Category: Film

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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Fast X takes the Fast and Furious franchise to new heights of excitement and spectacle. It embraces its over-the-top nature, delivering a wild ride that pushes the boundaries of plausibility. The film is a celebration of sheer entertainment, inviting viewers to suspend their disbelief and revel in the exhilarating action.

The plot revolves around Dom Toretto and his crew, who find themselves entangled in a complex scheme orchestrated by the deranged Dante Reyes, son of a Hernan Reyes from Fast Five. Dante Reyes seeks to torment Dom by putting his loved ones in danger through a series of outlandish scenarios. Along the way, familiar faces and adversaries reappear, adding to the ever-expanding ensemble.

Fast X never shies away from its audacity. It showcases jaw-dropping action sequences, including car jumps, explosive stunts, and death-defying feats. The film blurs the line between homage and repetition, referencing past instalments while introducing fresh elements to keep things from feeling repetitive.

The cast delivers committed performances, with Jason Momoa stealing the show as the flamboyantly unhinged antagonist. He’s essentially playing The Joker. His portrayal adds a captivating mix of humour and madness to the proceedings. The film also introduces new characters, such as Brie Larson’s Tess and Alan Ritchson’s Almes, who contribute to the diverse ensemble.

At its core, Fast X is an escapist thrill ride. It demands that viewers embrace its over-the-top nature and surrender to the sheer enjoyment of the spectacle. The film transports audiences to a world where the laws of physics take a backseat to adrenaline-pumping action and larger-than-life characters.

While the plot may be convoluted and the characters larger than life, Fast X succeeds in delivering an exhilarating experience. It captures the essence of the franchise’s appeal: the excitement, the high-octane action, and the sense of camaraderie within the “family.” It reminds us that sometimes, it’s okay to suspend our disbelief and indulge in pure cinematic escapism.

Fast X stands as a testament to the franchise’s ability to consistently deliver entertainment that resonates with its devoted fan base. It invites viewers to buckle up, let go of their inhibitions, and embrace the wild and outrageous journey it offers. So, prepare for a thrill like no other as Fast X revs up the engines and takes you on a heart-pounding adventure where anything is possible.

Fast X is in cinemas across the UK & Ireland.

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Last year’s installment of the Scream franchise did not impress me much, as the approach taken by directors Matt Bettinelli-Olpin and Tyler Gillett, known as “Radio Silence,” felt like a mere repetition of 2011’s Scream 4. Nonetheless, the movie had its merits, particularly in its endeavor to uphold the legacy of the late Wes Craven. However, Scream VI, also directed by Radio Silence and written by James Vanderbilt and Guy Busick, seems to have no new ideas to present, apart from one significant exception. Nevertheless, the sixth part of the series is exceptionally enjoyable as it presents a masterful and thrilling puzzle, even if it isn’t particularly groundbreaking.

The setting of the film has now moved to New York City, where Sam Carpenter (Melissa Barrera), her sister Tara (Jenna Ortega), and their best friends Mindy (Jasmin Savoy Brown) and Chad Meeks-Martin (Mason Gooding) are starting college. Sam accompanies Tara to look after her, hoping that a bigger city means that they are safe from Ghostface’s deadly attacks.

However, this proves not to be the case, as a new Ghostface appears, exhibiting an obsession with the previous nine killers. The FBI, led by Agent Kirby Reed (Hayden Panettiere), gets involved in the case, while Gale Weathers (Courteney Cox) returns as a Ghostface expert. Sidney Prescott, the previous final girl, is absent from the story.

The exclusion of Sidney’s character turns out to be a good thing, as it forces the writers to focus on the other characters. Sam, Tara, Mindy, and Chad take the center stage, and they are given enough time to make an impression. Melissa Barrera shines as Sam, and her portrayal brings depth to the character. Jenna Ortega, Jasmin Savoy Brown, and Mason Gooding are also noteworthy in their performances. Hayden Panettiere’s return as Kirby is a pleasant surprise, and she adds an extra layer to the plot.

While the film’s plot is cleverly crafted, it is not particularly challenging to guess who the killer is. However, the direction by Radio Silence elevates the movie. The suspense, danger, and action sequences are spectacular, particularly the ones set in a neighborhood grocery store and a ladder between apartment complexes. The climactic sequence may not break many rules, but it is executed with precision.

Neve Campbell’s absence from Scream VI is certainly a loss for fans of the franchise, but it’s also a reminder of the ongoing issues of pay equity and fair compensation in the entertainment industry. Hopefully, her decision to turn down the role will contribute to a larger conversation about the value of women’s contributions in film and television and the need for greater representation and equality.

In conclusion, Scream VI may not have much new to offer, but it is a thrilling and entertaining addition to the franchise. The film’s focus on the four main characters, along with the brilliant direction, make it a worthwhile watch for fans of the series.

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