A Lot More -Er

2016’s original Deadpool was a wonderful surprise – an R-rated movie from the Marvel canon that still made almost $800 million worldwide. On top of that, it was a critical hit. The success of Deadpool was sweet revenge for star and producer Ryan Reynolds. He’d always loved the character, but when he got the chance to play him in X-Men Origins: Wolverine, the movie turn the character into a bland, generic bad guy. (Really? The “Merc with a Mouth” with his mouth sealed shut? No one saw a problem with this?) However, there’s nothing that Hollywood likes more than a reboot, and Reynolds, assisted by first-time director Tim Miller, made a film that was faithful to the source material, including Deadpool’s 4th wall shattering dialogue. The film was essentially a Warner Brother’s cartoon with a stratospheric body count, but it also confirmed that an R rating wasn’t the kiss of box office death for a Marvel-sourced film, which was confirmed with last year’s Logan.

For almost a year and a half there have been teasers about the next film, so the anticipation built. What would Deadpool 2 be like? The answer turns out to be a lot more of everything in the first movie: funnier, cruder, wilder. If meta-ier was a word, the dictionary illustration would be a still from this film.

The directing duties for Deadpool 2 were handled by David Leitch, the former stuntman who gave a shot of adrenalin to the revenge flick with John Wick, then did the same for the Cold War spy film with Atomic Blonde. Here the action is just as well choreographed, though skewed to the side of black comedy. The central set piece of the film is in effect the live action version of a Roadrunner cartoon, though with lots of coyotes getting taken out along the way.

Reynolds’ Wade Wilson/Deadpool is not in a good place as the movie begins. An extended flashback shows what brings him to the point of despondency where he tries to blow himself into little pieces. Considering he can’t die, that doesn’t go as planned. Colossus (Stefan Kapicic) brings him to the Xavier School to recover. Once Wade’s somewhat fit again, Colossus and Negasonic Teenage Warhead (Brianna Hildebrand) bring him along on an emergency call. Russell Collins (Julian Dennison), a young mutant at an orphanage that doubles as a mutant reeducation center, has a meltdown and tries to kill the headmaster. Wade’s help turns a bad situation worse, and Collins kills one of the attendants. Both Collins and Wade are taken into custody by the authorities, who fit them with collars that suppress their powers and ship them to a super-max prison for mutants. But as they are settling in, a half-human/half-machine mercenary from the future named Cable (Josh Brolin) appears, looking to kill Collins.

Brolin is having a stupendous summer, with Deadpool 2 on track to beat the first movie at the box office, plus his performance as Thanos in Avengers: Infinity War which is currently in fourth place on the all-time box office list and will likely move up to 3, or possibly 2, before it’s done. His stoic visage is a beautiful counterfoil for Deadpool. While she doesn’t appear until midway through the film, Zazie Beetz, as the super-humanly lucky Domino, comes close to completely stealing the film.

If you enjoyed the original Deadpool, you’ll probably really like this new iteration. If you didn’t, you really won’t like this film’s extra-large helping of everything we got the first time around. I’m of the former category myself. But while the first movie expanded the possibilities for the superhero genre as a whole, Deadpool 2 shows the limitations of this series. This isn’t a character that will grow – his deep thoughts are usually cut off when he shoots someone. While the wider Marvel Universe has grown as its stories have deepened in resonance, Deadpool is a niche within that Universe. Reynolds and his collaborators have polished every surface until it shines, but if another film is made it will be more – probably a lot more – of the same. While it breaks the 4th wall, Deadpool 2 doesn’t break any of its boundaries.


The Name is Blonde…Atomic Blonde

For years there have been rumblings that it was time for a female to inherit the role of James Bond. 1995’s GoldenEye caused shock for some when Judi Dench took over as M, even though in real life MI-5 already had its first female Director-General, Stella Rimington, since 1992. Dench became one of the best parts of the series for the next 20 years.

We’ve seen a renaissance for the female hero. Wonder Woman has spent the last few months in the top 10 at the box office, and Jodie Whittaker will take over the most iconic role in British Science Fiction as the 14th Doctor. The most compelling characters in the powerhouse “Game of Thrones” are the women, particularly the lethally evil Cersei, her nemesis Daenerys, and the assassin Arya. (They’ve also survived, where most of the men have not.) Daniel Craig remains as 007, but progress has a way of building a better road if the old path is closed. So we have Charlize Theron out-Bonding Bond in the spy thriller Atomic Blonde.

Theron not only stars but produced the film. She’d bought the rights to the graphic novel “The Coldest City” before it was published. Kurt Johnstad, hired to adapt the story, is best known for adapting another graphic novel to the screen: Frank Miller’s 300. Directing duties were given to David Leitch, the former stuntman/actor who helped make John Wick a sleeper hit. In fact, Theron trained with Keanu Reeves, who was preparing for John Wick: Chapter 2. But what helped launch the filming of Blonde was Theron’s visceral performance as Furiosa in Mad Max: Fury Road. While Tom Hardy had the title role, the movie revolved around Furiosa at its heart. Theron delivered in the role, and showed she could handle the action.

Rather than use Bond as a template, Blonde’s DNA goes back to the hard-edged spy movies of the 1960s that were a reaction against the camp of 007. Blonde has the blood of The Spy Who Came In From the Cold and The Ipcress File (among others) spilling across the screen. It also has the violent action turned up to eleven, including a ten-minute ballet of bullets and blood that’s cut to look like one continuous shot. The camera twists through 360 degree turns as Theron fights her way down a staircase and out of a building.

The story is set in November 1989, at the time of the fall of the Berlin Wall. It’s told in flashback as MI-6 agent Lorraine Broughton (Theron) is debriefed by her superior Eric Gray (Tobey Jones) and CIA agent Emmett Kurzfeld (John Goodman), while the head of MI-6, C (James Faulkner), watches through one-way glass. She was sent to Berlin to recover a miniaturized file hidden in a watch that has information about agents around the globe. A Soviet agent took it off a British agent, killing the Brit in the process, but rather than submit it to Moscow, he’s gone rogue and aims to sell the file to the highest bidder.

The mission’s compromised from the moment Broughton steps off her flight to Berlin. Representatives of a KGB arms dealer try to kidnap her at the airport, but she manages to escape and makes contact with the British station chief in Berlin, David Percival (James McAvoy). Percival covers his spy activities as a black marketer in East Berlin, though it’s an open question as to which job has his loyalties. Also in the mix is a beautiful though inexperienced French agent, Delphine LaSalle (Sofia Boutella), and a Stasi officer codenamed Spyglass (Eddie Marsan) who wants to defect.

The plot of Atomic Blonde is a dizzying trail of double- and triple-crosses. You may find yourself wishing for a score card to help keep track of everything. Boughton is almost constantly in peril, but those who go up against her find themselves to be the ones in danger. With her background in dance, and after working with eight trainers in preparation for the movie, Theron shows herself to be a match for any male action hero. But don’t mistake the physical action for the cartoonish version seen in many films. Leitch shows the physical and emotional drain of the fight sequences. When characters get hit, including Theron’s Boughton, there’s pain to pay, and the audience itself is out of breath by the end.

On the other hand, Theron can out-sex-appeal any secret agent in any movie, which creates an interesting dichotomy to the film. McAvoy is effective as the dissolute Percival so you’re never sure which game he’s playing until close to the climax of the film. It’s good to see Sofia Boutella play a realistic and sympathetic character here, after her Odd Job with legs role in Kingsman: The Secret Service, her heavily-made-up turn in Star Trek Beyond, and of course her mummy-issues with Tom Cruise.

While James Bond remains a bastion of unrepentant paternalism, the old “weakest sex” trope is dying away (albeit slower than it should). I think if Bond and Broughton went up against each other, my money would be on Broughton to walk away the winner.

To Kill The Boogeyman

Keanu Reeves won’t go down as a great movie actor, but he can be an effective one. He could have vanished after the two Bill and Ted movies, like his costar Alex Winter, but he remade himself as an action star in Point Break, Speed, and The Matrix, and he did character work in the little-seen A Scanner Darkly and was a romantic lead in The Lake House. But then there are the Matrix sequels, The Day The Earth Stood Still, and last year’s bomb 47 Ronin, all of which could have killed the careers of actors. Somehow Reeves keeps bouncing back, this time with his new movie John Wick.

It helps that the first-time director of Wick, David Leitch, was a stuntman who doubled for Reeves. He knows his actor and gives Reeves a chance to shine, and Reeves delivers. The movie’s plot itself is derivative, going back to John Boorman’s classic movie from almost 50 years ago, Point Blank (which was later remade as Payback with Mel Gibson).

Wick (Reeves) is a hitman who retired for love of his wife Helen (Bridget Moynahan in a criminally short role). When she dies from an illness, he’s left to try to deal with his grief, though after her funeral a gift arrives for him from her as a way to overcome his mourning. Wick has a classic Mustang muscle car, and while out for a drive one day the car grabs the attention of Iosef Tarasov (Alfie Allen), the spoiled son of Russian mob boss Viggo Tarasov (Michael Nyqvist). He tries to buy the car, but Wick refuses to sell.

That night Iosef and his posse break into Wick’s house. They beat Wick unconscious before they take the car, and they also destroy his gift from his wife. When he wakes up and finds what Iosef did, Wick is devastated. He learns Iosef’s identity from Aureilo (John Leguizamo) who runs the chop shop where Iosef tried to sell the car. Aureilo had recognized the car and refused to have any part of it. Tarasov use to employ Wick, and when he learns what his son has done he makes his displeasure very clear to Iosef. Iosef says sarcastically, “What is he, the boogeyman?” “No,” his father responds, “he’s the man you call when you want to kill a boogeyman.”

This movie could be classified as a thriller subgenre called “Crime Fantasy.” The crime bosses and assassins are wealthy and live upper-crust lives. They go about their business in tailored suits (dark colors only). They even have their own hotel, the Continental, on whose premises a strict safe zone is enforced. It’s also a world where there are no cops. One does show up early in John Wick, but he knows who John is and quickly leaves the scene. In a Crime Fantasy, style replaces substance, and John Wick does have plenty of style.

It also has plenty of violence. The first thing Tarasov does when he discovers he’s up against Wick is to send a large hit squad to Wick’s house to take him out. Needless to say, it’s Wick who is the only one left standing in the end. An example of the style of the movie is that Wick lives in a modernist home where many of the walls are windows, allowing the director to compose an exciting sequence. The old phrase might be re-written: People who live in glass houses shouldn’t shoot guns.

Reeves handles the dry wit of the role as well as he does the action as he fights his way through Tarasov’s army to exact his revenge. The supporting cast is outstanding, with Willem Dafoe as a fellow assassin who has an agenda of his own, Lance Reddick (“The Wire” “Fringe”) as the phlegmatic hotel manager at the Continental, and Ian McShane as the Continental’s owner and enforcer of its safe zone. There’s also Adrianne Palicki (currently on “Marvel’s Agents of S.H.I.E.L.D.”) as an assassin who doesn’t mind bending the rules.

If you like the crime fantasy genre, John Wick is a good example of it and it has its pleasures. While Wick is gravely injured during the movie, it takes a lot to kill him. You could say the same for Keanu Reeves.