[Review] Deadpool
Superhero fatigue: It's a very real thing, especially at the beginning of a year in which we'll see Deadpool, Batman v Superman: Dawn of Justice, Captain America: Civil War, X-Men: Apocalypse, Suicide Squad, and Doctor Strange representing the superhero film genre. By now, we've grown tired of the standard Marvel formula, as showcased by the less-than-stellar reviews of Ant-Man and Avengers: Age of Ultron last year. However, Fox has done their best to change not only our expectations of the genre, but for the film itself, as seen by the tone-perfect marketing campaign.
Can Deadpool rise up to the challenge with maximum effort?
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Deadpool
Director: Tim Miller
Rating: R
Release Date: February 12, 2016
Wade Wilson (Ryan Reynolds), as we come to find out, is a merc-for-hire specializing in defending girls from their stalkers thanks to his experience in the Special Forces. His best friend, Weasel (T.J. Miller), is a bartender and proprietor of extracurricular activities at his bar where many of the other mercs and vigilantes find their next missions, and his girlfriend, Vanessa (Morena Baccarin), is just as twisted as Wade is. However, he's soon afflicted with terminal cancer, making him a target of an underground lab that experiments on triggering mutant powers within humans, led by mutant Ajax (Ed Skrein) and his bodyguard, Angel Dust (Gina Carano)... you get where I'm going with this.
However, where Deadpool differs from other superhero origin films is its approach at its plot chronology. To a certain point, Deadpool tells its story in a non-linear way, allowing its storytelling to match the setting of a comic book that specializes in breaking the fourth wall and playing with its audience/readers. Undressing the film of its non-linear approach, however, reveals the standard revenge plot... but honestly, is the plot really what we're watching Deadpool?
Absolutely not. Finally, we're given a mainstream Hollywood comic book adaptation that truly allows the source material to be faithfully represented on the silver screen. Deadpool, as he's become to be known currently, is the anti-hero that fully embraces his existence within the confines of a comic book, allowing the writing to go in interesting ways... ways in which the standard mainstream superhero book wouldn't. Thusly, the comic book fandom embraces Deadpool as one of their own, someone who is a total badass that doesn't settle for the standard or takes himself seriously... as you'll see from the film's very first second.
Championing the character, and this film's sole existence, is Ryan Reynolds, who was destined to don the red and black in a way that does the role justice, not the poor excuse that was Deadpool's now non-canon debut in X-Men Origins: Wolverine. As he's said in recent interviews, Reynolds doesn't want to play another superhero character because of his organic connection to the role that highlights and accentuates the actor's strengths. Sprinkled in are the X-Men Colossus, voiced by newcomer Stefan Kapicic, and X-Men trainee Negasonic Teenage Warhead (Brianna Hildebrand), who serve no real purpose beyond connecting Deadpool with Fox's ramshackle universe. Further confusion sets in when you attempt to make sense of the Fox/Marvel universe and where Deadpool fits in the timeline alongside X-Men: Days of Future Past and this year's aforementioned X-Men: Apocalypse, so do yourself a favor and just take Deadpool for what it's worth.
And its worth is a near-perfect film adaptation of a fan favorite comic book that will meet audience's expectations... and then some. I'll go so far as to say it'll be equitable in its box office returns in comparison to the projected blockbusters Captain America: Civil War, Batman v Superman: Dawn of Justice, and Suicide Squad, thanks to its dedication to its source material, Reynolds' perfect portrayal of the Merc with a Mouth, and a full embracement of the R-rating that will make all superhero film fans forever curious of what it would be like to see Wolverine truly draw blood. Don't get it twisted: this may be a Marvel adaptation, but it definitely isn't meant for kids.
Deadpool is everything we wanted it to be since it was officially announced... beyond the predictable plot and shoddy placement within the larger X-Men/Fantastic Four universe Fox has attempted to create. Much like Hugh Jackman's Wolverine and Robert Downey, Jr's Iron Man, Ryan Reynolds' Deadpool is the perfect casting for a role that's destined to be franchised around. Deadpool sets the bar extremely high for its superhero brethren this year, and it'll be entertaining to see just how each film compares to this instant classic.
[Review] The Peanuts Movie
In case you were unaware, we're in the midst of an animation renaissance. While the bulk of the new animation landscape is predicated by TV shows like Bob's Burgers, Steven Universe, Adventure Time, and more, animated films have found steady crossover success with films like The LEGO Movie, Cloudy with a Chance of Meatballs, and the standard fare from Studio Ghibli and Pixar. The success of such properties has been a mix of great writing, memorable characters, and the creators' penchant to adapt new trends in modern humor to make them feel more timely.
The Peanuts Movie, however, follows the classic standard established by creator Charles M. Schulz more than 65 years ago, with everything ranging from the Red Baron, Joe Cool, Lucy's psychiatric help, and more, without having to rely on pop-culture references, one-liners, and hyperactive quick cuts. What results is a brand new Peanuts story that feels just as timeless as every time Charlie Brown missed the football.
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The Peanuts Movie
Director: Steve Martino
Rating: G
Release Date: November 6, 2015
Charlie Brown (Noah Schnapp) is well-liked by his peers, despite not being very good at... anything. His chance for a clean slate is presented, however, with a new kid moving into town - the Little Red-Haired Girl (Francesca Capaldi). All of his initial attempts to talk to her end up in typical Charlie Brown fashion; however, he suddenly finds some luck that results in him becoming the most popular kid at school. Meanwhile, his pet dog Snoopy (Bill Melendez) embarks on dog fights against his long-time arch-nemesis, the Red Baron, in his quest to rescue his love interest, Fifi (Kristin Chenoweth).
The biggest strength of The Peanuts Movie is its simple plot. So often, many franchise reboots/remakes try too hard to add unnecessary exposition or complicated stories in misguided attempts to "modernize" them for contemporary audiences. The Peanuts Movie, however, relies on the simplicity that made Peanuts so timeless. While the audience at my screening were mostly quiet, I did find myself chuckling more than my peers as Peanuts staples found their way subtly worked into the plot.
The animation style also stayed true to the characters' 2D images, albeit modernized into a faux-3D style. It was fun to see little things like Pig-Pen's dust cloud, Charlie Brown's iconic single hair, and their simple, yet fun facial expressions. The style is similar to South Park's cardboard cutout-style of animation that truly benefits when the characters are on a flat plane, but don't look that awkward when they have to interact in 3D.
The Peanuts Movie is an ode to Schulz and his long-lasting franchise. You can tell that the crew for the film, from producer Paul Feig to director Steve Martino, truly love and appreciate Charlie Brown, Snoopy, Woodstock, Linus, and the entire Peanuts crew. The Peanuts Movie will be a great addition to the Peanuts animated canon alongside A Charlie Brown Christmas and the other Charlie Brown specials.
[Review] The Martian
Space has been the "final frontier" for decades, yet it's only been in recent years where a steady in flux of space-centric films have been able to find the critical and commercial success that their B-movie forefathers only dreamed about. Following in line with similar films like 2013's Gravity and 2014's Interstellar comes Ridley Scott's most recent foray into the stars: The Martian. Adapted by the novel of the same name by Andy Weir, The Martian features an exceptionally talented ensemble cast, a strong performance by Matt Damon, and perhaps director Ridley Scott's return to grace following the cold reception he's received for his latest films.
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The Martian
Director: Ridley Scott
Rating: PG-13
Release Date: October 2, 2015
Halfway through a manned mission to Mars, a storm hits that causes the crew of Ares III to immediately evacuate. However, a crew member, Mark Watney (Matt Damon), is believed dead after a piece of equipment struck and concealed him from the rest of the crew. As NASA delivers the untimely message to the entire country, it's soon discovered that Watney survived the storm as he must rely on his wits and scientific knowledge to survive the next three years before the next manned mission to Mars takes place. Soon enough, Watney's movements are detected by NASA, who must then decide how to present the discovery to the media (after initially declaring him dead), as well as conceive of a successful rescue mission, despite the odds.
While the main attraction to The Martian will be Damon's great performance (and rightfully so), the film wouldn't have been as successful or entertaining as it is without its ensemble cast that includes such actors as Jessica Chastain (Interstellar), Kristen Wiig (Bridesmaids), Chiwetel Ejiofor (Z for Zachariah), Jeff Daniels (Looper), Michael Peña (Ant-Man), Kate Mara (Fantastic Four), Sebastian Stan (Captain America: Civil War), and a surprise (and fun!) role by Donald Glover (Community). Buoying the main plot of bringing Watney home comes a more substantial one in which NASA must circumvent the political/business trappings of the organization and their genuine interest in saving Watney's life, allowing the main plot an added sense of grounded context that allows audiences to further empathize with the characters.
Whereas Gravity lacked the supporting cast and direct narrative and Interstellar lost viewers with a convoluted and confusing plot, The Martian takes the best from the preceding films and fills in what each lacked. Furthermore, Damon's Watley is at times awe-inspiring with his knowledge and never-fail attitude, yet still relatable to audiences with his charm and sophomoric (re: endearing) humor. In short, if you felt Gravity and Interstellar were good films that lacked that certain something, The Martian could be what you've been waiting for.
Those worried that Scott lost his magic following the lacking Prometheus, The Counselor, and Exodus: Gods and Kings should find solace knowing that Scott's back on the right track. The Martian possesses a story deep enough for thinkers to enjoy and casual viewers to understand, a stellar cast that gets the right amount of time for their talents/characters to shine, and a great lead performance by Damon. Make sure you catch The Martian as soon as you can.
[Review] FIDLAR: "Too"
The L.A. dwelling skate punks of FIDLAR are known for their bad habits and goofy lyrics, but they’ve added raw emotion to the mix with their newest release. Their sophomore album, Too, shows more depth, sentiment and humility than anything the band have put out. I mean, it’s hard to think much of a band whose name is an acronym for “Fuck It, Dog, Life’s a Risk.” But, the explanation of their antics works tenfold with this coming-of-age album. The powerhouse, garage ruffians take fans on a thrashy journey through the group’s (or select members) diary of sobriety and high speed travels from being the local, opening band to headlining their own tour. The age old story of young musicians trying to get a grip on their fast paced lives is something bands pass over when they’re in the thick of it, but FIDLAR make the notion apparent; and they’re cool with the struggle.
Starting the record off on a high note with their single “40 oz. On Repeat,” which brings adolescent anxiety and partying at the forefront of the band’s persona, it’s a familiar track to add to the catalog of songs of the same nature. Brash and booming guitar notes coupled with singer Zac Carper’s raspy voice, the setup for the rest of the record is showcased as the second track, “Punks,” trails off the single. The song “West Coast,” an apparent bittersweet ode to their California roots, adds an indie flair to the record. The lyrics, “and all my friends they just stay the same/I’m growing up, but nothing’s changing” bring in the personal struggle as the group grow up into their own as musicians.
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The best track, “Sober,” sounds like a reference to The Suicidal Tendencies “Institutionalized” with it’s speedy intro of banter. The song is noisy, heavy and full of rebellion classic to FIDLAR. The lyrics “I figured out as I got sober that life just sucks when you get older” becomes flipped back and forth throughout the track.
The record ends on a high note (noticing a pattern here?) with “Bad Habits” bringing the story to a close with a youthful attitude towards adolescence. The lyrics “I’m getting older and I’m freaking out because I got nothing to show and I’m still fucking broke, but I got bad habits/They’re my bad habits” explains the songwriter’s struggle with addiction. Just as you think the group are getting sentimental, the group make light of things by Carper comparing himself to his dad.
One thing holds true to the young punks in FIDLAR aside from the cycle of getting high and getting sober and that’s that there isn’t anything better than punk rock. The record is a definitely a choice pick for fans of Wavves, METZ, Best Coast, Desaparecidos and Black Lips. Gathering praise from practically every music blog in the scene to kudos from Rolling Stone and Time, it’s a wonderful thing to know that punks will be punks and the dudes in FIDLAR don’t look like they’re going to sell out (yet).
[Review] We Are Your Friends
Close your eyes and think back to all of the various stages of your life, and I can almost guarantee you that each one is segmented into the type of music you were listening to, whether it was a specific band, genre, song, or what have you. Needless to say, music plays an important role in all of our lives. Recently, we've seen EDM gravitate towards the top of mainstream music genres with EDM DJs headlining all types of festivals across the country. Adversely, the genre's popularity also attracts unwanted notoriety as the scene's culture is linked to partying and drugs, especially in regards to EDM's mainstream media coverage.
With that said, what better way is there to tell a contemporary coming-of-age film set within the EDM scene? Writer/director Max Joseph's We Are Your Friends tells the story of an aspiring DJ's attempts to make it big with his friends, but his rise is constantly threatened by personal events. Unfortunately, the film derails way too often, leaving audiences a messy film struggling with its identity.
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We Are Your Friends
Director: Max Joseph
Rating: R
Release Date: August 28, 2015
Cole (Zac Efron) is an aspiring DJ living in the San Fernando Valley with his best friends Ollie (Shiloh Fernandez), Squirrel (Alex Shaffer), and Dustin (Jonny Weston). Together, they all dream of leaving the Valley for the riches and lights that Los Angeles has to offer, and they do so by promoting at a local club where Cole DJs.
Thanks to a chance encounter, Cole begins a mentorship with an established DJ, James (Wes Bentley), who helps Cole with his mix and offers him a gig at a large music festival. However, as life is wont to do, various circumstances are thrown at Cole and his friends, whether it's a dead-end job or the sexual tension between him and James's girlfriend, Sophie (Emily Ratajkowski).
There are so many elements at play in We Are Your Friends, but that's not a good thing... definitely not one for this film. Had it stuck to one genre, this film would have been far better. However, Joseph shows his ambition by attempting to create a film with a legitimately compelling story beyond the standard we've come to expect from similar music films. And for this, I applaud him; it's just unfortunate that his ambition ultimately led to the film's downfall.
There are many subplots going on within We Are Your Friends that help move the film along, but they all lack the payoff in the end. Take, for instance, Cole's three friends - the relationship between the four of them is that of ride or die brothers who would all have each other's backs. However, when Cole begins his friendship with James and Sophie, he essentially turns his back on them, as illustrated in a party scene where the trio embarrass themselves at James's party with no support from Cole whatsoever. Leading up to the film's final act, the friends are all eventually phased out to increase the spotlight on Cole's relationship with James and Sophie. There's a bit of a twist or a surprise that leads into the third act, but the immediate fallout from it is so tone-deaf and unrealistic.
However, this in itself is so unbelievably realistic and fairy tale-like. I can get behind Cole's sudden rise in the way fictional films tend to work out. What I can't get behind is the love triangle between Cole, Sophie, and James. Spoiler alert: Sex and fights are involved. I can't get too into this point without actually spoiling the film, yet the film's ultimate failure is rooted in Cole's narrative and how absurd it is.
Simply put: You can't attempt to create a drama that, through no believable elements whatsoever, allows the protagonist to come out on top unaffected and unchanged.
As far as the performances go, I've become a bit of an Efron fan in recent years, and he has his moments in the film. Unfortunately, his range is held back by the film's script and direction. Nevertheless, he makes the most of what's given to him. Wes Bentley also holds his own, but much like Efron's situation, he's held back from truly showing off what he can do. Ratajkowski's role as Sophie, however, is cause for concern.
Joseph attempts to create a truly-realized character with emotions and thoughts and dimensions beyond the obvious, and it truly is admirable. However, she's sorely underwritten and underutilized despite Joseph's attempts. For a film like We Are Your Friends, an attractive female lead is basically needed for the male protagonist to woo and romance on his path to the top, yet I truly believe building on the dynamics of Cole and James's multifaceted relationship would have been a better decision.
There are glimmers of light here and there in We Are Your Friends, whether it's Joseph's ambitions or Efron and Bentley's performances. However, they're too few and far between to justify seeing the film in theaters.
WWE SummerSlam 2015: Results and Match Reviews
WWE SummerSlam 2015 promised to be the biggest and best SummerSlam of all time. Almost four hours of action and 10 matches with two main events, including the long-anticipated rematch between Undertaker and Brock Lesnar. The show had Jon Stewart as host, a match with Arrow's Stephen Amell, and a guest appearance by Mic Foley.
But let's face it, SummerSlam 2015 was a stinker.
If Monday Night Raw is three hours that should be cut to two, SummerSlam 2015 is four hours that should be cut to about two and change. Too many inconsequential matches, screwy finishes, and just bad writing and booking. NXT: TakeOver, which took place the night before SummerSlam 2015, was just over two hours, and a reminder of why quality is more important than quantity. Hell, indie promotion Ring of Honor's Field of Honor show in Coney Island over the weekend was far better than SummerSlam 2015 too.
I feel bad for anyone who paid for SummerSlam on actual pay-per-view.
Let's go through the weekend of wrestling in Brooklyn and then consider the results, the highs, and the lows of SummerSlam 2015.