By Mark Kennedy, AP Entertainment Writer
At a recent screening of "Deadpool 2," the audience didn't get up when the end credits came up, patiently sitting through the scrolling names of visual effects supervisors and lighting specialists. Real "Deadpool" fans know to stick around until the ushers toss them out.
That's because the filmmakers aren't content with containing their sprawling, anarchic and subversive hero in any conventional box. No, in the world of Deadpool, even the boring end credits are studded with jokes and teases.
So hold onto your seats as Ryan Reynolds once more dons the red suit and katana swords for this saucy, overstuffed and very entertaining sequel to the 2016 massive hit "Deadpool," which became the second-highest grossing R-rated film domestically after "The Passion of the Christ." How do we know that? Deadpool happily brags about it in the new film, continuing his breaking-the-fourth-wall humor.
Just some of the other things that get derided this time are "Yentl," ''Frozen," ''Stranger Things," Wolverine, Jared Kushner, cultural appropriation, Brad Pitt, the Norwegian band A-ha, "Basic Instinct," ''Robocop," fanny packs, "Say Anything," dubstep, "Sharknado" and Reynolds himself, who mocks his disastrous earlier decision to play Green Lantern.
"Deadpool 2" is as gruesome and violent as the first, but perhaps the biggest victim is the very concept of superhero movies. Our anti-hero adores mocking the moral clarity, earnestness and predictable stunts of his distant cousins. And, as a Marvel property, he especially delights in lampooning D.C. Comics. "So dark," Deadpool says to another superhero. "Are you sure you're not from the DC Universe?"
In this film, which reunites the original writing team of Rhett Reese and Paul Warnick, we begin by finding our unkillable mercenary in the same domestic bliss where we left him. But if "Deadpool" was an origin story, "Deadpool 2" is a quest tale and our hero this time encounters the time traveling soldier Cable (Josh Brolin), a motley crew of mutants he calls X-Force — "Isn't that a little derivative?" someone asks snarkily — and various superheroes and mutants, all set to a lively soundtrack that includes Air Supply, Peter Gabriel, "Annie" and an original song with filthy lyrics. If something can be oddly sweet while heads are being decapitated, it's this film.
Some favorites from the first film are back — some only briefly — such as housemate Leslie Uggams, girlfriend Morena Baccarin and cab driver Karan Soni. The new characters don't have time to make much of an impression, except for Zazie Beetz from "Atlanta" who has a great turn as Domino, a strong, sardonic superhero who relies on luck. (Someone please write her own film.)
Deadpool, of course, helps us along the film's convoluted plot with such post-modern cracks as "Big CGI fight coming up!" or the put-down, "That's just lazy writing" or, after a cool sequence, "Tell me they got that in slow motion." Director David Leitch replaces Tim Miller but there's been no noticeable change in tone or corrosion in the franchise's terrific special effects. If anything, the surprising success of the original has resulted in more money and more insane sequences, like a chase sequence with a truck convoy and a bizarre scene when Deadpool's legs regrow after he is cut in half, giving him baby limbs for a time.
Reynolds is once again at his arch and nihilist best here, while acting and jumping in so much facial prosthetics that it makes him look like he's inside melted cheese — or, as the first movie put it, an avocado that had relations with an older avocado.
To really appreciate "Deadpool 2" you have to have seen the original and probably every other Marvel superhero film, too. And be up on pop culture, from Cher to Broadway musicals. (It's a good thing there's no quiz at the end.) Speaking of ends, don't embarrass yourself by getting up to leave when it seems to be over. And get ready to happily sit through "Deadpool 3," too.
"Deadpool 2," 20th Century Fox release, is rated R by the Motion Picture Association of America for "strong violence and language throughout, sexual references and brief drug material." Running time: 119 minutes. Three stars out of four.
Sinners and Saints Adds Apple Pie To Its Branded Menu
Bicoastal Sinners and Saints--the multidisciplinary studio overseen by managing director/executive producer Heather Heller, and partners/EPs Yann Henric and Thomas Carroll--has added Apple Pie Tabletop to its roster for branded content. Known for its food and beverage content creation, Apple Pie comprises the husband-and-wife team of director/DP Gene Dubin and director/art director Alisa Volodina. In addition to representation, the move expands Apple Pie’s production capabilities through the combination of its centrally located full-service studio in New York and a newly established mobile studio in Los Angeles. Apple Pie recently teamed with Sinners and Saints on a Wienerschnitzel project created by Innocean.
“We believe that our dual studio strategy positions us uniquely in the competitive landscape of food and beverage storytelling,” said Heller. “By blending the artistry of the New York studio with the flexibility of our Los Angeles location, we can tailor our productions to meet the unique demands of each project, regardless of geography.”
“Working with Sinners and Saints in the demanding field of tabletop was an absolute pleasure,” shared Apple Pie Tabletop in a joint statement. “Warm welcome, unwavering support and dedication--everything a director can ask for. The entire experience was both enjoyable and rewarding. We will not miss an opportunity to collaborate with them again.”
“The first thing you notice is that Apple Pie has beautiful work,” Heller observed. “Having worked with them, I can say that Gene and Alisa are extremely meticulous and detail-oriented; their combination of talent and agility appeals to agencies and clients.” Also appealing to Heller is Apple Pie Tabletop’s brisk international... Read More