Recent Movies

PET (2016) - REVIEW

Hi guys,

while the summer break is on in the cinemas and all countries have their national movie weeks I thgouht about looking back to those movies which impressed me most during the past 365 days.

So I will do some reviews about movies from 2016 - 2017, without any rating because they are out of competition, they shoud stand for tips for you, what you can watch during the summer break.

Enjoy.

So the first movie is a psychological thriller about a man who bumps into an old crush and subsequently becomes obsessed with her, leading him to hold her captive underneath the animal shelter where he works. But what will the victim have in store for her captor?

Pet (2016)

 

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2 December 2016 (USA)  »

Also Known As:

Animal de companie  »

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 See enough horror films and you’ll find it easy to believe that just about every home and business in America features a basement in which a comely young woman is being held prisoner. That familiar scenario is rehashed in Pet, director Carles Torrens’ (Apartment 143) sophomore feature starring Lord of the Rings veteran Dominic Monaghan as a seemingly mild-mannered, lonely man who resorts to a drastic solution to win the love of the object of his desire. Or, that may not be his goal at all.

The question comes up because Jeremy Slater’s ambitious screenplay seems determined to provide as many plot twists as possible during the course of the film’s brief running time. Viewers’ perceptions and expectations are constantly being upended, and not necessarily in a believable way.

Still, the film is engrossing, thanks to the director’s skill at delivering sustained tension, and the excellent performances. Monaghan plays Seth, an animal shelter employee who while riding on a bus runs into the beautiful Holly (Ksenia Solo, Black Swan), on whom he had an unrequited crush in high school. He attempts to makes small talk, but although Holly responds politely, she’s clearly not interested.

Seth soon shows up at the coffee shop in which Holly works, but she again rebuffs his advances. When he later shows up when she’s at the bar in which her clingy ex-boyfriend (Nathan Parsons) works, Seth receives a beating for his trouble, to which he strangely reacts with uncontrollable laughter. Before making his getaway, he does manage to purloin Holly’s diary.
Holly’s next encounter with her apparent stalker doesn't go as well for her, as she winds up unconscious and is then brought to the animal shelter’s basement under the nose of Seth’s security guard colleague (Da’Vone McDonald). There she’s confined in a small cage, clad only in her underwear, with Seth telling her that he intends to “save" her.

The resulting cat-and-mouse game reveals more of an insidious power struggle than it initially appeared. Suffice it to say that some characters meet horrific fates and others, including Holly’s supportive best friend (Jennette McCurdy), are not quite who they seem.
While Slater’s script is overly manipulative — he can’t even resist one last climactic shock — the lead performers manage to sell it. Monaghan provides interesting variations on what could have been a stock sicko character, while Solo is compelling as the victim who proves more than a match for her captor. Pet is unlikely to cross over to general audiences, but it’s bound to satisfy fans of more extreme horror.

 It is really surprising end. It is movie which made interested in those people who always have to fight their personality and character because I am interested in that psychology and I always try to understand what is in their mind. I really can recommand this movie if you are the same kind of person.

Thanks for reading and have fun watching movies.

NAKED (2017) - TRAILER

Naked (2017)



Nervous about finally getting married a guy is forced to relive the same nerve-wracking hours over and over again until he gets things right on his wedding day.

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, (based on an original story by) | 3 more credits »

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11 August 2017 (USA)  »

Also Known As:

Gol in ziua nuntii  »

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Show detailed on  »

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Regina Hall and Marlon Wayans previously worked together on Scary Movie (2000) and Scary Movie 2 (2001). They even worked together with Marlon's brother, Shawn Wayans on the movies and both Shawn Wayans and Marlon Wayans even made the Scary Movie (2000) film series happen. 

 I am sorry but currently there is not a lot to blog because the summer season in on in Hollywood and a lot of studios are in production mode rather than to publish stuff.

So that is why I am also taking some time off, but soon there will be great more stuff to talk about.
If you like to have a look around the blog, there are many movies, trailer, reviews already online.

Thanks for reading and have fun watching movies.

LYCAN (2017) - REVIEW

Lycan (2017)



When six college kids in a sleepy Southern town are assigned a group project to rediscover a moment in history, one of them sets in motion a horrific fate when he proposes they head into the Georgia backwoods to tackle the legend of Emily Burt, the Talbot County werewolf. "Lycan" is a Hitchcockian tale of horror set in 1986 that delves into a hundred year old fable where our students are met with very real consequences that go beyond any classroom lessons.

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4 August 2017 (USA)

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Talbot County 

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$250,000 (estimated)

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A half-dozen students pick the wrong subject to research for history class in Lycan, a stuck-in-the-woods slasher film that flirts unsatisfyingly with werewolf themes. The debut feature for director Bev Land, husband of the picture's star Dania Ramirez, it intends to introduce novelty to its overfamiliar setup, but uneven casting and a very thin script get in the way. Commercial prospects are slim, even among horror die-hards.

Ramirez plays Isabella, a campus misfit randomly assigned to a group of students for a class project. Told to select a historical subject that needs reevaluation, these six pass over the opportunity to prove a black felon was wrongly convicted in favor of exploring a lurid old newspaper story about "The Werewolf of Talbot County." It appears that the gravesite of the suspected werewolf is on property adjoining the farm where Isabella lives; over her protestations, the team sets out on horseback to camp in the woods until they can dig up some evidence.
Land and co-screenwriter Michael Mordler offer the usual Breakfast Club hodgepodge of campus stereotypes — jock and smart-ass stoner, preppy grade-grubber, prissy sorority girl and her fashion-obsessed sidekick. Their banter is less clever than bitchy, ensuring that we won't mind much when they start dying off; trouble is, there might not be one of these kids we care enough about to root for.

The intentionally mixed signals sent out by the picture from its first scenes — is Isabella mentally ill, the victim of an ancient curse, or both? — are more muddy than tantalizing, and adding a romantic angle doesn't change that much: Hunky Blake (Jake Lockett), rather than hooking up with one of the sorority girls, longs for the troubled Isabella and can't understand why she's so skittish.

He'll find out soon enough. But not until after a series of violent encounters in the forest, nighttime scenes staged and photographed unappealingly by Land and lenser Colin Michael Quinn. Genre-savvy viewers will know to expect the eventual return of Isabella's landlady, a "crazy cat lady" played by Gail O'Grady. But while that resolves some of the plot's questions, it does little to raise the emotional stakes or make us more invested in these bland campers' survival.

5/10 genre

5/10 overall

Thanks for reading and have fun watching movies.
 

LEATHERFACE (2017) - REVIEW

Leatherface (2017)






A teenage Leatherface escapes from a mental hospital with three other inmates, kidnapping a young nurse and taking her on a road trip from hell while being pursued by an equally deranged lawman out for revenge.

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20 October 2017 (USA)  »

Also Known As:

Texas Chainsaw 4  »

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Soundtracks

Leave Me Alone
Written and Performed by Nathaniel Mayer
Published by Trianon Publications (BMI)
Courtesy of Fortune Records
By arrangement with Westwood Music Group

KIDNAP (2017) - REVIEW

Kidnap (2017)

R | | Thriller | 4 August 2017 (USA)

A mother stops at nothing to recover her kidnapped son.

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In the US, a child goes missing every 40 seconds. You never think it will happen to you. Until it does. Alone and scared, Karla Dyson (Halle Berry) is unwilling to leave the fate of her son's life in someone else's hands. When she catches a glimpse of the abductors speeding away, she decides to fight back. In a heart pounding race against time, Kate begins a high speed pursuit and will stop at nothing to save her son's life.

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4 August 2017 (USA) 

Also Known As:

Desaparecido

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Budget:

$21.000.000 (estimated)

Opening Weekend:

$10.210.000 (USA) (4 August 2017)

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$10.210.000 (USA) (4 August 2017)

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Halle Berry stars as a desperate mom trying to save her son from ruthless abductors in Luis Prieto's thriller.
The limits of maternal instinct are relentlessly tested in Kidnap, a tightly wound actioner that draws on Halle Berry’s intense performance to power this fast-paced feature. Despite its rather generic TV-movie premise, a clever script and consistently gratifying plot twists provide plenty of momentum that could propel Aviron Pictures' late-summer release to decent returns among audiences weary of a season of studio misfires.

As a divorced single mother, Karla Dyson (Berry) works a thankless waitressing job serving rude customers at a New Orleans-area diner to support her 6-year-old son Frankie (Sage Correa), the light of her life. On a rare, carefree outing to the park one weekend after a particularly stressful shift, Frankie disappears while Karla's distracted by a phone call from her lawyer regarding her ex-husband's attempt to obtain primary custody of their son.

Thinking at first he might just be playing a game, Karla searches the park to no avail, then ventures into the parking lot where she glimpses an unknown woman dragging Frankie into a beat-up old Mustang GT with the license plates removed. Karla runs after the Ford as it pulls out of the parking lot, taking a bad fall and dropping her cellphone as the car speeds away. Barely hesitating, she jumps into her Chrysler minivan and gives pursuit, frantically searching for her phone.
At this point, most distraught parents would probably pull over and find a way to contact law enforcement, but convinced she's on her own, Karla follows the Mustang, which leads her on a perilous high-speed chase through freeway traffic. The kidnappers' attempt to escape only strengthens her resolve as Karla relentlessly closes in on the Ford, finally cornering the car on a deserted highway median. With Frankie's life at stake, she confronts his abductors in a desperate attempt to negotiate his release.

Screenwriter Knate Lee mines Karla's single-minded determination to protect her child for all it's worth, sometimes testing the bounds of plausibility. This tendency becomes especially apparent when Karla's alone in her car without a phone and there's no opportunity for conversation, so she improvises a reassuring dialogue with Frankie that borders on the outright silly, or predictably prays aloud for God's intervention.

Despite these occasional outbursts, most of the plot plays out like one extended chase scene, which is exactly the point, as Karla tries to catch up with Frankie's abductors. As she grows more desperate and their evasion tactics reach extremes, Karla's pursuit strategies evolve, becoming more calculated and far riskier. When her attempts at contacting law enforcement prove fruitless, she relentlessly pushes herself beyond limits she didn't even know she had.

Berry has capably demonstrated her action expertise in numerous low-budget thrillers, as well as four installments of the X-Men franchise in her role as Storm, so her ability to command the screen single-handedly here proves surprisingly satisfying. Lee's narrative template, which overlays a child-abduction scenario with a reluctant heroine's self-actualization, adds up to more than a soccer mom on a mission; it gets directly to the primal issues of survival and maternal instinct. Berry (the mother of two kids herself) is at her best when she's dipping into this deep well of emotion as she ferociously hunts down her child's kidnappers with little regard for her own safety (or that of the numerous victims of her epically distracted driving).

Spanish filmmaker Luis Prieto, who directed the 2012 remake of Nicolas Winding Refn's Pusher, adroitly leverages Berry's familiar face and onscreen persona to consistently escalate tension, as DP Flavio Labiano and editor Avi Youabian construct their shots and action sequences to enable her to totally own the screen.

 I believe every well known actor leads in at least one film not deserving of their talents. Kidnap is that kind of film and Halle Berry is truly trying her hardest to sell this film.

As a mother of a young boy, Halle finds herself in pursuit of a abductor of her child in her SUV.......and honestly that's really it in terms of plot. The plot and events are so thin that even the editing is struggling to warrant its 95 minute run time in a story that's only worth about 35 minutes, so the director and editor find themselves using fast, strobe like cuts of Halle in pursuit (it looks really bad and out of place), and slow extended periods of cars just driving on the highway. While the film tries to make you root for Halle, I couldn't shake the fact that her characters negligence is the reason this story is even happening.

Kidnap is a film that was filmed in 2014, and still in June 2017 hasn't been released officially and I see why. It's not the worst film ever, as there is some ridiculous fun to be had with this, but with sloppy editing, and a script that few directors could even try to elevate, Kidnap leaves nothing missed if you turned in the other direction and walked away.

The camera is mixture of drama, full of action, sadness, and it totally fits into the theme that everything is tried hard and harder in this movie.

The effects are not relevant here, daily issues and daily drama are meant to be filled with high spectular CGI. 

The music is cheezy and does not fit into the drama genre, but the landline music is nice. 

In some moments, actually most of the time I am asking myself where is the thrill since we are talking about a thriller, but as I said already a lot of times, it seems like we have a better hostage drama than a thriller. But I cannot help myself than giving

5/10 genre

4/10 overall


Thanks for reading and have fun watching movies.

THE DARK TOWER (2017) - REVIEW

BASED ON THE BOOKS (8) BY STEVEN KING

The last Gunslinger, Roland Deschain, has been locked in an eternal battle with Walter O'Dim, also known as the Man in Black, determined to prevent him from toppling the Dark Tower, which holds the universe together. With the fate of the worlds at stake, good and evil will collide in the ultimate battle as only Roland can defend the Tower from the Man in Black.

The Dark Tower (2017)




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(screenplay), (screenplay) | 3 more credits »

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30 August 2017 (Philippines)  »

Also Known As:

La Torre Oscura  »

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$66.000.000 (estimated)
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During the first act of the film, several Stephen King Easter eggs are visible. The twins from "The Shining", the family (including the dog) from "Cujo", and the car from "Christine" (as the toy pushed by Jake in his room) are each shown briefly.

The story is based on the eight books by Steven King, and the book are awesome, everyone should have read them, and then there is the thing that those content of eight books was put into a movie, which about 95 minutes only.

I think this is a total misleading in understanding the content of the books, and to be honest, I cannot understand why this content was put down into a movie, which is everything else than a wow, after leaving the cinema. We have an incredible cast with honored names like Idris Elba, Matthew McConaughey, Tom Taylor, Claudia Kim, Fran Kranz, Abbey Lee Kershaw, or Jackie Earle Haley and those characters do not have the time to convince us because of the high speed of action and the wrapping of content into those 95 minutes.

Let's make this clear at the beginning of this review before we go into further details and let's talk about the technic first.

The camera is kept in a dark tone, everything needs to be fast, and the camera is not an exception here. The effects are just fine, some of them, especially when the movies wants to make a final, they are so rough, no HD, and cheesy at the same time, that I had the feeling to see a comedy movie, which fails seen at the intension of the movie.
The settings are well places, epic towns ad buildings, caves, and also a trip into the universe is placed in that at the end disappointment coming from Hollywood.

So let's talk about the things why the movies fails a bit to tell us his full story and why the movie actually should be a start of a frenchaise, but it won't, which is sad.


For over a decade, some of Hollywood's most successful storytellers have wanted to turn Stephen King's eight-book Dark Tower saga into movies. Few, presumably, started out with the idea that the best way to wrangle this mountain of plot was to write a new sequel to it. That's roughly what Danish director Nikolaj Arcel offers in The Dark Tower, weaving elements from the published books into a new premise suggested by the series' end and paring the whole mythology down enough to fit into a mere hour and a half. Recent industry gossip described a troubled shoot and early edits that were so confusing to test audiences they prompted much postproduction tinkering by producers and studio execs. That's tough to believe when looking at the finished product, a save-the-multiverse sci-fi fantasy that is, if anything, too easily digested.
Though far from the muddled train wreck we've been led to expect, this Tower lacks the world-constructing gravitas of either the Tolkien books that inspired King or the franchise-launching movies that Sony execs surely have in mind. Though satisfying enough to please many casual moviegoers drawn in by King's name and stars Idris Elba and Matthew McConaughey, it will likely disappoint many serious fans and leave other newbies underwhelmed.

Things begin promisingly, with visions of impending doom that haunt the nightmares of a New York City kid named Jake Chambers (Tom Taylor). Despite (or maybe because of) the specificity of these John the Baptist-grade revelations, Jake's parents and shrink are sure it's all a fantasy, the emotional fallout of a death in the family. But the mysterious Man in Black that Jake has seen in his dreams knows otherwise, and his minions are already en route to kidnap the boy.

The Man in Black is McConaughey's Walter O'Dim, a sorcerer known by several names in King's books. We'll soon learn that he's attempting to harness the psychic energy of gifted children to destroy the eponymous Tower, which protects not just our planet (known here as "Keystone Earth") but an unknown number of parallel worlds. Beyond these worlds lies a void full of monsters, we're told. Though nobody ever hints at why Walter might want to set unpredictable, violent monsters loose on infinite Earths instead of just ruling over them — he coos commands to people and they magically do whatever he asks — it's hard to have a save-the-universe adventure without a villain bent on destruction.

Jake manages to find a teleportation gizmo that sends him into one of those parallel Earths — a post-apocalyptic place called Mid-World whose inhabitants have fought Walter for, presumably, eons. Elba plays Roland Deschain, the last of an honorable warrior clan called the Jedi Knigh— er, the Gunslingers. Somehow resistant to Walter's spells, he has endured while the Man in Black killed everyone he loved. He agrees to help Jake on his quest, but only in order to slay Walter; Roland no longer has the stomach for saving the galaxy.

Heaven knows, the books offer more invention than could fit in one feature film — reading just the first two paragraphs of Wikipedia's entry on Jake Chambers excited me more than anything Dark Tower contains — but in their effort to introduce newcomers to this world, the filmmakers make the saga's contents look not archetypal but generic and cobbled together. Walter's giant weapon looks like the Starkiller from The Force Awakens, spitting a giant beam of fire out toward a de-Sauroned version of the scary edifice in Tolkien's Mordor; Jake, who has great psychic gifts, looks like the same "One Who Was Prophesied" we've met in every wish-fulfillment fantasy targeted at youngsters since Luke Skywalker learned to see things with his eyes closed.

Elba and McConaughey give the movie exactly what it needs from them: tarnished righteousness and stoic wisdom from the former, unruffled indifference to humanity's suffering from the latter. Production and effects departments make the picture quite good-looking, action scenes play well and, though the setups are sometimes inelegant, a few comic moments land nicely. But no scene in this film even approaches the rousing, lump-in-the-throat power of the first Lord of the Rings film, or even of the initial chapter of The Hunger Games. An optimist would say that the Harry Potter movies survived a couple of stiff opening chapters to hit their stride midway through. But that series relied on the loyalty of a different sort of fan. Older and wiser, longtime Stephen King readers know how much Hollywood wants their attention. If they shrug their shoulders at this Dark Tower, a better one might come along before you can say "reboot."
 
I was very disappointed being a casual Dark Tower fan. With so much material and so many great opportunities to pull action, this movie falls flat.

Thinking back, this book series probably was not to be made into a movie. Condensing Roland's ka-tet into a Hollywood flick was a recipe for a let down.
  

6/10 genre

6/10 overall


Thanks for reading and have fun watching movies.

OCEAN'S ELEVEN (2001) - FRIDAY CLASSICS REVIEW

Danny Ocean and his eleven accomplices plan to rob three Las Vegas casinos simultaneously. 
 

Ocean's Eleven (2001)

PG-13 | | Crime, Thriller | 24 January 2002 (Philippines) 

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4 wins & 20 nominations.

Danny Ocean wants to score the biggest heist in history. He combines an eleven member team, including Frank Catton, Rusty Ryan and Linus Caldwell. Their target? The Bellagio, the Mirage and the MGM Grand. All casinos owned by Terry Benedict. It's not going to be easy, as they plan to get in secretly and out with $150 million.

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Release Date:

24 January 2002 (Philippines)  »

Also Known As:

La gran estafa  »

Box Office

Budget:

$85.000.000 (estimated)

Opening Weekend:

$38.107.822 (USA) (7 December 2001)

Gross:

$183.405.771 (USA) (26 April 2002)
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| | (8 channels)

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2.35 : 1 
 
A heist movie with a serious demeanor but comic underpinnings, Ocean's Eleven performs its grand larceny through a collection of star turns by the likes of George Clooney, Brad Pitt, Julia Roberts, Matt Damon, Don Cheadle and Andy Garcia. It's a movie that demands not to be taken too seriously. But at times it feels so weightless that the intrigue comes more in seeing how the writer and director will wiggle out of plot predicaments than how a team of thieves will rip off Las Vegas casinos.

For Steven Soderbergh, coming off last year's historic double whammy in which he became the only director to have two films nominated for best picture and best director, Ocean's Eleven represents a mostly successful stylistic shift into sheer artifice, where the force of the personalities involved compels your interest. Each star gets his moment to shine, so fans will suffer no disappointment. If kids have Harry Potter this holiday season, then adults have Ocean's Eleven. The film could be a major hit both in North America and overseas.

The movie, of course, has an antecedent in the 1960 Ocean's Eleven, in which Frank Sinatra and his Rat Pack buddies rob five Vegas casinos. (This has been reduced to three in the new movie, and really only one vault.) That earlier film was mostly an exercise in celebrity cool; here Soderbergh makes his actors earn their money by actually playing characters.

Everyone is a career criminal in Ted Griffin's intricate, richly detailed script, so not one moment is wasted on worry over a dishonest day's work. Clooney's Danny Ocean sets the wheel in motion the moment he leaves prison. His goal is to rob an underground vault that services the Bellagio, Mirage and MGM Grand casinos.
Every team member he and his right-hand man, Pitt's Rusty Ryan, recruits is a genius at some criminal activity. Linus (Damon) is a nimble pickpocket. Basher (Cheadle, with a marvelous Cockney accent) can blow up anything. Livingston (Eddie Jemison) is a brilliant though tightly wound surveillance guy. Frank (Bernie Mac) can deal cards and still watch everything that takes place on the casino floor. Saul (Carl Reiner) knows every con game that exists. The Malloy brothers (Casey Affleck and Scott Caan) are whizzes at auto mechanics. Yen is an amazing Chinese acrobat (played by Shaobo Qin, who is exactly that). Finally, ex-casino owner Reuben Tishkoff (Elliott Gould) is rich enough to fund the operation, so you never have to wonder, "How did they get that thing?"

Then, to give the cold mechanics of the heist some hot blood, Danny has an ulterior motive in robbing these particular casinos: All are owned by Terry Benedict (Garcia), a polished though deadly entrepreneur currently sleeping with Danny's ex-wife, Tess (Roberts).

This is not your typical crime movie. These are all gentleman thieves; they never raise their voices. There are never any quarrels or unpleasantness. They don't even seem to be doing this for the money.
Some might find the clockwork precision of their criminal craftsmanship hard to swallow, but the movie operates solely in the arena of fantasy wish fulfillment. This is a movie for anyone who has lost a wad in Vegas, lost a mate to a really smooth rich guy or gal or simply lost his keys through lack of organization.
Ocean's Eleven is no Rififi, which virtually served as a documentary in how to break into a jewelry store. Rather, the movie is an exercise in Hollywood glamour, enlivened by the feeling one often gets from a Soderbergh film: that the actors are having a ball.
 
The film is a technical marvel, with Philip Messina's sets and real casino locations binding seamlessly together. Soderbergh's elegant camerawork takes you "backstage" at the Bellagio to tour rooms, corridors, elevator shafts and passages. And David Holmes' cool, jazzy score makes this Ocean's Eleven feel hipper than Sinatra's.
 
Thanks for reading and have fun watching movies.

DEADPOOL (2016) - SPECIAL REVIEW

Deadpool (2016)


A fast-talking mercenary with a morbid sense of humor is subjected to a rogue experiment that leaves him with accelerated healing powers and a quest for revenge.

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This is the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.

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| |  »

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Release Date:

10 February 2016 (Philippines)  »

Also Known As:

Дедпул  »

Box Office

Budget:

$58.000.000 (estimated)

Opening Weekend:

$135.050.000 (USA) (12 February 2016)

Gross:

$363.024.263 (USA) (3 June 2016)
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2.35 : 1


According to data compiled by TorrentFreak, the Ryan Reynolds starrer racked up the most illegal downloads last year.

Ryan Reynolds' long-gestating anti-superhero pic Deadpool was one of the biggest hits of 2016. In addition to its massive box-office success, the film also earned two Golden Globe nominations for best musical or comedy and best actor for Reynolds. Now, the sendup of the superhero genre can add another accolade to its growing list: the most pirated film of 2016.

According to data compiled by TorrentFreak, Deadpool topped its list of illegally downloaded movies. The year-end roundup included other such superhero ventures as Batman v. Superman: Dawn of Justice and Captain America: Civil War. 

The list features many of the year's highest box-office grossers, such as Star Wars: The Force Awakens (which was actually released in December 2015) and Pixar's hit animated sequel Finding Dory.
However, the correlation between commercial hit and pirated hot-ticket item is not the only one at play. While massive hits like Deadpool, Finding Dory and Captain America: Civil War landed on the top 10 list in both categories, family fare such as Illumination Entertainment's The Secret Life of Pets and Disney's live-action remake of The Jungle Book were absent from the rundown of most torrented films, despite ranking fourth and fifth at the 2016 box office, respectively.
Despite the illegality of the downloads, earning the top spot with torrentors proves, yet again, that Deadpool resonated with audiences.

Ryan Reynolds stars as a superhero not quite like the others in the latest — and certainly raunchiest — Marvel movie, directed by Tim Miller.

For the multitudes who feared that, after Fantastic Four, Fox might simply be rummaging too far down into Marvel's basement in search of a few more scraps of lucre, the joke's on them. It takes a little while to get in gear — or perhaps just to adjust to what's going on here — but once it does, Deadpool drops trou to reveal itself as a really raunchy, very dirty and pretty funny goof on the entire superhero ethos, as well as the first Marvel film to irreverently trash the brand. Just what anyone suffering from genre burnout might appreciate at this point, as well as a big in-joke treat for all but the most reverent fanboys, this film looks to be hitting the market at just the right time — with Christmas releases now in the rearview mirror — to rake in some sweet returns.

Given the surprising amount of nudity, raw sex jokes and nonstop underlined and bold-faced, racy dialogue, it's amusing to picture the countless pubescent boys who will be plotting a way to get into this extremely R-rated romp. Not only does Ryan Reynolds give it his all, shall we say, but the conversations here mostly resemble the sort of thing you'd expect to hear around last call at a Bakersfield biker bar. Or, more to the point, what you'd get if you mashed up the dialogue from the two previous scripts written by Rhett Reese and Paul Wernick, Zombieland and G.I. Joe: Retaliation.

Last seen decapitated and heading down the chimney of a nuclear plant at the end of X-Men: Origins in 2009, Wade Wilson/Deadpool has always seemed like a tough nut to crack in terms of centering a mass-audience film on him. A brash and brazen mercenary, he's an anti-hero with a film noir lead's taste for the louche and low-down, as well as a character who, in narrative terms, stands out due to his predilection for breaking the fourth wall. Whether he could make the grade as the leading man of a franchise of his own was always a question, which partly accounts for the prolonged wait-and-see on Marvel's part.

Other reasons for hesitation lay in the character not being a superhero like all the others and, if the pic were to be done right, the necessity of an R rating — a place Marvel has never gone before. How to reconcile the brand's image and fan base with such material? The answer probably lies in the fact that Marvel is so successful now, and so far down the line with their various franchises, that shaking things up was seen as permissible and maybe even a good move. Or perhaps executives aware early on of what was happening with Fantastic Four said, “Opposite direction! Now!”

At first, with some strained/cheeky opening credits (“a moody teen,” “a gratuitous cameo”) followed by an emotional-investment-free highway action sequence notable for its splatter gore content, things don't look promising — just wiseass-y and needlessly violent. Who is this guy in red and black spandex with white fabric where eyes should be, who fights with two katanas, spins in the air in slo-mo and has wounds that heal at once? Shoot this guy full of holes and he'll be back at you within seconds. “I may be super, but I'm no hero,” he cracks. Why should we care?

Flash back two years and things seem no better, save, perhaps, for the dude's face, which now plainly belongs to Reynolds. A grown man who hangs at a skateboard park, Wade Wilson is a former Special Forces operative whose watering hole is a dive called Sister Margaret's Home for Wayward Girls, where the guys are all former soldiers of fortune who never hit the jackpot and the gals look like Hooters rejects. Wade and a bitter hooker named Vanessa (Morena Baccarin) hit it off and get it on in a kinky montage that's more out-there than what most Hollywood-made R-rated stuff ever serves up.

It's right around here, and immediately afterward, when Wade is diagnosed as having late-stage cancer, that, ironically, the film really starts to click. When a doctor mentions the possibility of going to Chechnya for special treatment, Wade responds, “Isn't that where you go to get cancer?” and you finally begin to sense that there might be something to this verbal speed-freak character after all.

The positioning of the flashback seems simple but serves the movie extremely well, especially with the arrival of Ajax (Ed Skrein, deeply evil), a doctor and head of something called the WeaponX workshop, who takes Wade on as a reclamation project and turns him into a fighting machine who can never die. Ajax's sadism during the painful transformation process knows no bounds and, at the end of the ordeal, he takes particular pleasure in introducing Wade to his new face, which resembles ground beef (Vanessa's measured reaction to beholding it is, “It's a face … I'd be happy to sit on”).
 
Now a freak behind his mask and form-fitting outfit, Wade/Deadpool has it out for Ajax, but their ultimate face-off, previewed in the opening scene, must wait until after Deadpool teams up with two unlikely cohorts: the metallic giant Colossus, who does what he can to protect him, and a rebellious teen who can't possibly live up to her name, Negasonic Teenage Warhead (Brianna Hildebrand). For his part, Ajax has his own one-woman hit squad in Angel Dust (mixed martial arts champ and Haywire star Gina Carano).

The final showdown is very small potatoes by Marvel standards and, of course, predictable, but compensates with humor, which is what floats the entire project. The script has the feel of something gone over again and again and yet again to double the number of jokes each time. The machine-gun approach doesn't always hit, but it does enough so that, in the end, the number of laughs is pretty high.
Beyond even what Robert Downey Jr. has done in the Iron Man series, Reynolds lets fly here in a manic, sly, self-conscious way that leaves you not quite knowing what hit you: the irreverence slides quickly into lewd comic territory; the inside jokes about Marvel in particular and pop culture in general come fast and furious; the fourth-wall breakage is disarming; and the actor's occasional fey, high-pitched voicings add yet another strange element. As in the presence of motor-mouthed comedians, you either sit there stone-faced or eventually capitulate to the cascade of weirdness and the fertility of wayward minds unleashed.

A longtime commercials and visual effects executive and creative director, Tim Miller hasn't so much directed his first feature as liberated much of what has been bubbling under the surface of superhero films for a long time; it answers a lot of the questions you were afraid to ask.
For the record, Deadpool features one of Stan Lee's best Marvel cameos — it's actually funny.

Investigators cited a law generally used to regulate alcohol and nudity at strip clubs, which are required to have dancers wear G-strings and pasties if the club serves liquor.
Utah alcohol bosses have filed a complaint and will consider revoking the liquor license of a movie theater it says violated a state obscenity law by serving drinks while screening Deadpool, which features simulated sex scenes.
The theater said the law is unconstitutional and has threatened to challenge it in court if the complaint isn't dropped.

Rocky Anderson, an attorney for Brewvies in Salt Lake City, said Monday the law violates free-speech rights and is so broadly written that even a movie featuring Michelangelo's nude sculpture "David" would be banned if alcohol were served at a screening.

Utah's Department of Alcoholic Beverage Control filed the complaint against Brewvies after three undercover state officers attended a screening of Deadpool in February.
Investigators cited a state obscenity law that is generally used to regulate alcohol and nudity at strip clubs, which are required to have dancers wear G-strings and pasties if the club serves liquor.
The law also bans the showing of any film with sex acts or simulated sex acts, full-frontal nudity or the "caressing" of breasts or buttocks. It only applies to businesses with liquor licenses, so most Utah movie theaters, which are alcohol-free, are not cited under the law.

Brewvies, which has been open since 1997, only allows people 21 and older to attend movies and serves food and liquor to customers.

The DABC has scheduled a meeting in May to discuss or possibly settle the complaint before further disciplinary action is taken.
The agency's Vickie Ashby had no comment Monday and said she could not speak to the next steps in the disciplinary process. She directed questions to the attorney general's office and State Bureau of Investigation, which ran the undercover investigation.

Dan Burton, a spokesman for the Utah attorney general's office, declined to comment. The State Bureau of Investigation looked into the matter after the DABC sent it a complaint, according to Marissa Villasenor, a spokeswoman for Utah's Department of Public Safety, which oversees the investigative bureau.
Anderson said he'll challenge the law in court unless the complaint is dropped and Utah stops enforcing the obscenity law. Anderson said his client should also be repaid for a $1,627 fine the theater paid five years ago when it was cited under the same law for showing The Hangover Part II.
Anderson, who provided a copy of the investigative report to The Associated Press, said the fact that the film can be shown at other theaters nearby makes it clear Utah officials are using liquor laws to limit First Amendment rights of free speech.

Anderson said the Utah law is similar to an Idaho measure that lawmakers repealed this year after a theater sued after its liquor license was threatened for showing Fifty Shades of Grey while serving alcohol.

 Deadpool is a master piece of film classics already and the show will continue since yesterday the final cut was finally done. Cannot wait for 2018.

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