The Bad Wilf Network

It’s no secret that the MCU has fallen by the wayside lately, with even its most die-hard fans losing interest. A lot of pressure and expectation rest on “Deadpool & Wolverine,” and while it’s a fun ride, it’s not quite the fix Marvel needs.

That’s not to say it’s a bad film—far from it. “Deadpool & Wolverine” is a very good “Deadpool” film, certainly better than “Deadpool 2.” Ryan Reynolds’ love for the character and source material shines through, and everyone involved cares.

The setup is intriguing: a TVA suit, known as Mr. Paradox (Matthew MacFadyen), has been tasked with tidying up all the dead-end timelines. He either lets the universes fade away or puts people into The Void, where these discarded souls come under the power of Cassandra Nova (Emma Corrin), the telepathic evil twin of Charles Xavier.

We catch up with Wade Wilson, who has long since retired as Deadpool and is working as a used car salesman with Peter (Rob Delaney). Wade is then kidnapped by Mr. Paradox, who offers him a place in the MCU if he helps him close Wade’s universe. With this universe’s Wolverine having died in “Logan,” Wade decides to find another version of Wolverine (Hugh Jackman) to help him defeat Mr. Paradox and save his world.

The film is fast-paced, foul-mouthed, and an absolute joy. As a lifelong comic book fan, it had me grinning from ear to ear. Team-ups happened constantly in the comics, and “Deadpool & Wolverine” is filled with familiar faces from the MCU and Marvel-adjacent stars. Even some fan-casted actors jump in for a slice of the action.

Every few minutes, the audience in my screening burst into cheers and applause as another famous face appeared. It was like “Spider-Man: No Way Home,” but with an added 26 years’ worth of nostalgia.

The problem with stuffing all that fanservice into a 2-hour movie is that it doesn’t leave much room for the story to breathe. Balancing all those cameos in a 2-hour film makes them feel underserved. Giving each character the time they deserve would result in a 4-hour movie, which would feel too much.

I’ll end my review here, as I don’t want to spoil any surprises. If you want to see this spoiler-free, do yourself a favour and see it this weekend.

“Deadpool & Wolverine” is in cinemas now.

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In 1996, Twister stormed into cinemas, becoming the second highest-grossing film of the year, just behind Independence Day. The movie received two Oscar nominations for its outstanding sound and visual effects. Its narrative, centring on a team of storm-chasers tackling an unprecedented tornado event while navigating a complex love story, captivated audiences. With Helen Hunt and Bill Paxton at their peak, Twister heralded a new age of disaster films. It wasn’t flawless, but combined with Jan de Bont’s directorial style, an extremely talented cast, and state-of-the-art effects from Industrial Light & Magic, audiences were blown away.

Now, in a vastly different world from 1996, Twisters aims to recapture that magic. Directed by Oscar-nominated Lee Isaac Chung (Minari), this modern disaster film boasts an ensemble cast featuring Glen Powell (Hit Man, Anyone but You), Daisy Edgar-Jones (Fresh), Brandon Perea (Nope), and Anthony Ramos (In the Heights).

Twisters begins with Edgar-Jones’ Kate leading a group of college storm chasers. A life-altering event in the film’s opening causes Kate to abandon storm chasing for a business career in New York City. Five years later, Ramos’ Javi, a military veteran turned entrepreneur, convinces her to return to Oklahoma to help develop a groundbreaking tornado tracking system.

Unlike Twister, co-written by Michael Crichton, Twisters features a screenplay by Mark L. Smith (Midnight Sky). While Edgar-Jones and Ramos share good chemistry, Powell’s Tyler, a YouTube storm-chasing star, adds comic relief and tension. Tyler’s social media antics contrast sharply with Kate and Javi’s scientific goals, leading to inevitable intrigue and rivalry.

Director Chung chose not to address climate change in Twisters, believing cinema shouldn’t preach. As a result, the film focuses on entertainment rather than scientific or environmental commentary, and it’s so much stronger for it. Every character is deeply flawed but yearns to be better. Powell and Edgar-Jones are a believable couple. However, Edgar-Jones’ accent slips occasionally, revealing her London roots.

Chung and his team deliver a mix of action and light-hearted storytelling, providing audiences with a whirlwind of entertainment. At just under two hours, Twisters maintains a good pace, though it peaks early with an incredible opening that it fails to top.

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The latest offering from acclaimed Japanese filmmaker Makoto Shinkai, best known for his 2016 fantasy film Your Name & Weathering with You, is a captivating and intriguing work of art. With its stunning art, stunning blend of sci-fi, supernatural disasters, and political commentary, with a touch of humour.

The story revolves around Suzume, voiced by Nichole Sakura. Suzume is a bright yet lonely teenager who lives with her aunt following the death of her mother. One day, while on a cycle, she encounters Souta, a mysterious young man on a quest to find a door. Curiosity piqued, Suzume decides to follow him, leading her to an abandoned ruin where she discovers a strange door in the middle of nowhere.

Like a modern Alice in Wonderland, Suzume opens the door and unleashes a series of cosmic forces and earthquakes. It soon becomes clear that Souta’s mission was to seal these destructive portals, and he needs a “keystone” to do so. However, fate intervenes, and Souta is transformed into a broken child’s chair that speaks with his voice. Meanwhile, the keystone takes the form of a talking cat called Daijin.

Thus begins their epic and quirky journey, a delightful blend of mythic and comic elements. Suzume’s story can be seen as an allegory for the tumultuous changes that come with growing up and finding one’s place in the world, but it goes beyond mere sexual awakening to explore broader themes of power dynamics, respect, and visibility.

Above all, Suzume’s mission is to protect nature itself, a powerful and timeless concept with deep generational resonance.

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