I saw Deadpool & Wolverine's Terrific Team-up, Alternate Reality, Time Travel Time

Could Deadpool & Wolverine, a sequel to a movie mythology produced by Fox, be decrepit Disney's saving grace for a distilled MCU? You got me, but I (one who's been jaded by those ho-hum, let's-please-everyone-and-no-one, Carol Danvers chapters) believe this submission could do the trick, but then, how wrong could one go with Ryan Reynolds' Wade (Merc with a Mouth) Wilson and Hugh Jackman's alternate-Logan doin' their brazen thing? 

The waters were tested many years ago with this X-Men crossover in Wolverine's first, solo sojourn, but Reynolds' Wilson wasn't the Deadpool he'd later become. For Deadpool & Wolverine, Wilson is in full, fourth-wall-breaking, crimson-clad mode, and Jackman's Wolverine is, well, as tough and grouchy as ever, even if a variant. The combination creates a pleasurable Spock/McCoy, argumentized contrast. (Incidentally, Logan's yellow-blue, comic-book outfit doesn't rub against Jackman's tall, lean grain, anymore than the "adorable" Dogpool diminishes his master's snarky stride.) 

On the whole, this highly anticipated sequel, directed by Shawn (The Adam Project) Levy, who cowrote with Reynolds, Rhett Reece, Paul Wernick and Zeb Wells, is basic but profound in its implications. 

Time Variance Authority chief, Matthew Macfayden's prissy, time-wrecking Mr. Paradox, wants to eliminate Deadpool's timeline (which is set to extinguish in about a couple centuries, anyway), though the eradication would be beyond merciless in its expedition. Though Paradox toys with Wilson to cloak the magnitude of his motive, Wilson sets forth to plug Paradox's plan, tracking down a disgruntled variant of Logan (said to have let his own universe tumble). This prompts our protagonists to jump through various, time-dimensional hoops to maintain the long-term dimensional stability. Along this arduous path, the two visit (and learn from) a number of the MCU's heroes and a few we never had the extended pleasure to meet. That means audiences get plenty of X-Men and Avenger cameos and even a series of surprise manifestations of Deadpool and Wolverine, characterized by diverse shapes and sizes. Wow!  

To anchor the movie's mayhem, Deadpool & Wolverine makes no apologies for being profane, gruesome, explosion-laden and (most importantly) male-oriented: i.e., its leads are virile and act as most testosterone-propelled males would given the liberated chance within the plot's exaggerated circumstances. And they really have no choice but to do so, considering not only the crafty Paradox, but the diabolical Emma Corrin's Cassandra Nova, Professor X's rotten, sequestered sister. (That dear Cassandra resembles the guy-bashing/western-civ-despising Sinead O'Connor only accentuates to her bigoted treachery, except that Cassandra displays much more compassion than the defunct, Irish singer ever did. I mean, Cassandra's contempt is at least fictional.) 

Deadpool & Wolverine is also a swell, throwback, buddy movie, much like the Lethal Weapon pictures. The banter is realistic, based on the personalities established, and the duo's reaction to others (whether friends, foes or fellow champions) feels right, like it's been there all along, just waiting to be plucked. 

As I've mentioned in past posts, there is, indeed, an audience for this type of brass-necked storytelling, which goes way back to Marvel's classic (Golden/Silver Age) comics. Thank goodness, this one drives home Marvel's traditionalism, confirming that its tried-and-true formula (even if served with copious crassness and ultra-violent interludes) has always been the one-and-only way to go, and if it's not to be that way, then why the hell even bother?  

I saw Red Notice...

Red Notice's arrival took me by surprise, but there it was, all ready to go on Netflix and right on the heels of my Get Back Disney+ indulgence, no less. Hot diggity!

The movie stars Ryan Reynolds, Dwayne Johnson and Gal Gadot (for all intents and purposes, Deadpool, Hercules and Wonder Woman) in a madcap, Bondian spree about retrieving the three (alleged), adorned egg-sculptures that Marc Antony gifted Cleopatra. 

What makes this adventure such great fun is the banter among its principals, but also its globetrotting twists, which make one wonder who among the trio is fooling whom. The assumption is that Johnson's FBI Agent John Hartley is the good guy, Ryan Reynolds' Booth Nolan is the bad guy set to turn good, and Gal Gadot's "Bishop" is the presiding, manipulating baddie, but as the plot spins, not all is as it seems. (One even starts to question the film's good-gal pursuer, Ritu {The Umbrella Academy} Ayra's Agent Das, who has the ultra-buoyancy to keep resurfacing against all credible odds, not to mention the audacious intent of Chris {The Three Stooges '12} Diamantopoa's villainous Sotto Voce, a possessor of one of the fabled eggs.) 

Rawson Marshall (Skycraper) Thurber's direction holds its own with the best of 007 directors, and his script is a crackerjack one, which lends itself well to its popular, screen personalities. 

Steve Jablonisky's spy-thrill score cements everything, as does Marcus Forder's cinematography, so that when one isn't laughing (in particular at the inside-movie jokes) or second-guessing the sneaky surprises, it's easy to settle into what becomes an aesthetically pleasing, modern Our Man Flint or mega-budgeted Get Smart. (Now that I think of it, Johnson was in the latter's hefty remake. How's that for associated kismet?!)

To analyze Red Notice's histrionic points would spoil the adventure. It must be experienced in a fresh way, but it's suffice to say that it's enjoyable from start to finish, and yep, it could/should usher more.

I'm all for that. Red Notice (incidentally, a worldwide alert to seize those of monumental threat) isn't resolved with this picture, with more such "notices" insinuated by the time the end credits commence. Considering the leads' chemistry (and the opportunity to see Gadot don more slinky attire), this is a franchise just itchin' to be born, even if its relegation remains exclusive to streaming. Whatever the viewing format, let it happen. Red Notice II can't come fast enough in my eager estimation. 

An Alternate Reality: Fox's X-Men Cracked the Multiverse First

There's much talk of the alternate-reality/multiverse approach to both Marvel and DC mythologies: how their cinematic universes will open for a broad range of superhero crossovers. The intrigue is justified, but the idea isn't trailblazing or unusual among imagi-franchises. 

Twilight Zone, Outer Limits, Star Trek, Terminator, Planet of the Apes, Alien Nation, Fringe, Sliders, Cloverfield and (in perhaps a more subtle manner) Toho's kaiju have paved thought-provoking, parallel paths. However (unless one considers such small-screen endeavors as Gerard Christopher's Superboy or Lois and Clark), the forerunner on the live-action superhero-franchise front is Twentieth Century Fox's X-Men. 

The actual catalyst came with Days of Future Past, named after a comic-book saga, which in turn was named after a legendary concept album by the Moody Blues. 

In X-Men's Days, time travel invades, with Hugh Jackman's Wolverine leading the charge. The '70s morph as a result, with an assassination attempt on President Nixon and bad girl, Mystique turning good in the end.

 

Nothing was the same after those events, though the altered history presented doesn't erase what came before or what may exist along an infinite number of celestial trails. The setup also allowed its actors to exchange roles and backgrounds within Days' ensuing sequels/prequels: a gimmick that both Warner Brothers and Disney now employ without shame. 

Considering X-Men's track record, our diligent mutants have left the door wide open for amazing offshoots and outcomes. For example, a few years prior, audiences were treated to a rugged realm where Logan grew old in a character study that, though connected to previous chapters, embodied its own world, while still begging for a down-the-line link to intersecting pockets.

Logan gave us something so brash and idealized, in fact, that rumor now claims that Jackman's world-weary mutant may cameo in Doctor Strange in the Multiverse of Madness. Some say that Patrick Stewart's Charles Xavier might manifest, too. We've also heard about Ryan Reynolds' intended insertion as Stan the Man's cameo replacement. And then there's this whole double-Quicksilver thing which--ah, shoot, for the sake of squashing a major spoiler, I must go mum. (Watch WandaVision Episode #5 for that significant scoop.) 

I sure hope that many members of the Fox team do, indeed, show in the grand, mix-and-match Marvel Cinematic Universe plan. The alternate-reality scope of X-Men is too prolific not to nibble on, in particular with Disney now holding the anything-goes, rebooting reins. If made part of the  unfurling, zigzagging realities, X-Men holds the transforming tonic to be uplifting, sorrowful, thrilling and above all, surprising at the same and varying times: ideal flavoring for any MCU stew.  

Let's hope the House of the Mouse doesn't fumble the opportunist ball. The X-Men should rub elbows with such big-screen counterparts as the Avengers, Spidey and the Fantastic Four; and more than on specialized occasion, but on a hardy, indefinite basis. Fingers crossed that this tried-and-true band of uncanny irregulars ascends again into the coveted X-light. 

An Alternate Reality: Deadpool Enters Disney's MCU

Fans have wondered when (and if ever) Deadpool 3 (or a related X-Force movie) might surface. Some have presumed the proposed sequel would wallow in pre-production hell, in the measly manner Alien and Planet of the Apes sequels/prequels have gone through Disney. However, at long last, Deadpool 3 has been confirmed a go, and hold onto your seats, it's gonna be part of Disney's Marvel Cinematic Universe, no less. (I wonder if Deadpool 2's trampling of Solo had any influence on this decision. I mean, why not water where the monetary flowers bloom, right?)

This confirmation sprinkles more credibility onto the notion that Old Logan/Wolverine will be featured in Doctor Strange in the Multiverse of Madness, even if it's still up in the air whether Hugh Jackman will reprise his role. 

Nevertheless, if Ryan Reynolds is to star in and oversee Deadpool 3, one can only infer that negotiations have already commenced to secure Jackman in full, mutant mode. This could also lead to a reunion between the X-Men champions at some point, since Deadpool and Wolverine did spar in the latter's first, eponymous film, albeit with a far different angle than most had desired or anticipated. 

Another thing to consider is that Logan hit theaters R-rated, and of course, the Deadpool movies boast the same designation (except for that wraparound edition of Part 2 that was made to appease the timid). Will the razor-sharp, Fox approach to superheroes seep into Disney's bracketing? According to reports and promises, Deadpool 3 will be as rude and crude as its predecessors. If so, perhaps the same will go for any new X-Men additives, no matter the character variants or circumstances.

It was only a matter of time before the X-Men met the Avengers on the big screen. With parallel-universe confrontations creeping into both Marvel and DC live-action productions, the Deadpool/X-Men visitations seem not only logical, but shrewd.

But let's sure as hell hope the new brew doesn't ultimately go "woke" in the way of Star Wars. There's a tremendous opportunity here to achieve greatness if the mixing and matching bounces right. We sure don't need any dewdrop agenda to castrate it. 

I saw Once Upon a Deadpool...

I reviewed "Deadpool 2" months back (see May '18 post); no sense in rehashing the particulars. However, the film is now headed for a limited, Dec 12, theatrical re-release, but this time with a PG-13 rating and bracketed and puffed by freaky fringes to compensate for what's been carved.  

Before I go on, I must say that idea of re-editing "Deadpool 2" to placate passive youths, who remain in general apathetic toward superheroes, seems pointless and yet at least one parent got a horde of hardy publicity demanding a filtered edition, and so here we are, I guess, more or less. 

At any rate, no matter the re-edit's intended cause or effect, "Once Upon a Deadpool" (as this edition of the blockbuster is labeled) turns out to be a crafty way to address the publicized demand, while furthering interest in the abrasive superhero throughout the Christmas season (well, at least up until 12/24). I suppose any means to promote the character (and Fox's X-Men brand) is a good thing, and if it's done with a sarcastic twinge (to appeal to the fervent fan base), all the better. 

As its distinction, "Once Upon a Deadpool" features a shrewd, Ryan Reynolds/Deadpool-narrative "wraparound", with woven-in sequences starring Fred Savage, who references his precise presence in "The Princess Bride". (For those out of the loop, a similar plot device with Peter Falk was once used to unfurl young Savage's quirky, bedtime story.) In truth, Savage stays strapped to a bed as "the Merc with a Mouth" rocks the story's imprudent core. (It was reputed that a fan pitched the ""Princess Bride" idea to Reynolds via Twitter, though the timing may have been coincidental.) 

For the record, Deadpool's interjections do add some neat, new humor to the now curtailed tale. This doesn't make the alternative a full-fledged "Mystery Science Theater 3000", but for those into that sort of thing,  what's presented should hit the spot. 

I like Savage, Reynolds and all those involved in this David Leitch revision, just as I appreciate all those associated with the true-blue cut. Sure, I realize that this re-release wasn't essential (since, despite the alterations, we're dealt the same concept), but what the hell! I'll take "Once Upon..." with the hope that it increases the chances of "Deadpool 3" and/or "X-Force". Indeed, when it comes to wise-ass, mutant misadventures, the more the merrier...

(FYI: For every "Once Upon..." ticket sold, $1 will be donated to the charity, F*** Cancer: a good cause that Deadpool fans {and decent folk in general} can be proud to support.)