2 isn’t much more than the sum of its zany parts.
Wade Wilson a.k.a. Deadpool (Ryan Reynolds) is killing bad guys for hire and considering starting a family with the love of his life, Vanessa (Morena Baccarin). Trouble emerges when Cable (Josh Brolin) travels from the future to kill a rebellious, troubled young mutant teenager, Russell (Julian Dennison), who will one day grow up to be a monstrous villain. Deadpool reaches out for help and forms an elite squad of determined heroes, notably the luck-assisted Domino (Zazie Beetz). Can Deadpool save the kid, save the day, save the future, and save himself from incessant fourth wall breaks?
I was worried that a Deadpool sequel would fall into some of the same detractions that a Guardians of the Galaxy sequel did, and this is still applicable. Deadpool, much like the original 2014 Guardians film, was a breath of fresh air and a far looser, weirder, funkier super hero movie with a nose-thumbing, prankish attitude. We didn’t know what to expect from a Deadpool movie and now we do, and with that knowledge comes an anticipated formula of checklists to adhere to, and so any resulting sequel will invariably feel less fresh. It happened with Guardians of the Galaxy vol. 2 so to compensate James Gunn concentrated on fleshing out secondary characters into people you might shed a tear over. Deadpool 2 doesn’t bother because Deadpool 2 doesn’t take anything really seriously. That’s one of the hallmarks of the series and also one of the aspects that holds it back. There can never be a sense of stakes with a gleeful, fourth wall-breaking cartoon of a character who bounces back like Wile E. Coyote. The sequel introduces a sense of stakes with a startling turn in the first ten minutes of the movie, but by the end, even that will be corrected so that the Deadpool universe returns to stasis. The limitation of the Deadpool universe is that nothing feels meaningful or even ambitious. The movie wants to be a cheeky, transgressive good time and it achieves this single goal.
The appeal of Deadpool 2 is still its comedic voice and unpredictability. The laughs will be frequent and there are some subversive and unexpected directions that fully take advantage of the R-rating and the anarchic, nasty comic spirit of the franchise. The formation of the X-Force team and how their first big mission plays out had me howling with laughter. The meta humor commenting on the nature of super hero movies, as well as the film industry in general, begins with the very opening image (a nod to another successful R-rated super hero movie of last year) until the very last moment where Deadpool goes back in time to prevent some stinging cinematic grievances (there is no post-end credit scene, so you can skedaddle early). This is clearly the role Reynolds feels a spiritual kinship with, and his caddish, charming, persistent persona makes the perfect conduit for the film’s vulgar insanity. Whether it’s spitting insults, splashing in over-the-top violence, or making odd observations about the similarities between the songs from Frozen and Yentl, Deadpool 2 is first and foremost a bloody, depraved meta comedy.
Director David Leitch (Atomic Blonde) steps in for the departing original film’s director, Tim Miller, and continues his hot streak of stylish, action thrillers. Leitch has shown a propensity for staging intense action sequences to best showcase intricate choreography. With Deadpool 2, the most exciting moments are when the camera and editing allows the audience to fully appreciate the creativity of the choreography and stunt team. A shot of Cable leaping over the speeding caravan about to smash into him brings on a well-earned wow. Coming from that bruising world, I’m continually impressed with how Leitch approaches his action and finds organic points to develop and complicate matters. The prison caravan attack is the action peak with well-constructed, parallel lines of activity to follow and collaborate upon. It’s our first taste of Deadpool and X-Force versus the might of Cable. The characters enter the fray at different points and get separated from the runaway caravan, which keeps the momentum going. While the comedy is prioritized, Deadpool 2 can still unleash enough exciting, silly, and satisfying action.
The biggest additions to the sequel are an adversary and an ally, and both leave a favorable impression while still making you wish that Deadpool 2 had done more with them. Brolin (Avengers: Infinity War) bulked up considerably to play the gruff cyborg from the future, and his super serious, macho straight man provides a terrific comic foil for Deadpool, much like the stuffy Colossus in the first film. Brolin’s character is a capable fighter with a pretty streamlined back-story (shades of Looper abound) but it’s hard not to feel a little disappointment with how he’s ultimately utilized. He’s a great asset that feels put away for too long. Zazie Beetz (TV’s Atlanta) has a fun introduction especially as it relates to her mutant power, great luck. Deadpool scoffs at this as a power, and “being deeply un-cinematic,” but Domino proves otherwise as she’s able to dodge split-second danger in grand, complicated, Final Destination-like circumstances. Every time she’s onscreen, Domino brings a curiosity quality to the movie, and it’s usually something imaginative and fun. Beetz has an innate spunky energy, which makes it sad when the movie often asks her to be dour and dismissive. It’s taking such a lively character and constricting what makes her amusing and unique.
The biggest thing holding back the film, besides a general sense of “more of the same” or its inherent lack of stakes, is that the entire storyline is built around saving a mutant teen…. and I kind of hated the kid. My first impression was not good and it didn’t get much better from there. Part of it may be that Russell is meant to be an angry, obnoxious teenager, and maybe part of it is the generally grating performance from Dennison (Hunt for the Wilder People), but I could not care about this kid. Unfortunately, a lot of thematic emphasis is placed on saving the soul of this one annoying, wayward teenager. He’s supposed to be a point of redemption for Deadpool and a promise to be fulfilled, but my pal Ben Bailey came up with an instantly better revision. Instead of introducing this new teen character who will one day grow up into a super villain that slaughters Cable’s future family, why not have it be Negasonic Teenage Warhead (Brianna Hildebrand)? We already have an investment in her character and it would provide a better, more personal sense of stakes for the story. Plus, Hildebrand (Tragedy Girls) is actually a good actress.
If you were one of the many fans who enjoyed the irreverent antics of the first Deadpool, then you’ll enjoy Deadpool 2 as it’s more or less the same movie with a slightly limited freshness date. These movies are fun, funny, and ridiculous, but they’re also good for little else than a wicked good time, and that’s okay. There isn’t much ambition to be anything more than an irreverent satire on super heroes with edgy humor and explosive violence. The running theme of the sequel questions what Deadpool has to keep on going, and he’s told it’s one very specific F-word: “family.” I think it’s a different F-word, namely “franchise.” Fox (Disney?) will need the services of the merc with the mouth for an extended engagement as long as audiences do not tire of the same studio brand of naughtiness reheated with a few different ingredients added per revisit.
Nate’s Grade: B
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Atomic Blonde (2017)
Atomic Blonde is based on a 2012 graphic novel called The Coldest City (by Antony Johnston and Sam Hart), a title I doubt many were that familiar with. Charlize Theron was. She snapped up the option rights before it was published and saw it as a vehicle for herself to cut loose, have fun, and show off her affinity for fight choreography thanks to her background in dance. If you don’t walk out of this film with an uncontrollable crush on Theron, then I don’t know what movie you saw, my poor friend.
Set in 1989 Berlin, on the eve of the wall going down, Lorraine Broughton (Theron) is working undercover for her Majesty to uncover who is killing British agents in East Germany. Her local contact is David Percival (James McAvoy), a black-market kingpin and popular mover and shaker. One of his contacts (Eddie Marsan) has committed secret spy files to memory and wants an escape to West Germany. He’s even gotten the attention of other spooks, including French intelligence agent Delphine Lassalle (Sofia Boutella), who gets intimately close to Lorraine. The smuggling of the contact goes bad, lives are lost, and Lorraine has to explain to her superiors (Toby Jones, John Goodman) what went wrong and who is secretly the murderous traitor.
This film could have just as easily been re-titled Sexy Charlize Theron: The Movie. It is a two-hour celebration of the actress and her many formal gifts. Watch her look sexy in this sexy outfit (i.e. every outfit Theron wears or doesn’t wear). Watch her look sexy strutting down a hallway in slow mo. Watch her bathe in ice. Watch her dispatch bad guys with ease, sexily. And then there’s the sapphic romp with Boutella (The Mummy), which is just an explosion of sexy that might be too much for the weaker-hearted audience members to handle. A female friend of mine used to refer to Angelina Jolie in the early 2000s as “walking sex,” a woman that simply oozed sex appeal with her every glance and movement. I think that term deservedly applies to Theron in Atomic Blonde. The surface-level pleasures are rampant, from the 80s chic clothing, to the pumping New Wave soundtrack, to the very stylized way people take long dramatic drags from their cigarettes, the movie exudes a sense of cool with every frame. There is plenty to ogle, and that includes the casual nudity of a 41-year-old Theron, who has plotted this showcase role for years as an unapologetic badass statement and maybe the nonchalant nudity is part of that (“You think women over 40 are unattractive? Well take a good gander at this, Hollywood”).
The film has style to spare but thankfully it also has enough substance to match, and by that, I mean its depiction and development of action. Coming from David Leitch, one of the co-directors of the John Wick franchise, I expected very fluid and well-choreographed action sequences, and Atomic Blonde delivers. I am happy that we have moved away from the Bourne-style docudrama approach of the jangled edits and gone the other direction, treating action sequences like the dance routines they are and allowing an audience to fully take them in and appreciate the skill and artistry. The showstopper everyone will be talking about is an extended fight sequence that closes out the second act. Lorraine ducks into a tenement building and gets into a bruising fight with several goons. This sequence goes down several floors, careens into empty rooms, and eventually ends up in the middle of a speeding car trying to make a desperate escape. It’s filmed to be one long take and the sequence is exhilarating and only becomes more so with every passing minute.
Admirably, Atomic Blonde also brings a sense of realism to all its action. As the fight continues, Lorraine becomes understandably fatigued, as do the baddies. She is not impervious to their attacks. She’s gutsy but still vulnerable, still human. You feel the blows and the intense duration, which makes me marvel all the more at Theron’s sheer balletic grace when it comes to her ass-kicking capabilities. Having an experienced, accomplished fighter opens up the complexity of the action sequences. The stunt work is a consistent joy in this movie and what will make it stand out amidst the pack.
The only major gripe I have with the film is its rather convoluted spy plot. The Cold War as well as East Berlin is just a backdrop for the cool shenanigans. The movie toys with spy movie pastiches but clearly it only amounts to genre window dressing. It’s almost on par with the music, used to evoke a mood and not much more. It feels like even Atomic Blonde recognizes this and just blurts out more nonsensical “who can you trust?” plot mechanics to get to the next sexy set piece. If you don’t already know who the eventual traitor will be by the end of the first act, you haven’t been doing the math. The communist bad guys are an unremarkable lot but they do make for solid punching bags.
The opening scene sets up the death of a British spy as a personal blow to Lorraine (she kept a photo of the two of them in her dresser drawer) but he’s quickly forgotten and never mentioned. His assassination doesn’t even stir any simple impulses of revenge. The non-linear framing device also seems designed just to skip ahead to the good stuff or provide a break in the action where Lorraine’s superiors can provide disapproving, fuddy-duddy commentary about her blasé behavior. The plot is a bit too needlessly complicated and muddled for what the film needs. It’s as if screenwriter Kurt Johnstad (300) was given the edict to make things obtuse with paranoia and intrigue just long enough. There’s an extended coda that feels like a reshoot; however, it also has several significant plot revelations that completely change your understanding of the characters.
Atomic Blonde is the kind of movie that knocks you around and overpowers you with its spiky attitude. At its best, the movie pulsates with a buzzy rush of adrenaline, setting up dangerous dilemmas for Lorraine to take out with her fists, feet, and any old thing lying around. Her ingenuity during the fight sequences adds a welcomed degree of unpredictability and satisfaction, and it makes the locations become an integral part of the fight choreography as well. There’s a reason I’ve been expending most of my review on the action sequences and sense of style, because there isn’t much more to Atomic Blonde. It’s all retro fashions, stylish artifice, an overeager soundtrack, and lots of too-cool bravado, but unlike say Suicide Squad, it actually pulls it off. It’s not posturing when it works. Theron is a absurdly convincing as a super sexy super agent, and it feels like they dropped her into a James Bond story (with Sofia Boutella as the Bond girl). The added realism and long takes allow the film to feel even more viscerally kinetic. If this is the start of a Charlize Theron franchise then I say we are living in the sexiest of times.
Nate’s Grade: B
