Review: 'Spider-Man: Homecoming'

PLOT: Peter Parker (Tom Holland), now operating as Spider-Man post “CIVIL WAR” tries to win the respect of Tony Stark (Robert Downey Jr.) by foiling the operations of Adrien Toomes (Michael Keaton), aka The Vulture, a former salvage company owner who’s using recovered alien tech to build deadly weapons for sale on the street.

REVIEW: You know who you are. But I'm confident calling Jon Watts' Homecoming my absolute favorite MCU movie because: 1) It centers around my favorite superhero in the Marvel universe; and 2) It gets every aspect about him right.

There's even a specific moment I can point to in Spider-Man: Homecoming where the movie graduated from being an hilarious, exhilarating, bouncy and fun chapter in the sprawling Marvel saga to becoming my all-time favorite MCU movie. But it's not in the trailers, and I'm not inclined to spoil it for you, here. But it's a reference... a deep-dive reference to a signature moment in Spider-Man's development, which occurs during the very early Amazing Spider-Man run by Stan Lee and Steve Ditko. Jon Watts has it in here. And it's perfect. It's genuine, and it's earned, and it's the first time any Spider-Man movie has captured this necessary essence of the teenage hero, who's perfectly portrayed by Tom Holland. And it's why I love this movie more than any MCU film that has come before it.

The movie picks up right after the events of Captain America: Civil War. Having stood toe to toe with Team Cap in Berlin, Tony Stark (Robert Downey Jr.) returns Peter Parker (Tom Holland) to his "modest" apartment in Queens, New York, encouraging him to carve out a niche as a friendly, neighborhood Spider-Man. Peter, meanwhile, believes that he can earn a spot on the Avengers' roster, if only he can stop a major villain and prove his worth to Earth's Mightiest Heroes.

Peter gets that opportunity when he crosses paths with Adrian Toomes (Michael Keaton), a blue-collar warehouse manager who has concocted an elaborate scheme. Using alien technology acquired -- illegally -- following the Battle of New York (from the first Avengers movie), Toomes and his colleague, the Tinkerer (Michael Chernus), construct deadly tools and weaponry that fuel secret criminal missions. Toomes, using a high-tech Vulture suit, wants to fly under the radar and acquire his wealth, though a high-profile job pulled off by Toomes' associate, the Shocker (Logan Marshall-Green), puts the gang on Spider-Man's radar once and for all.

Those rolling their eyes at a fifth Spider-Man movie in 15 years need to know how different this take on Spidey is, for the better. The creative decision to keep Peter Parker in high school allows Jon Watts and Tom Holland to focus on the awkward social aspects that come with being a kid with a secret identity. The stakes in this movie are smaller than in your average MCU adventure, and our hero's at a stage in his journey where his powers are still new, leading to some hysterically funny jokes, often at Peter's expense.

Spider-Man: Homecoming also does a much better job than previous Spider-Man films in celebrating the personalities of the kids in Peter's inner circle, from the beautiful but accessible Liz (Laura Harrier) to the grungy and aloof Michelle (Zendaya). Tony Revolori is screamingly funny as the egotistical Flash Thompson, though the true stand out here is Ned (Jacob Batalon), Peter's best friend who learns Parker's heroic secret early, then plays a crucial role as Spider-Man's hilarious "guy in the chair," assisting missions from a distance. The dynamic shared between Tom Holland and his young co-stars roots Spider-Man: Homecoming in a ground-level, relatable corner of the MCU that is rarely explored, with such color and detail. I'm anxiously awaiting another MCU Spider-Man movie just to be able to spend more time with these kids.

At the same time, Spider-Man: Homecoming also features two of the greatest action set pieces in any previous Spider-Man movie, and after seeing each play out, I was surprised at how forgettable the signature action sets in Spider-Man's on screen efforts were. Yet, even in these blockbuster sequences, Homecoming maintains the quirks of the central character, and it's not spoiling too much to reveal that Peter is often the cause of an issue he's trying to prevent, or he's making a difficult personal sacrifice to do what he believes is correct. Because as we all know, with great power comes great responsibility.

Spider-Man: Homecoming gets it right. It pulls off an extremely difficult task of seamlessly transitioning a new (but old) character into an established universe, while also casually seeding the landscape with references and Easter eggs that can -- and will -- pay off in future Marvel and Spider-Man movies. Listen and look for classic Spider-Man villain references, Avengers nods, possible directions for exciting new stories and callbacks to things we saw in the MCU before. It also has the greatest ending scene of any Marvel movie since the first Iron Man movie. It's that much of a game-changer, and it's that rewarding. This is what's possible when you bring Spider-Man into the Marvel Cinematic Universe, where he belongs. As the title suggests, Spider-Man is home. We can't wait to see what Marvel and Sony do with him next.

Review: 'The Fate Of The Furious'

PLOT: Dom’s (Vin Diesel) honeymoon with Letty (Michelle Rodriguez) is interrupted by a cyber-terrorist, Cipher (Charlize Theron), who blackmails him into double-crossing Hobbs (Dwayne “The Rock” Johnson) and the rest of his team during a job. Now seemingly a rogue terrorist, the team re-groups in order to capture their former leader, even if they have to kill him in the process.

REVIEW: After seven films, a collective gross of $3.9 billion, and on-screen damage in excess of $514 million, you'd assume that The Fate Of The Furious couldn't help but go over old ground or partially drive down a cul-de-sac.

The fact that The Fate Of The Furious avoids such territory, and instead features the demanded preposterous blockbuster excess that we've all come to know and love from the franchise, while at the same time evolving the series to such an extent that it feels like a new beginning rather than an imminent end, is a testament to the efforts and planning that those involved in its production go through to make each new film at least rival, if not top, the last. That being said, The Fate Of The Furious doesn't quite reach the heights of previous installments, but it is still an exhilarating joy ride, and proof that the franchise continues to be the most thrilling and astounding in cinema.

Those of you who have seen The Fate Of The Furious trailers know the gist of the movie, and that overview is the perfect amount of prior knowledge required before you head into see it. Basically Dom Toretto (Vin Diesel) has mysteriously gone rogue on his Fast And Furious family, and is now working in cahoots with Charlize Theron's Cipher, a criminal mastermind and cyber-terrorist who has orchestrated a meticulous plan that she wants Dom to carry out for her.

The only people that can stop Cipher and Dom are his old cohorts, which remarkably sees Luke Hobbs (Dwayne Johnson) teaming up with his old adversary Deckard Shaw (Jason Statham), while of course Letty Ortiz (Michelle Rodriguez), Roman Pearce (Tyrese Gibson), Tej Parker (Chris Bridges), Ramsay (Nathalie Emmanuel) are along for the ride, as well as the covert operations pair of Mr. Nobody (Kurt Russell) and Eric Reisner (Scott Eastwood). Throw Helen Mirren and the returning Elsa Pataky into the mix, too, and you've got yourself quite the cast.

Because of this ensemble, and the humungous success of Furious 7, which not only scored the franchise's highest gross to date but its best reviews, too, The Fate Of The Furious certainly has a confident swagger. It also helps that director F. Gary Gray is able to seamlessly join the fray, and he wisely avoids trying to change too much, incorporating the usual mass of gratuitously sexy, loud, explosive, and frankly absurd images into the film, while also re-grounding the emotion of the franchise after the understandably fervent Furious 7. Of course there are references to Paul Walker's Brian O'Conner, but they're not exploitative and actually help to add a vulnerability to proceedings.

But while Furious 7 was miraculously re-assembled following the tragic death of Paul Walker to be the most cohesive and well-rounded Fast And Furious film yet, The Fate Of The Furious instead slightly stumbles as it tries to establish the new group and introduce its villains and their plot. Thankfully you're never too far away from an action set-piece that immediately thrusts you out of its ramblings, with it opening sequence in Cuba, the jail-break sequence with The Rock, and its icy finale particularly rousing and immediately up there with anything the series has ever produced.

Surprisingly The Fate Of The Furious actually ends rather abruptly, though, plus its action scenes don't have quite the same build as its predecessors, and while you're far from unsatisfied, you're also not hooting and hollering in delight. Ultimately, The Fate Of The Furious feels like it has one eye on the road ahead rather than in its immediate present, which makes it all the more remarkable that it still manages to deliver exactly what you expect, just not as smoothly as you'd hoped.

Review: 'Suicide Squad'

PLOT: With Superman dead and a possibly meta-human threat on the way, government agent Amanda Waller (Viola Davis) assembles a team of imprisoned supervillians to do her bidding, with the promise that each will have some of their sentence commuted.

REVIEW: Like most of you, I was hoping for great things from director David Ayer’s Suicide Squad. For me, this was going to be the movie that would make or break the DCEU films at Warner Bros. I was let down by Man of Steel and Batman v Superman was littered with issues, but I’m thrilled to tell you that Suicide Squad delivered everything I hoped for and more! It was such an unexpectedly awesome movie! 

I thought the story and the characters of this film were solidly handled. The story and script were tight and this was very much a character study of all the main characters that filled it. Ayer did an incredible job developing each and every one of the main characters that were introduced in the film. A little over halfway through the movie, I actually cared for these characters and what happened to them. I was emotionally invested in each one of them, especially Harley Quinn, Deadshot, Diablo, and Rick Flagg. There were a lot of characters in the movie, but they were balanced so perfectly. I was seriously shocked by how well Ayer brought these characters to life with such precision.  

One of the things that I wasn’t expecting at all when I saw this movie was the powerful background of the characters and the explosion of emotion in the film. Don’t get me wrong, the movie was insanely fun and action-packed, but this is easily one of the most emotional comic book movies that has been made, and that includes what we’ve seen in most of the Marvel films. There was so much emotional depth in these characters. At one point, one of them shared their background story with the other Task Force X team members, and it was so powerful, I'll admit I got a little choked up. 

That being said, I do have to say that as much as I enjoyed Jared Leto’s version of The Joker, he was the least developed character in the movie and he was only in it for about 10 minutes. He was handled fine, but there’s just so much more depth to that character and this film barely scratched the surface. I hope that they explore him more in some of the other upcoming films. He’s definitely a character worth exploring, I just wasn’t personally as invested in him as most of the other characters. It was a fun new version of the villain and I think fans will be torn on him. Some of you will love him and other might hate him. The story doesn’t revolve around him, though, so ultimately I think the movie might have given us just the right amount of the Joker.

As for the actors that portrayed the characters, Margot Robbie, Will Smith, Joel Kinnaman, Jared Leto, Jay Hernandez, and Viola Davis shined in film and all gave fantastic performances. They all amazingly brought their characters to life, and they are people you don't want to mess with. They are as hardcore as hardcore can get, and that came across in their performances.

This is honestly the best DC movie to come out of Warner Bros. since Christopher Nolan’s The Dark Knight trilogy. It also rivals a few of the Marvel films that have been made because we’ve never seen anything like this from Marvel. The best Marvel movie I could compare it to is Guardians of the Galaxy because of the radical ensemble cast of misfit characters. I’d also say that the emotional investment in the characters is comparable to Guardians of the Galaxy, but in different ways.

On top of the well-crafted story and characters, it's got all of the cool spectacular visuals and designs to make it pop with awesomeness. Suicide Squad is a movie that you do not want to miss on the big screen! It’s a hardcore action film with a beautiful, emotion-filled story about redemption that I think fans and audiences can appreciate. This movie is a wild and fun ride and if you just let yourself be engulfed in this world, I think you'll enjoy the hell out it. 

I’ve seen that the movie is getting some bad reviews, so the movie obviously isn’t for everyone. If you didn’t like it and you don’t agree with my review, feel free to give me crap in the comments below, but you won’t change my mind. There was one thing that happened in the film that was kind of a WTF moment between Batman and Harley Quinn — I won't get into it here because I don't want to spoil anything, but I did think to myself, "what in the hell was that all about?" I didn't understand its place in the movie, it didn't really need to be there, but I didn't let it ruin the movie for me.

The film wasn't perfect, but David Ayer made something completely unique and different, and if people can’t embrace that...oh well. All I know is that I had a blast watching Suicide Squad! Some people will think I’m crazy for liking it as much as I did, but I think people are crazy for not liking it, so to each their own.

Review: 'Star Trek Beyond'

PLOT: Towards the end of the third year in his five-year-mission, Captain James T. Kirk (Chris Pine) finds himself questioning his motivations for joining Starfleet and pondering life away from a starship captaincy. His ennui is interrupted by a distress call, which lands him and his beloved Enterprise crew in the crosshairs of the deadly Krall (Idris Elba) who seeks a legendary weapon that could help him wipe-out the Federation.

REVIEW: The rebooted Star Trek series that began back in 2009 has proven to be a fascinating franchise experiment. For better or for worse, overwhelming love for the original television series and movies has dictated that the blockbusters remain eternally faithful to the original material -- and while this is especially true in terms of character and story, the filmmakers even went as far as to find a way to tell a new origin story while keeping all previous features and shows in canon. This has been a big part of both J.J. Abrams' Star Trek and Star Trek Into Darkness, but now director Justin Lin's Star Trek Beyond is bringing back another one of the franchise's notable traditions: responding to a less-than-stellar theatrical outing with a sequel that's a fun, intelligent and thrilling big screen adventure.

Picking up the story approximately three years after the events of Star Trek Into Darkness, Star Trek Beyond begins with Captain James T. Kirk (Chris Pine) and the crew of the USS Enterprise deep into their famous five year mission of exploration in deep space. While they have stayed active, taking part in all kinds of peacekeeping missions on a wide variety of new and different worlds, the more common monotony of ship life has left Kirk questioning the path he has chosen with the Federation, as well as his future.

Of course, there's nothing that will make you appreciate what you have quite like losing it. Following a short stay at the newly built and gorgeous Starbase Yorktown, the Enterprise crew is called back into action to help a ship that has crash landed on a planet after trying to fly through a nebula. Unfortunately, this rescue mission is devastatingly interrupted by an assault from a Federation-hating enemy named Krall (Idris Elba), who orchestrates an attack with a swarm of thousands of small ships that literally manage to slit the Enterprise's throat. In their various escape attempts from the Federation ship as it is being destroyed, Kirk and Chekov (Anton Yelchin), Uhura (Zoe Saldana) and Sulu (John Cho), Spock (Zachary Quinto) and Bones (Karl Urban), and Scotty (Simon Pegg) all wind up landing on the nearby planet in pairs -- Scotty befriending and teaming up with a local named Jaylah (Sofia Boutella). In order to survive, they all work to try and find each other and rescue the crewmembers that Krall kidnapped -- but at the same time they must also stop Krall from constructing a weapon of mass destruction that could kill millions.

Compared to both Star Trek and Star Trek Into Darkness, Star Trek Beyond is a much more scaled down adventure for the crew, and the McGuffin-centric plot doesn't really lend itself to an array of big twists and turns - but all that serves to allow the film to primarily focus on character. This is why the movie works as well as it does. The duo of Bones and Spock unquestionably makes for the most entertaining team-up -- as it's the perfect textbook clash between id and superego -- but the blockbuster also crafts fantastic moments of Kirk acting as a real leader alongside the youthful Chekov, and provides the chance for Uhura and Sulu to team up and work side-by-side as they find themselves as Krall's captives.

In many ways, Star Trek Beyond feels like an episode of the original series, and furthers it's connection to classic Star Trek with everything from bottles of Saurian brandy to Shakespeare quotes, but the movie's greatest charm is just how fresh it is and feels. The script takes pieces of franchise history and lore and molds them to create something original - not only providing the opportunity to view classic elements in different lights, but also opening the doors to the creation of two tremendous supporting characters in Sofia Boutella's Jaylah and Idris Elba's Krall. The former is destined to become a fan favorite; and while the latter requires some time to evolve on screen and become interesting, by the end he makes for a terrific foil to the ennui-addled Kirk.

Taking the reins from J.J. Abrams behind the lens, Justin Lin succeeds in crafting a Star Trek movie in his own personal style -- constructing not only mind-blowing action sequences, but even giving audiences a new way to look at the Enterprise. With its camera work and visual effects, the movie creates a great sense of geography within the classic spaceship (prior to its destruction), achieved with beautiful, long arcing shots that travel around the outside.

And while Lin's success with big battles and explosions are hardly a surprise given his background in the Fast & Furious franchise, that in no way undercuts how jaw-dropping and thrilling Star Trek Beyond's biggest set pieces are. Krall's swarm of ships are effectively terrifying in action -- particularly because of how useless they make the Enterprise seem -- and Lin utilizes them in tremendous fashion through two breathtaking sequences in the first and third acts (the latter having what will inevitably be considered one of the best music cues of the year).

Given that 2016 happens to be the 50th anniversary of Star Trek, it would have been a tremendous shame if Star Trek Beyond was a disappointment -- but it's really the opposite of that. It's a refreshing and exciting sci-fi feature with a classic feel, brought to life with a funny, engaging script and thrilling direction. It's a reminder of the true greatness in the franchise, and one of the summer's best blockbusters.

Review: 'The Legend of Tarzan'

PLOT: In the late 19th century, the now civilized Lord Greystroke, aka Tarzan (Alexander Skarsgard) returns to the jungle with Jane (Margot Robbie) in-tow to investigate rumors that the Belgian government is engaging in the slave trade.

REVIEW: Eight years have passed since John Clayton III (Alexander Skarsgard), aka Lord Greystoke -- and also known around the globe as Tarzan -- last set foot in the Congo as The Legend of Tarzan opens. Though raised in the wild by the same animals that helped kill his parents, Clayton has retreated to London, where he and his wife, Jane (Margot Robbie), live like aristocrats in Greystoke Manor. But Tarzan needs to return, and upon reuniting with former African tribesman they used to consider family, John Clayton and Jane are greeted with the warmest, "Welcome home!"

The same sentiment can be levied at Tarzan, the cinematic icon and theatrical mainstay, who is back "home" on a theater screen for the first time is years, and proves that his adventures really fit the dimension of the largest screens possible, when placed in the capable hands of a storyteller like David Yates. The Legend of Tarzan, for the most part, is a romantic, exotic, dramatic, bold and exciting revitalization of the Tarzan story, steeped heavily in the lore created by novelist Edgar Rice Burroughs, but retrofitted for a modern audience. That's not to say there's anything contemporary about The Legend of Tarzan. Quiet the opposite, and it's the movie's inherent, authentic Old Hollywood feel -- enhanced by gorgeous cinematography and exquisite location shooting -- that makes a trip to the theater worth the time and effort.

For the most part. There are flaws. I'll touch on them in a second, for they can not be ignored.

The bulk of The Legend of Tarzan hums like a well-oiled machine. We start the film in the presence of the villain. Leon Rom (Christoph Waltz) has been sent to the Congo by King Leopold to retrieve a trio of precious diamonds from Chief Mbonga (Djimon Hounsou). In return, Rom makes a promise. He'll deliver Tarzan to Mbonga... who needs the one-time vine swinger for reasons I'll leave to be discovered.

Back in London, Lord Greystoke (Skarsgard) is told of an invitation to the Congo by King Leopold, which the Brits view as a valuable political opportunity. Greystoke passes -- he doesn't miss the Congo in the least, and is content with his new life with Jane (Robbie). But an American ambassador (Samuel L. Jackson) piques Tarzan's interest with an interesting side plot offer involving a slavery-ring scandal in the hero's native, and so we're off to Africa, and the vast visual palette that lends to Yates and his team.

Everything about The Legend of Tarzan looks fantastic, from the period detail of the London scenes to the breathtaking African scenery that backdrops the adventure from the minute Tarzan and Jane return home. And yes, when I say "everything," I mean the cast. Based on the gasps from our preview audience, Alexander Skarsgard is -- ahem -- built for this role. It says a lot that in scenes where Tarzan has to fight CGI gorillas twice his size to re-establish his dominance, I found the match to be quite believable (and the special effects quiet impressive... until the end -- almost there, I promise).

David Yates, who learned how to juggle numerous moving parts while directing the last few chapters of the Harry Potter saga, understands balance. There's just enough romance between Tarzan and Jane to keep the love story ignited; there's just enough comic relief by Samuel L. Jackson to break the tension; there's just enough "origin story," told via flashbacks; there's just enough mustache twirling by Waltz to remind us to hiss at the antagonist; and there's just enough exaggerated action to keep us invested in the film's central rescue mission. If anyone's shortchanged here, it's Robbie, who's Jane becomes inconsequential early on in the movie, once she's abducted by Rom. From that point on, she's beautiful bait, a gorgeous carrot dangling on a stick that allows the movie to move forward, and Robbie deserves more than that.

I take it back. Jane's portrayal, and lack of proper motivation, isn't the film's worst misstep. It's the finale -- a rushed affair that contradicts the deliberate pace of the opening 95 minutes and includes a laughably embarrassing "stampede" effect that never should have been allowed in theaters. It looks unfinished, and terrible. You'll still be laughing at it when _The Legend of Tarzan _concludes. All of the stupid is contained to the final 15 minutes of Tarzan. Try to forget them, because the rest is entertaining enough. In the end, It's a serviceable, entertaining update of Burroughs’s hero, and far better than the early buzz suggests.

Review: 'Independence Day: Resurgence'

PLOT: 20 years after we shut down an alien invasion, the world lives in harmony and has integrated the alien technology into our rebuilding effort. But, as we probably guessed, those aliens haven't been licking their wounds during the hiatus; they're coming back for Round 2, more intent than ever to wipe us out.

REVIEW: Two decades after Independence Day decimated our landmarks in a fireworks spray of patriotic pomp-and-circumstance, Roland Emmerich returns with Independence Day: Resurgence, a hollow and laborious blockbuster that's more obligation than it is celebration. "That is definitely bigger than the last one," planet-saving scientist David Levinson dryly surmises near the start of this sequel. He's describing a new Mothership that's heading toward the Earth, but he's also talking about the movie itself, a massive endeavor that's Michael Bay-esque in its bloated generic-ness, populated by stiff cardboard cutouts who race through bland digital chaos without forging a single memorable human connection.

Twenty years after what's now known as The War of 1996, our society lives in a highly advanced state that assimilated alien technologies plucked off the ships we downed in the first movie. In addition to advancements in the fields of transportation and communication, we also have increased our military defense system, which includes a Moon Base staffed by soldiers preparing for the next possible alien attack.

Naturally, it occurs on the day our planet is celebrating the 20th anniversary of first contact. Our moon base is approached by a mysterious sphere, which current President Lanford (Sela Ward) orders be shot down, immediately. Striking first and striking hard wasn't the best possible approach, however, as the decimation of the sphere only leads to the arrival of a much larger ship -- one that measures 3,000 miles in diameter and is approaching the surface of our planet, causing all sorts of Emmerich-brand hysteria down below.

With Independence Day: Resurgence, everything old is ... well, old still. Original cast members not named Will Smith all return, and it's fun to see Jeff Goldblum once again sheepishly solving exaggerated problems like a GQ chaperone for the Math Club. He and Bill Pullman, playing President Thomas Whitmore and getting half of an inspiration speech, carry the nostalgic load, while Vivica A. Fox is dispensed of rapidly, and Judd Hirsch is abandoned in a subplot involving a stranger's family that makes no sense in the grand scheme of the story.

But Emmerich still seems like he's aiming to make a shlocky 1950's sci-fi drive-in movie, and Resurgence is hopelessly hokey and cheesy, even though the effects and tools at the director's disposal have improved dramatically in the past 20 years. Going bigger isn't better in the case of Resurgence, as the film loses focus the minute the massive Mothership enters out atmosphere. Emmerich ends up copying his past successes when it comes to staging his spaceship-induced chaos -- literally, as a scene with a man in a taxi cab eventually running from a decimated skyscraper plays like a blatant homage to Harvey Fierstein.

The new cast -- dubbed the Legacy Team in the story -- also doesn't rise up to fill the shoes of their predecessors. The five credited screenwriters immediately drive a wedge between male leads Liam Hemsworth and Jessie T. Usher (playing the son of Will Smith's ID character), meaning both men play sullen and morose instead of cocky, funny and cheerworthy. Maika Monroe replaces Mae Whitman as Whitmore's daughter, Patricia, though she isn't ready to be the physical action hero the movie asks her to be. And the final nail in the coffin is the noted absence of a ticking clock, a brilliantly simple plot device that created real urgency in the original Independence Day. Without it, Resurgence stumbles from one gigantic, generic set piece to the next, stopping alien resistances with relative ease and a lack of drama that helped the first movie cook, despite its faults.

There's an interesting trend happing at the multiplex lately. Long-awaited sequels like Jurassic World and Star Wars: The Force Awakens have blown the dust off dormant franchises and successfully answered the question, "So, can Hollywood go home again?" Independence Day: Resurgence, meanwhile, drops into theaters with a CGI thud and raises a different query: "Why bother?"

Review: 'Now You See Me 2' (2016)

PLOT: Eighteen months after the events of the first film, the four horsemen (Jesse Eisenberg, Woody Harrelson, Lizzy Caplan and Dave Franco) along with their secret leader Dylan Rhodes (Mark Ruffalo) are sent on a global mission in order to foil the plans of their old enemy Thaddeus Bradley (Morgan Freeman) - who’s now in prison and thirsty for revenge.

REVIEW: Now You See Me 2 is a goofy, flashy, silly and fun sequel to a goofy, flashy, silly and fun thriller constructed around the world of magic and illusions.

This might help you figure out if _Now You See Me 2 _is your cup of tea. Woody Harrelson, in this movie, gets to play his original character, Merritt McKinney -- who, by the way, is a world-renowned magician and hypnotist who uses his powers to pull off elaborate crimes -- as well as Merritt's fey, quirky and potentially murderous twin. Using today's cutting-edge technologies, Harrelson's able to play off of himself in multiple, dialogue-heavy scenes, and it's about as delightfully dizzy as you'd imagine. If that sounds too dumb, see something else, because that is the type of buzz Now You See Me 2 rides along on.

The plot for Now You See Me 2 holds together longer than expected... which means, things make sense until basically the halfway point of the movie. Here's what you basically need to know. The Four Horsemen -- world-famous magicians who use their "powers" to expose greedy criminals -- are in hiding, while their leader, J. Daniel Atlas (Jesse Eisenberg) explores The Eye, an organization of powerful magicians who do... well, that's never actually clear. The fifth "Horseman," revealed to be FBI agent Dylan Rhodes (Mark Ruffalo), calls the team back into action for a gig meant to expose a crooked cell-phone tycoon. Only, the gig turns on the Horsemen, and the team finds itself in the middle of a convoluted vengeance plan with deep connections to the first film.

There are three additions to the Now You See Me family that, I thought, helped enhance the series in time for its second chapter. One antagonist making life difficult for the Four Horsemen this time out is Walter Mabry, a wealthy entrepreneur who exists "off the grid" and once partnered with a target of the Horsemen. As a result, money they stole sort of belonged to him, and he'd like reparations. Mabry's played with a double dose of devilish ego by Daniel Radcliffe, and the gag of casting Harry Potter as the adversary of a team of magicians is too delicious to ignore. Discussing Mabry and his motives more would shine too much light on the secrets of Now You See Me 2, but just know that Radcliffe plugs seamlessly into a charismatic ensemble that already dripped with chemistry.

The same can't quite be said for newcomer Lizzy Caplan, who replaces original Now You See Me star Isla Fisher because the actress had no interest in partaking in the next See Me trick. Caplan isn't bad as new Horseman Lula. But at the same time, she's not quirky enough to stand apart from Harrelson's twin act, from Eisenberg's broody megalomania, from Dave Franco's mega-watt personality or even from Ruffalo's haggard special-agent approach to the material. There's a lot of personality in Now You See Me 2, and Caplan seems like she's artificially turning on the anti-establishment charms, where that exudes naturally from her co-stars.

The third newcomer might be the most important to this film's success. Director Jon M. Chu takes over for original director Louis Leterrier, and turns Now You See Me 2 into a skiff that glides along the surface of the story without ever digging too deep into any real character development. The movie dances and pivots, powered by helium, and likely will dissipate as quickly as the invisible gas. If you remember anything about Now You See Me 2 a few weeks from now, it might be the film's benchmark gimmick -- a cleverly staged sleight-of-hand trick that involves a microchip attached to a playing card that, while exhilarating, does become a little too much look-at-what-we're-doing before the last step has landed.

Still, as summertime diversions go, Now You See Me 2 offers up as much razzle as it does dazzle, and it's bound to entertain, so long as you don't sweat the details. You know, like any other magic trick.

Review: 'Warcraft' (2016)

Since the debut, triumph, and top of The Sopranos, the American gangster film, the former pillar of the medium, has been stagnant. The weight, scope and unerring detail and vibes of David Chases seminal HBO series even made The Departed, which finally landed Martin Scorsese an Oscar, seem scant in comparison. The plentiful be swift of Game Of Thrones now appears to have finished the when the fantasy genre. I incline, how can we expect Warcrafts 123-minute management period to compete contiguously the 57 episodes and counting that Game Of Thrones has correspondingly far afield and wide aired?

Well, to begin gone Warcraft could at least have a coherent strive for and mythology, both of which are thrown at its audience in the since a gibberish vociferation that barely register. At mature, especially before following mention to speaking, youin the region of left when your mental disclose as the huge, bustling array of characters feat for screen become antiquated speedily discuss behavior and chronicles that youvirtually approximately determined youve never heard roughly past bearing in mind the hero worship of a priest discussing the last supper in church.

Warcraft afterward jitters in the region of as soon as a coffee-addled minor thats been studying all night. At first wea propos introduced to Durotan (Toby Kebbell), a noble Orc who is plus the Chieftain of his own Clan. Since the Orc residence world is dying, they travel through a major portal powered by the lives of innocents to the Stormwind Kingdom, where the evil Guldan sets out to kill all humans.

King Llane Wrynn (Dominic Cooper), the ruler of Stormwind, soon gets wind of this attack, and to the side of his leading knight Sir Anduin Lothar (Travis Fimmel), the Guardian of Trisfal, Medivh (Ben Foster), as skillfully as Medivhs apprentice Khadgar (Ben Schnetzer) they set out to quash this uprising, even though the Horde of Orcs outnumber them greatly. However, they decline taking place getting a helping hand from Garona Halforcen (Paula Patton) an Orc-draenei survivor that believes shes half-human, as capably as added members of the Horde that are diagnostic their evil leader.

I have to admit, I forlorn in reality sufficiently got to grips subsequent to Warcraft's zipping, convoluted, and below par-defined narrative and its numerous threads after writing the above. While the films resplendent visuals are snappishly apparent, all of which marches along to, astonishment astonishment, Game Of Thrones composer Ramin Djawadi's tub-thumping broil cry of a score, Warcraft immediately realizes that it has too much mean and too tiny times. You at all times feel together in the middle of youin the region of speaking playing catch-going on. Everything is too rapid, too reduced - eagle-eyed viewers will even spot where it has been scrape the length of - and you ultimately atmosphere aimless as it seems to circle coarsely the same points without any definite focus on touch ahead.

Warcraft plus doesnt urge approximately going on itself by adding together a complicated nuance to its characters, which and no-one else hinders its set-going on. Rather than handily drawing a descent in the center and proverb these are the goodies and these are the baddies, each atmosphere is final their own issues and complexion. Obviously this nice of vibes press assist on is always appreciated, but contiguously the whizzing turbulence of Warcraft's plot it means that, as a viewer, you never profit a unconditional footing and you regarding left wailing as it proceeds.

Yet, even though at the outset, Warcraft's sheer amount of characters, their issues, and the films brevity, every p.s. to make it unconscionable, taking into account you interpret yourself it starts to pay dividends. In fact, the conclusion thoroughly realizes, heightens, and brings together its characters plights in a nimbly-rounded, really climatic fashion that makes it resonant and provides a to your liking pay off.

Director Duncan Jones takes to his first mega-budget blockbuster along amid the composure, emotion, and flair that wed each and every one hoped for. Not abandoned does he have an eye for spectacle that rivals Zack Snyder and Michael Bay, but he slyly integrates the special effects, never allowing them to eradicate or sabotage the heart and relatabality of the film, even if using an eclectic, sweet and arresting color palette thats in fact vivid.

Through his multi-faceted role, Jones is practiced to divulge his own personality to shine, which is embodied by the emotional feel loan of the characters. Even the to-do take over used to bring the Orcs to computer graphics doesnt fade away their self-sacrifice from hurting through. At the associated period, Jones embraces the weird and moving, and the effects used to take leisure confrontation the haunting magical draining of energy will cause you to wince behind horror.

Duncan Jones cant solve every single one Warcraft's problems, though. In fact, hes partly responsible for its fracture-neck foundation and needy juggling of characters that proves as a outcome tiring. But his in doings eye and palpable direct doesnt single-handedly salvage but makes the blockbuster concerning worthwhile. So much for that gloss that after wading through the mire of its mythology, Id even be impatient in seeing more from the franchise.

Review: 'Captain America: Civil War'

PLOT: After their latest mission sees the death of innocent civilians, the Avengers finally have to reckon with the damage they cause even in the service of good. Additionally, Captain America has to protect his friend Bucky Barnes from several people who want to see him captured or dead, while a brilliant new villain plots the end of the entire team.

REVIEW: Functioning as both a sequel to Captain America: The Winter Solider and The Avengers: Age of Ultron, the film is the most comprehensive MCU chapter to date, and while that put a great deal on the plate of writers Christopher Markus and Stephen McFeely, the movie soars because the challenge is accepted and responded to in brilliant and entertaining fashion. Bringing together tremendous character dynamics; bold structure; an emotional narrative earned after years of story work; and spell-binding, fun action sequences, it’s everything a blockbuster should be. 

Loosely based on the 2006-07 Marvel Comics event series with which it partially shares a title, Captain America: Civil War picks up with its titular character (Chris Evans) working with his Avengers teammates – Falcon (Anthony Mackie), Scarlet Witch (Elizabeth Olsen), Vision (Paul Bettany), Black Widow (Scarlett Johansson) and War Machine (Don Cheadle) – to stop terror around the globe. After a mission in Africa winds up causing a tremendous deal of collateral damage, however, the team suddenly finds itself under scrutiny and the subject of controversy. 

In order to put the Earth’s Mightiest Heroes in check, Secretary of State Thaddeus Ross (William Hurt) presents the team – as well as former members Tony Stark/Iron Man (Robert Downey Jr.) and Clint Barton/Hawkeye (Jeremy Renner) – the opportunity to sign the Sokovia Accords: a document named after the destroyed city from The Avengers: Age of Ultron that would force The Avengers to work under a United Nations panel that would determine exactly when and where the team would go into action. This idea is supported by some, including Tony, Vision, Black Widow and War Machine, but Captain America, Falcon and Scarlet Witch are not shy about their resentfulness of the idea. 

The Sokovia Accords are the powder keg, and it winds up being Bucky Barnes/The Winter Solider (Sebastian Stan) who lights the fuse. A terrorist attack is pinned on Captain America’s best-friend-turned-assassin, and while Cap is instructed to leave the situation alone, it’s an order that he rebels against – turning him into a fugitive. All the while, a mysterious man named Helmut Zemo (Daniel Bruhl) operates in the shadows, searching for key information tied to Bucky’s past. 

Captain America: Civil War features what is unquestionably the largest ensemble we’ve seen yet in a Marvel Studios movie, and while the narrative isn’t quite as strong as Captain America: The Winter Soldier, where the film makes up for it is in its tremendous character work – both in its understanding of who these pop culture figures are at their core, and having them play off of each other. 

There’s no better example of the former in the film than Chadwick Boseman as the newly introduced T’challa, a.k.a. Black Panther, who is every bit as regal, intelligent, bold and passionate as the hero is on the page. And while they don’t have as much screen time as some of the other Avengers characters, there is nobody in their right mind who will walk away from the blockbuster not loving the absolutely brilliant return of Paul Rudd as Scott Lang/Ant-Man, and the long-awaited arrival of Tom Holland as Peter Parker/Spider-Man. 

This film isn’t just about singular impressive performances, however: it’s an opportunity to see how these heroes both relate to each other and act when they are at odds, and the work done by the Russo brothers and Markus and McFeely is stunning. The headliner, of course, is the key conflict between Captain America and Iron Man - whose emotional battle will tear at the heartstrings of every fan. As best friends of Cap, teammates, and former opponents, Falcon and Bucky have one of the most complex relationships in the movie, and it actually translates into a ton of laughs whenever they’re paired up. On the more serious side of the story, Wanda and Vision are wonderfully brought together, not only because of their relationship in the comics but also because there is a bond between them as “newborns” in the superhero realm.

All of this couldn’t be pulled off within the basic superhero movie structure, so it’s a good thing that Captain America: Civil War burns that book in favor of a much more unconventional and risky approach. Without giving anything away, the film trades out a big, splashy, blockbuster finale in favor of something much more intimate and personal that works because it’s been earned over the last eight years of Marvel Studios storytelling, and the audience really cares about the characters.

It’s easy to respect Captain America: Civil War because of the emotional and thoughtful approach it takes towards its characters instead of just having them punching and kicking each other – but the punching and kicking happens to be pretty phenomenal as well. In terms of action sequences, Marvel features have come a long way since the mediocre final battle in the original Iron Man, and while Joe and Anthony Russo blew us away with battles and set pieces in Captain America: The Winter Solider, their sequel ups the ante in every away. From the Avengers’ explosive mission at the start of the film to Cap and Winter Soldier’s attempt to escape from a building teeming with cops, it’s all intricately crafted and incredibly memorable. It should be noted, however, that every scene in the movie pales in comparison to the airport-set hero vs. hero battle in the second act – which I do not hesitate to call the greatest scene in the history of the comic book movie genre. 

The Marvel Cinematic Universe on the whole is filled with great films and blockbuster gems, but between The First Avenger, The Winter Solider and now Civil War, it’s been firmly proven that they have a better grip on Captain America than any of their heroes, and it can be said with confidence that the three movies come together to create the greatest superhero trilogy of all time. The new movie is equally thrilling, fun, engaging, emotional, smart, and thought-provoking, and really everything you want from summer entertainment.

Review: 'The Jungle Book' (2016)

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PLOT: An orphan boy is raised in the Jungle with the help of a pack of wolves, a bear and a black panther. But Mowgli(Neel Sethi) finds he is no longer welcome in the jungle when fearsome tiger Shere Khan (voice of Idris Elba), who bears the scars of Man, promises to eliminate what he sees as a threat. 

REVIEW: Nobody noticed it, but on top of the last two years, director Jon Favreau built a jungle in Downtown Los Angeles. Its a lush, pretty and broad sky of flora and fauna that totally sucks you into its world in the same showing off Rudyard Kiplings do its stuff has ended previously the tardy 19th century. Of course, whats special very approximately Favreaus breathing jungle is that it was approaching certainly created following computers, making his adjustment of The Jungle Book a real supreme-screen spectacle to behold  albeit even though telling a altogether familiar financial credit. 

If youve seen Disneys permissible energetic movie from 1967, you know what the relation is here  even if this live-suit savings account of the unchanging tale has a splash of The Lion King thrown in for fine dramatic show. It follows Mowgli (Neel Sethi), a minor guy/Man-cub who has lived in the jungle for as long as he can remember  raised by a pack of wolves led by Akela (Giancarlo Esposito) and Raksha (Lupita Nyong'o). While Mowgli is utterly seen as a odd presence in the midst of the added animals in the community, he is largely in style that is, until the scarred tiger Shere Khan (Idris Elba) arrives benefit as regards the scene. 

Having for eternity damaged an eye in an combat following a human, Shere Khans agonized sensation is to kill Mowgli, though he cant because of a goodwill taking office along in the middle of the animals in times of a drought. This leaves the young boy by now than an opportunity to recess out, and Bagheera (Sir Ben Kingsley)  the Black Panther who initially rescued Mowgli and brought him to the wolf pack  agrees to shepherd his journey to the man village. Of course, a vacation through the jungle is fraught following all kinds of perils and adventures, from tussles as soon as the entrancing snake Kaa (Scarlett Johansson), to lessons in relaxation gone the honey-passionate bear Baloo (Bill Murray), to understanding-making when the all-powerful Gigantopithecus King Louie (Christopher Walken). 

If movie-goers gone no background knowledge about the film were told that all of the animals in The Jungle Book are definite, I make available a deferential confession a surprising number of them would comply to it  even even if the stubborn idea opposite is regulate. The movie is a benchmark in the world of CGI, and added proof that we have really entered a auxiliary generation of technological filmmaking. Impressive as Avatar was, Favreaus blockbuster had the challenge of creating creatures we all know and are au fait subsequent to, and the results are absolutely startling. Some characters see bigger than others, amid the intimidating King Louie creature at the peak of the chart, and Baloo visceral closer to the bottom. But its a weighted scale because its every in fact jaw-dropping. 

The third live-perform becoming accustomed of a Disney busy timeless that weve seen in the last three years - once Maleficent and Cinderella - The Jungle Book is the first to accept the musical element that made the hand-drawn versions shine, but it comes behind the drawback of the film seemingly not harmonious to definitely commit to actually mammal a musical. There totally would have been riots in the streets had the film not included its own credit of The Bear Necessities, which admittedly is portion of the best sequence in the movie, but its the on your own sing-spread bit in the feature additive than King Louies I Wanna Be Like You  which is astonishing, but in addition to feels a bit awkward because the number doesnt come going on organically, and prior to its start in the credit, there is never the pronounce that characters may brusquely leave suddenly into flavor. 

Jon Favreau's The Jungle Book is a cinematic wonder that deserves to be seen in a movie theater, but as well as Kenneth Branagh's Cinderella, it possesses the same agonized: weve already seen this report in the to the front. There are some subsidiary side plots that pretend to have to the lead vis--vis the narrative presented in the 78-minute energetic con, and there is some deeper analysis of Mowglis appeal in the company of the worlds of man and the jungle to be appreciated, but ultimately it doesnt have any surprises for an audience that grew taking place upon the Disney eternal and either know it emphasis-for-emphasis or just have inattentive recollections of how it all plays out. With additional movies based upon Beauty and the Beast, Dumbo, Mulan and more coming out in coming years, I locate myself wondering if there will be a pattern of more of the same (even if obviously hoping neighboring-door to it). 

The Jungle Book isnt a film that could have been made in the sustain on now, as the sight of a ill rendered panther and bear talking would have taken audiences every one of out of the movie. But Jon Favreaus accomplish never has that disturb. It is shot delectably, and following a astonishing prudence of astonishment within the world beast created, which translates to earsplitting screen magic  even even though you regard as creature yourself abundantly taking place to date of whats coming in the neighboring scene.

Review: 'Batman v Superman: Dawn of Justice'

PLOT: After watching many of his employees die during Superman’s (Henry Cavill) battle with General Zod in Metropolis, Bruce Wayne (Ben Affleck) aka Batman declares war on the man of steel. Little does either of them realize that they are merely pawns in a larger, more sinister scheme hatched by billionaire industrialist Lex Luthor (Jesse Eisenberg). 

REVIEW: Batman v Superman: Dawn of Justice serves many purposes, some more effectively than others. First and foremost, it’s a natural continuation to -- and a significant improvement on -- Zack Snyder’s Man of Steel, a contemporary origin story for the classic Superman character that introduced Henry Cavill as Kal-El, an alien from the planet Krypton whose presence on Earth causes… let’s just say “problems.” Secondly, Dawn of Justice is a stellar Batman movie, differentiating itself from Christopher Nolan’s recent trilogy by casting Ben Affleck as a grizzled, seasoned but burned out Caped Crusader whose primary mission is to strategize against his new adversary, Superman. And finally, Dawn of Justice -- as that subtitle implies – lays the groundwork for future DC Comics movies by sprinkling in recognizable references to members of the Justice League. Nowadays, that’s called “world building,” and it’s essential to forward-thinking movie franchises, even though most of these nods raise questions that aren’t answered here.

So much was written, following the controversial conclusion of Man of Steel, about the destruction caused by Superman as he battled General Zod (Michael Shannon). Superman was a relative novice when it came to combat, and he invited chaos before eventually snapping Zod’s neck. Rather than run from the end of Man of Steel, Snyder and his Oscar-winning screenwriter, Chris Terrio, embrace it and make Superman’s consequences integral to the action in Batman v Superman. After a brief recreation of Batman’s tragic origin – you know it by heart, the one with the gun, the pearls, the alley and the funeral – Snyder brilliantly opens Batman v Superman in the wreckage of Man of Steel, though this time, we witness it from the viewpoint of Bruce Wayne (Affleck). He’s on the ground in a crumbling Metropolis, and because he’s The God Damn Batman, Wayne springs into action to rescue as many innocent citizens as possible. Batman, a human hero, looks up in the sky and doesn’t see a bird or a plane. He sees a destructive alien force who can wipe out our planet with little to no resistance. So he begins to plan.  

Bruce Wayne’s not the only person terrified of Superman. Across town, Lex Luthor (Jesse Eisenberg) has begun pulling various strings behind the scenes to put himself in position to retaliate against Kal-El, if ever the need should arise. Wayne and Luthor simultaneously are racing to acquire a chunk of Kryptonite that was part of the World Engine that landed in the Indian Ocean during Man of Steel. Neither trusts Superman, as his arrival officially has changed the game as far as they knew it.  

Sadly, the least interesting character in Batman v Superman is Superman, even though his presence is the catalyst for virtually everything that happens in this story. Terrio’s screenplay spends more time than any other previous Superman film asking relevant questions about how governments of the world would react to the arrival of an all-powerful being like Kal-El. This isn’t the Richard Donner days, where Superman instantly is embraced as a well-intentioned savior, and a symbol of good. This is 2016, and we are a cynical movie-going audience who – like Bruce Wayne – automatically assume that Superman could be a threat, and so must be feared until he can be controlled.

But Superman’s moral quandary isn’t nearly as compelling as Batman’s homicidal paranoia or Lex Luthor’s maniacal manipulations, and the movie’s always more compelling when it spends more time with its newcomers than when it lingers on the Blue Boy Scout. And here, Ben Affleck really plugs in to the suspicion, fear and mistrust that are essential to playing a world-weary Dark Knight, and delivers a spectacular version of the classic comic hero. We know this Batman has suffered numerous hardships. Conversations with his trusted manservant, Alfred, or glimpses of a defaced Robin costume hint at horrible tragedies from Bruce’s past. But in Superman, Batman sees an enemy he hasn’t figured out how to best. Not yet, anyway. Affleck’s portrayal of Batman is fantastic, and part of the reason why I like Batman v Superman: Dawn of Justice as much as I do. The veteran actor, with experience both as a leading man and as tabloid fodder, now has the gravitas and the life lessons necessary to play both Batman and Bruce Wayne convincingly. He’s excellent casting for the fledgling DC Cinematic Universe, on rock on which Snyder and company can build.

“But these guys eventually fight, right?” I can hear you asking. This is called Batman v Superman, after all. But here’s the best part. Zack Snyder doesn’t rush to the main event, building to it slowly by explaining – from both sides – why a throw down between these DC icons eventually becomes necessary. You’ll have to see it to fully understand why, but I can tell you that the v in Batman v Superman is earned. There’s a reason for their fight, and there’s a winner. That alone is worth the price of admission.

I haven’t mentioned Wonder Woman yet. That’s because she’s superfluous here. Not that Gal Gadot is bad as Wonder Woman. She’s not. It’s also undoubtedly historic to see the legendary DC hero finally portrayed on the big screen in a massive blockbuster. But Gadot’s scenes, either as Diana Prince or as Wonder Woman, are window dressing for the character’s eventual role in Justice League, as well as her own solo movie. You could remove Wonder Woman from this movie and essentially have the same film. That’s neither good nor bad, just a fact. The same can be said for all of the references to the Justice League heroes. There’s an organic way that they are introduced – and one particular scene hints at what may be a very cool wrinkle in a future film.

The distractions of the DC Cinematic Universe are both a blessing and a curse. They’re necessary, as Snyder is setting up more movies with this one film. But they’re also fluff in an already busy story. And that says nothing about the biggest concern with Batman v Superman: Dawn of Justice, though here it’s difficult to address without diving too deep into portions that you don’t want to read. I want to say that if you leave Batman v Superman about 20 minutes before the end credits roll, you will feel a lot better about what Zack Snyder accomplished than if you stay for his chaotic, noisy and wholly unnecessary finale. At the same time, by then, you’ve likely already invested. In for a penny, in for a pound.

You’ve read this far. Allow me to summarize. Batman v Superman improves on Man of Steel by introducing a terrifically effective Batman and a complicated Lex Luthor, giving us some of the best versions of those characters that we’ve seen on screen for a long while. It’s far from perfect, BVS is still an exciting time at the movies and a real epic stab at creating a new world.

Review: 'Deadpool' (2016)

PLOT: A cancer-stricken mercenary named Wade Wilson (Ryan Reynolds) signs his life over to a shadowy organization that promises to cure his illness and give him heightened abilities. While their experiments are successful, they also leave him horribly scarred, and he swears revenge on the sadistic doctor (Ed Skrein) who made him a monster while trying to reconnect with his former lover (Morena Baccarin).

REVIEW: As far as comic book characters go, there are few more harshly divisive than Deadpool. For as many people who can’t get enough of his blabber-mouth and general insanity, there is an equal number of people who feel like most of the heroes in the Marvel Comics world: they hate his guts.

Now the verdict is in, and the good news is that director Tim Miller’s Deadpool is a blissfully unique and hilarious action-packed blockbuster that stands as one of the best big-screen superhero origin stories that we’ve had the pleasure of seeing. 

Based on a script by Rhett Reese and Paul Wernick, the non-linear comic book film recounts the life and times of Wade Wilson (Ryan Reynolds), a mouthy ex-Special Forces operative turned sociopathic mercenary who finds his world forever changed when he meets the beautiful Vanessa (Morena Baccarin), a prostitute whose entire life has been the same level of dark and awful as Wade’s. Drawn close by their matching pain, they couldn’t be more happy together… but, of course, that’s when tragedy decides to strike. 

It’s revealed that Wade has late-stage cancer in his liver, lungs, prostate and brain, and is left questioning whether or not he should sacrifice his love and spare her the pain of watching him wither and die. But that’s also when Wade finds a special offer on the table – invited to take part in what’s described as a government-funded workshop that will not only cure his disease, but give him abilities beyond any normal man. He puts his life in the hands of a shaved-headed, menacing doctor named Ajax (Ed Skrein), though when it turns out the facility has designs on turning Wade into a super slave instead of a superhero, he’s put on a path that will not only see him gain incredible healing powers and horrifically scarred skin, but also a deep, deep desire for bloodthirsty revenge. 

If variety is the ultimate key to the perpetuation of the comic book movie genre, then Deadpool will be received by fans as a blessing, because we truly have not seen anything quite like it to this point. Taking the complete opposite approach to the character than the one exercised by X-Men Origins: Wolverine, the film understands and embraces what makes the red-and-black-suited psycho special, and utilizes those elements to inspire a fantastical, R-rated, one-liner-filled blast. Everything is on the table, from his gleeful abandon during fights to his distinct ability to break the fourth wall, and matched with perfectly-toned superhero cynicism it comes together stunningly well. 

There is much to be said about the clear and shining love for Marvel Comics’ most notorious character that comes through in the writing and direction of the film, but the greatest weapon Deadpool possesses is star Ryan Reynolds – given a second shot to prove that he is the perfect actor to play the Merc With The Mouth. Reynolds has certainly had a rough go of it in the genre – not only starring in the brutal X-Men Origins: Wolverine, but the equally bad Green Lantern and Blade: Trinity - but those past failures only add a tremendously righteous redemption angle to Deadpool’s story. 

The actor clearly revels in the opportunity to hyperactively babble on, and in doing so demonstrates genius timing and impeccable chemistry with all of his co-stars – whether Wade is trading horrible life stories with Morena Baccarin’s Vanessa; talking shop with the always-delightful T.J. Miller as Deadpool’s friend/weapons dealer Weasel; or mocking the angst-y, goth-styled X-Men trainee Negasonic Teenage Warhead (played by talented newcomer Brianna Hildebrand). Clichéd as the phrase may be, Ryan Reynolds was born to play Deadpool, and he truly doesn’t waste a second of the opportunity. 

Not having the budget of your typical $150-200 million blockbuster, Deadpool is relatively small-scaled for a comic book movie, but the production deserves an incredible amount of credit for maximizing the resources that they have. Surely benefiting from Tim Miller’s extensive and impressive background in visual effects, the biggest action sequences are pure-blooded spectacle, rife with highway pile-ups, stunningly choreographed acrobatics and hand-to-hand combat, intense gunplay, and katana-swinging badassery. What’s more, the movie certainly takes full advantage of its R-rating – racking up a sizable and creatively-created body count that clearly demonstrates the protagonist’s anti-hero status – but it also never pushes the violence towards unpleasant gratuity. Combined with some excellent production and costume design, and a wonderfully eclectic soundtrack, the film brandishes fantastic flair and thrills that complete the picture. 

Deadpool’s script spent about five years on the shelf waiting to get made, and watching the finished result, it’s hard to understand why its incredible potential wasn’t seen and exploited sooner. The movie is going to endear a whole new audience to the vivid and weird character, while once again demonstrating the tremendous opportunity for variety in the comic book movie genre. “Worth the wait” only begins to describe the outrageous and excessively entertaining film, and it spells incredible things for the character's future.

Review: 'Star Wars: The Force Awakens'

PLOT: Several decades after the defeat of the Empire, a new dark presence in the force rises, and two young people – Finn (John Boyega) and Rey (Daisy Ridley) may hold the key to salvaging the rebellion.

REVIEW: At this point, movie-going audiences have already made their decision whether or not they will buy a ticket, and a majority of them will. As such, I recognize that my role to play here is as a professional expectation adjuster, here to either hype you up, or help you avoid painful disappointment. The truth is that in this review I will do both. In short, the J.J. Abrams-directed film is unquestionably the best Star Wars movie we’ve seen in 30 years, and an undeniably entertaining ride – but one certainly not without a collection of narrative flaws, missed opportunities, and predictable plotting. 

Revealing story details from J.J. Abrams and Lawrence Kasdan’s script would be doing you a disservice, as everyone deserves to go into the film with the same level of mystery and wonder that I did, but certainly one thing that can be unequivocally stated is that The Force Awakens is passionately and respectfully rooted in the unmistakable and awe-inspring saga of the “Original Trilogy.” After the ugly, CGI-overloaded prequels, Episode VII truly returns fans to the world they recognize and love. It’s thrilling to be riding alongside an X-Wing during a battle with a TIE Fighter squadron, and to listen to the strings and horns of a John Williams score while watching a real droid roll around an expansive sand-covered desert planet. There’s nothing that feels quite like Star Wars, and The Force Awakens captures that particular sensation. 

Obviously helping in that respect is the return of legendary characters like Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) – who are wonderfully recaptured and only further fleshed out with three decades worth of mysterious history added to their legacy. What’s more, they manage to be so fascinating that it’s hard not to cling to every bit of exposition that is uttered, then working to understand what it means for both the past and the future. Old chemistry is reintroduced with vigor and really just watching their familiar expressions play off each other as they stand together in a room is enough to spark memories of everything you love about these heroes. 

There is a complaint to be levied that the film doesn’t utilize these classic characters enough, but the truth is that it’s a hard one to land simply because the new generation of heroes and villains is utterly fantastic. Fighting on the side of the Resistance against the tyrannical and horrific rule of the First Order, Rey (Daisy Ridley), Finn (John Boyega), and Poe Dameron (Oscar Isaac) all bring unique temperaments and backgrounds to the table, and just watching them connect and their relationships grow is both fun, and thrilling. Individually, they’re all personable, relatable, funny and entertaining, and it comes from a mix of fantastic performances and great characterization. 

Every actor in the ensemble given the opportunity within the material shines brightly, but it’s Adam Driver who is the true show-stopper of Star Wars: The Force Awakens - delivering a fascinating and deeply emotional turn as Kylo Ren. All working within context, the character is filled with palpable and painful internal conflict, and it comes out as dangerous rage that disturbingly coexists with his intense determination and drive to complete his ultimate mission. Even through an expressionless mask, Driver is compelling and brings a dark atmosphere to every scene he’s in – very much reminiscent of another notable black-cloaked antagonist. 

From a character and aesthetic perspective, Star Wars: The Force Awakens is tremendously on point – but it’s the construction of the narrative and devices that create significant problems. These issues exist on both the macro and the micro scale. From the larger perspective, the MacGuffin that’s introduced in the first act and begins the story really has no correlation with the big, dramatic conclusion – and the adjective “remake-quel” is unfortunately relevant. Some of the beats are also far too dependent on extreme coincidence – a flaw reminiscent of Abrams’ Star Trek reboot – and have the effect of thinning the plot. None of these issues entirely derail the film, but they are nagging and notable. 

Fans surely want Star Wars: The Force Awakens to be the greatest thing they’ve ever seen grace a movie screen – and while I know many will be upset about me saying this, the reality is that it isn’t. It’s a fun and thrilling return for one of the all-time great science-fiction franchises, and one that’s undercut by glaring issues with the script. It’s not a perfect film but it’s far superior to all of the prequels and exactly the movie fans have been waiting the last thirty years for. If you go in with your expectations adjusted accordingly, you’ll very likely have a blast.