They still haven't announced the title of Avengers 4.
With more than one meaning, Spider-Man: Far From Home is the official title for MCU's next Spider-Man tentpole. Despite Thanos' universe-cleansing snap at the end of Avengers: Infinity War, we have a confirmed sequel for Tom Holland's summer hit Spider-Man: Homecoming. In line with his tendency for spoiler, Holland seemingly leaked the title of the movie as Spider-Man: Far From Home.
It seems Kevin Feige must come in for official confirmation and mild damage-control, especially when MCU fans haven't yet learned the title for Avengers 4 but Spider-Man: Far From Home is widely known. The chief of Marvel Studios spoke with Cinema Blend about the title announcement.
[It's] similar [to Spider-Man: Homecoming]. I won't say what the meanings are, but we enjoy that title because, like Homecoming, it is full of alternate meaning. And we liked continuing the 'Home' thing, with the little Spidey symbol in the 'Home.'
The title of Homecoming brought a smile to everyone's face, thanks to its cheerful double meaning after the cinematic rights to the friendly neighborhood wall-crawler returned to Marvel from Sony Pictures. The sequel is set to do the same, but the exact meanings are still in speculation. One of them could be about physical dislocation as Spidey travels away from New York City to a new mission. Maybe to an international locale, maybe into space or another dimension. Those kinds of adventure are expected to mold Spidey into the superhero he's aspired to be, after his growth and "death" in Infinity War.
Spawn creator Todd McFarlane takes charge of the writing and directing.
Jamie Foxx is officially starring as the titular hero in Blumhouse's Spawn. Created by Todd McFarlane in 1992, Spawn comics tells of Al Simmons, an ex-CIA agent who is killed due to peer betrayal before returning to life as a demon warrior and exacting revenge on who wronged him. This origin story was the plot of the critically panned 1997 movie starring Michale Jai White, and McFarlane has been endorsing a reboot for the last decade. Blumhouse Productions (Get Out, Happy Death Day) recently took on the project, moving forward with following details.
According to Deadline, Jamie Foxx will star as Spawn, with McFarlane as the screenwriter and director, for this adaptation. Here's the official statement by Blumhouse CEO Jason Blum:
We are thrilled Jamie Foxx will be playing the title role in our movie adaptation of Spawn. He is an incredible actor and a huge fan of the Spawn Universe that Todd McFarlane created. With the depth of talent Jamie can commit to the role and Todd at the helm bringing the world of Spawn to life, we could not be more excited for this film.
Having obtained an Oscar for his musical biopic Ray, Foxx has his fair share of impressive roles in recent years like the leading man in Quentin Tarantino's Django Unchained and a scene-stealing villain in Edgar Wright's Baby Driver. However, Spawn is a chance for Foxx to make us forget the failure of Amazing Spider-Man 2, in which he plays the main villain Electro.
McFarlane also teased the direction they are taking with Spawn this time. Apparently the writer-director won't be recounting Spawn's last days as a human and first days as a hero, though the prospect of a new origin story might be reserved for a prequel.
If you want to see something creepy and powerful where you go, just what the hell was that? I’m not going to explain how Spawn does what he does; he is just going to do it. We’ll eventually do some of the background if we make a trilogy, but that’s not this first movie. The first movie is just saying, do you believe? And if you believe than that’s good because I’m hoping to take you for a long ride with this franchise.”
It was confirmed this Spawn reboot would take a darker, more mature approach that matches its R-rated psychological horror label, as McFarlane stated, "There wouldn't be a lot of fun, there won't be any stupid lines in it. I never like my hero to make a joke right when the jeopardy was at its highest. If I felt that my hero wasn't afraid right now, why should I be?" The movie can ride on the trend of applying genre flavors to the superhero formula as recent MCU and X-Men tentpoles continued to re-invent themselves for the audiences.
Posing madcap moxie and self-aware sappiness, Deadpool 2 is alternately wilder and tamer than its predecessor.
Deadpool 2 ambitiously tries to juggle three balls. And like that ball-juggling act, the movie always leaves one ball in the air to hold the other two, but that's not the fundamental problem to its self-confidence and self-indulgence. While doubling down on the original 2016 movie's farce (like Hot Shots!, Naked Gun, and Kingsman sequels) and improving on a successful maxim of comic ingenuity (like 22 Jump Street), this antihero of a movie goes deeper into the most grounded and humane aspect of Deadpool/Wade Wilson (Ryan Reynolds): his admirable relationship with Vanessa (Morena Baccarin).
The romance seems ever more profound in the later scenes where Wade and Vanessa communicate through soulful glances and sweet, confusing silence. Despite the good intention and nuanced development, it falls into a controversial pit of mistreating female love interests. Also, by introducing Vanessa in the mix, these movies anchor and re-contextualize Deadpool, a demented vagabond by nature, in a loving home. Though not without its emotional merit, what Wade and Vanessa share eventually serves as an excuse to provide a framework for saturation comedy.
Three-fourths of the Deadpool creative team—screenwriters Rhett Reese and Paul Wernick, plus star/producer Reynolds now as a co-writer—return in fine forms while David Leitch (John Wick, Atomic Blonde) fills in the director seat for Tim Miller, whose vision was to utilize the bigger budget and make the sequel much bigger. It turns out Reynolds' resolute guidance is effective and suitable for this story. You'll see drastic changes in the last act, with a set smaller than Miller's semi-Helicarrier locale.
If Deadpool was a fresh breeze smack-dab in a field of repetitive superhero flicks, this sequel comes like a hailstorm of exalting, shamelessly offensive antics. From the spoof intro credits in the artful vein of Bond movies to its brazenly top-notched mid-credits, Deadpool 2 throws in rapid-fire jokes, cheesy flashes, and many cool cameos. Leitch's tonal execution is flawed but acceptable, with the ultra-violence and romantic saccharine emerging from contrasting sources. Many oversentimental moments are drawn out longer than they should be while a few gags land messily.
That said, the comedic quality stays high. Nothing is immune to Deadpool's crass, irreverent meta-humor. Not his creator. Not his fellow mutants and their equipment. Not MCU hero mantles. Certainly not white men of history. Even Fox's beloved Logan, which followed Deadpool's R-rated approach to major success, is poked fun at and, surprisingly, learned from. Reynolds, under light make-up, continues his self-effacing, deadpan voice performance in the narration and snappy, sardonic retorts. But Pool's nutsack face also receives considerable screen time to show Reynolds' emotional chops when Pool runs and pole-dances his way into mishaps. His running gag with "racism" is a smart jab at the petulance of online left-wing activists.
Recent superhero movies fit themselves into various genres that compliment the strong suits of their main cape-and-cowl'd do-gooders while testing the creativity for future expansion. Deadpool movies, however, sarcastically find a common ground between accessibility and R-rated presentation. After the first one—a rom-com and revenge tale, Deadpool 2 is confirmed to be a family movie, which methodically begins with grisly murders. As viewers find out, the excellent marketing hyped the movie to its most optimal by withholding its major conflict.
The gist is that Pool must with badass one-man army Cable (Josh Brolin) from the future and prevent him from killing young mutant Russell aka Firefist (Julian Dennison, Hunt for Wilderpeople) while the mutant-oppressing business DMC runs their operation on the side. That's far from the full picture, which sees Pool seeking a right place for his disturbed heart. The script takes on family movies' plot points and stock characters, then puts a comic book-y spin on life lessons about solidarity, mutual trust, and hope in the direst calamities. The situation shines a light on human-mutant societal relations with the environment in which Russell grows up and a DMC prison called the Icebox.
To save Russell from the mayhem between Cable and the DMC, Pool assembles a variegated group of mutants (plus Peter, played with heedless innocence by Catastrophe's Rob Delaney) via basement interviews. Derivatively named X-Force, the team includes 90s mutants, among which Domino (Atlanta's Zazie Beetz) stands out. Fitting Beetz's strength for playing annoyed at silliness, Domino's personality is driven back to nonchalance—unlike her comic book counterpart, who is more fierce and assertive with her merc background. Her ability to manipulate luck creates more fun action and takes up half of the crowd-pleasing shots of the last act. Yeah, Pool, the power looks and feels very cinematic.
Pool's entourage of old acquaintances is more entertaining. Cab driver Dopinder (Karan Soni) idolizes Pool and aspires to follow his path into merc jobs. The screenwriters must've given this fan-favorite cousin-abductor more screen time after the positive response regarding his goofiness. Blind Al (Leslie Uggams) is still unaware of, eh, the sight and her housemate's invaluable stash under the floor, which is brought in with a hilarious callback to Pool's words in the first movie. And I don't know if it's due to TJ Miller's recent accusations, but his character Weasel is a simple coward outshone by newcomers. As Russell, Dennison is a bit too tense, but his comic delivery opposite Reynolds is laudable.
Like in Guardians of Galaxy and Fast and Furious franchises, a certain F-word appears a lot. Among thematic articulations, the intimacy between Pool and the altruistic Colossus (in the calm voice and facial expression of Stefan Kapičić) deepens itself on their past conversations, sometimes leaning on frisky bromance. Negasonic Teenage What's-her-head (Brianna Hildebrand) won over fans in her first cinematic appearance by angsty reactions to Wade's mean-spiritedness, but now she shares the frame with her girlfriend Yukio (Shioli Kutsuna), a new X-Girl (is it appropriate?) who adorably trades greetings with Pool.
With banal alterations to Cable's backstory, it's intriguing to see how future X-Men installments incorporate him into bigger stories without full-blown outrage from fans. Brolin plays Cable, here a cheeky riff on Terminators, with hard-nosed precision, similar to the way he brought to life Avengers: Infinity War big bad Thanos last month.
The script keeps jokes coming and maintains a flow of levity to ease in the fourth-wall-breaking asides about story structure and mandatory cliches. In a thrilling chase, Pool displays one of the most impressive car-driving showcases since that Mr. Bean episode. Other physical gags are also tastefully handled in harmony with important plot beats, like the times Pool's healing factor kicks in to save him from broken bones or churning intestines. Those scenes unfold superbly in the presence of a straight-faced Cable (plus Domino and Colossus).
While Pool's massacres are fun to watch, Leitch's kinetic eye for shifting action isn't evident. The director employs average choreography and medium/close-up shots for most of Cable's melee fights with the DMC soldiers, which are choppily edited, even though the first act has a hilarious tracking shot of a panicked Russian gangster (an important character) and the elaborate staging behind his back. Jonathan Sela's cinematography captures the production design in an industrially unhindered look that facilitates both natural light and ostentatious colors. Tyler Bates (300, John Wick) replaces Junkie XL to insert a rousing score between eccentric choices of songs by Leitch, who imbued the mood of his Atomic Blonde with 80s pop-rock. The VFX on Colossus is more polished than in the first movie, but rest assured he isn't the biggest CGI lump here.
Even with the most revered films of meta-commentary like Fight Club, there's always a question about the innate reliance on their targets of criticism. Reynolds developed the characters and hit several high notes, but for all of the ribaldly character-driven trashtalk and small-scale determination against a May release date, Deadpool 2 spoils itself on a one-time recipe that isn't as original and easy to refresh as it thinks. Posing madcap moxie and self-aware sappiness, this sequel is somehow alternately much wilder and tamer than its predecessor.
The plot of Deadpool 2 is mostly in secrecy after two full-length trailers.
Ryan Reynolds asked Deadpool fans to not spoil the movie as a joke calling back to Avengers: Infinity War's #ThanosDemandsYourSilence campaign. Earlier last month, the Russo brothers sent out a plea asking fans not to spoil the twists in Infinity War. Via Twitter, a letter signed by the directing duo is accompanied by the Infinity Gauntlet to imply the in-joke about the villain and, surprisingly, protagonist Thanos, who is played by Josh Brolin. The actor also plays Cable in the Deadpool sequel.
Deadpool 2's leading man, writer, and producer took to Twitter to re-create that letter, though it's peppered with Deadpool-style jokes. Reynolds even put a trademark spin on the hashtag that demands silence.
Deadpool 2 is out next weekend, and most of the plot is still unknown to the public. Though the tease is funny enough to hype us with a Celine Dion song and others of its kind, the trailers and TV Spots reveals little about the actual direction for Deadpool and his new assemble. Brolin's Cable looks like a villain, but we know that he will eventually work out the bad first impression and co-operate with The Merc with A Mouth in the end.
Expect more substantial promotional material for Deadpool 2 next week.