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The film rarely bothers to create anything for itself, instead sticking to the unadventurous comfort of a victory lap, and an unearned one at that.
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“Once Upon a Deadpool” is framed by a ludicrous premise that somehow works — Wade Wilson (Ryan Reynolds) reciting the story of “Deadpool 2” to his captive, a now fully grown Fred Savage, à la “The Princess Bride.”
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Image Comics is easily the best publisher in the business (sorry, DC and Marvel), maintaining a consistently excellent output of independent, creator-owned titles.
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“Venom” similarly has multiple different storylines. Rather than choosing one of these versions, Fleischer’s film is an amalgam of the character’s in-comic history that fails to be a coherent on-screen narrative.
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A Sam Raimi stan and recent graduate who missed UC Berkeley’s film and media commencement ceremony to screen his short film, “Life in Color,” at the Cannes Film Festival.
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Two years later, “Deadpool 2” doesn’t clear the bar set by its predecessor — it runs right smack into it, colliding with an inglorious thud.
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In the era of superhero movies, “Logan” stands apart. This is, in part, evidenced by the film’s Oscar nomination for Best Adapted Screenplay.
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“The Dark Knight” is quite simply a masterpiece. It is a crime epic that has been described as this generation’s “The Godfather.”
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It’s a perfectly serviceable and enjoyable suspense flick. The problem is that we can’t watch it in a vacuum, and the specter of “Alien” haunts the film.
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After wreaking havoc on and Off-Broadway, the unassuming-looking, orange-haired puppet Tyrone has arrived in Berkeley to speak his truth, however offensive it may be. Like other orange-hued public figures, Tyrone has no filter, plenty to say and a dangerous platform. Robert Askins’ explosive, possessed puppet play “Hand to God” has
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