#Anti Channing Tatum

[enixamyram]

Just Saw Deadpool and Wolverine!

It wasn't as bad as I feared it was going to be. In fact, it was really quite good! Not perfect, unfortunately, but still really good.

Spoilers bellow:

Let's just get the bad things out of the way:

Why. Do. They. Keep. Splitting. Up. Couples. In. Between. Movies. Just. To. Get. Them. Back. Together. All. Over. Again?! Genuinely, they have Vanessa and Wade split up off screen before this film, they're still good friends so she still hangs around, he still has feelings for her and at the end of the film it's implied they're getting back together again. And it is so pointless! It would make no difference to the plot if they had stayed together throughout the film. It actually would have made certain moments stand out a bit more. It's just a completely unnecessary random trope that I am so sick of!

Channing Tatum as Gambit sucked... But he was kind of meant to... So I dislike Channing as an actor, I love Gambit as a character, so I was always going to have a bias about this. But genuinely I cringed at every moment of him on screen, but I think I was supposed to? I don't know if it really was intentional or not, but it seemed to me that the film was definitely playing up making fun of him. So while it was awful, it wasn't soul crushingly awful.

The NicePool dying joke went on for too long. I think every Deadpool film has that one joke that I laugh at. But then it keeps going and eventually my laugh gets a little awkward and it's still going so my laugh kind of dies. Not that big a deal, just something that really hit with this one.

OTHERWISE!

It was a really good film! It was funny in all the right moments. Ryan Reynolds continues to be supreme as Deadpool. Hugh Jackman is still the best Logan of all time. And I think the Deadpool films in general just mastered the act of upping the stakes in a way a lot of other trilogies fall down at. What I mean is, Deadpool 1 - the enemy was personal to Wade. Still a threat to others but the focus was on Wade's grudge. Deadpool 2 - the time travel aspect made it a little more intense than last time but it was still fairly personal and contained to Wade. Deadpool 3 - world ending drama that made this time really stand out against the others. It felt properly like the films before this were prepaing Deadpool to be the man he needed to save not just this universe but every universe.

Highlights:

X23!!! I was so damn excited when she came on screen! I love her, I love her comics, I love her movie, I'm just sad we probably won't get to see more of her but the stuff we did see was still amazing!

The Cameos I hated the Spiderman's film cameos because they felt cheap and pandering, but the ones in this film felt like they were done right! So it was a lot of fun seeing familiar faces popping in and reliving old stories or throwing out old lines (legit laughed hard at Blade's ice skating uphill throwback XD).

The Songlist Every song sequence, even the ones purposely out of place somehow worked so perfectly. It was hilarious in the right moments but even more than that, it was beautiful in all the right moments as well (I'm talking about you, Like A Prayer XD)!

Cassandra Nova A fantastic villain who I loved seeing on the big screen for the first time! She was delightfully psychotic and powerful and just perfect for the role as the ultimate big bad.

I think this is a good sendoff the Deadpool and the X-Men as a whole. I don't know if that's the plan, I don't know if Deadpool or any mutants are supposed to come back but I probably wouldn't rush out to see them to be honest. This feels like the right way to say goodbye. (At least until the MCU stops overdoing it and let's others remake superhero films on their own again. Not everything has to connect to the MCU for pete's sake.)

[mariebloodymoreau]

Deadpool and Wolverine Spoilers/Rant

finding out that channing is playing gambit in deadpool is so disappointing, even though he died, i'm worried marvel is going to see the positive responses over the negative and cast him as gambit for the new x-men movie.

I don't have anything against him, but i'm sorry, he's not the right actor to play him, and then to have the movie mock gambit when it's already hard enough as a gambit fan to deal with everyone else not taking his character seriously.

[anghraine]

The best friend really wanted to watch a delightful film made with love, so we decided to sit down and watch Jupiter Ascending.

We'd both only seen it once before, though we did remember certain parts very clearly. We're definitely not of the "actually it's good" school of thought, but we do think it's generally beautiful, sometimes intriguing, and there are occasional glimpses to another reality in which a good Jupiter Ascending exists. But in a way, it's more of a joy as a bad film—not just because it's bad, or so bad it's good, but because it's bad in such a unique and charming way while very committed to its vision. So it was definitely the experience we were looking for.

Best friend's response: "it's like an adorable three-legged dog. You can't help but love it."

My response: "I feel like I've been hit by a metric ton of cotton candy."

Highlights: Eddie Redmayne CREATING LIFE and destroying it; Channing Tatum's anti-grav rollerblading; the honesty of royalist bees; Eddie's dragonman guards; Mila Kunis's wardrobe as god empress CEO of space; and the bizarrely great performance delivered by the Aegis commander.

[babygirltangerine]

bullet train characters and whether or not i think they have a yellow pillow

ladybug: yes

lemon: yes

tangerine: no . and he's suffering because he is vehemently anti yellow pillow and the two most important people in his life (lemon and ladybug of course) have the nastiest yellow pillows on the globe

maria: oh for sure. and she's not ashamed

yuichi: all of his pillows are yellow

shigeru: he stole the white death's pillow and turned it yellow

carver: yellow pillow, edges fraying

the white death: more like the white pillow

the prince: no. and that's why she's so fucked up

the son: yes. and that's why he's so fucked up

channing tatum: his yellow pillow has teeth marks in it

[mermaidsirennikita]

what are your top 10 favorite film releases of 2024 THUS FAR?

I'M SO GLAD YOU ASKED

Blink Twice—I will be honest, as much as I wanted to see this, I was a bit worried because I truly expected it to be like... good, but very hard to watch. However, it was good and entertaining and harrowing! Brilliant performances all around, love a thriller that centers women of color, solidarity, and survival. Kinda funny at points, which was hard to do with that plot. Channing Tatum was... really good???

Trap—Another great thriller! Launched a thousand fanfic and dark romance ideas in my head alone!

The First Omen—I ADORED this film. And as I also love the original, I didn't expect to at all!!! It was scary, it was feminist, it was honestly (and I liked Immaculate but this is true) better than Immaculate. Great movie.

The Fall Guy—A very fun romcom that actually became more fun as I rewatched it lol

Rebel Ridge—Extremely well done. It felt like a 2024 Rambo, but much more aligned with what the original Rambo was (anti-cop) than the sequels.

Monkey Man—Aaaaah man. Just a thrilling, moving, visually stunning movie. Dev has always had IT as an actor, but as it turns out he's also a brilliant director!

Challengers—BUT OF COURSE. Maybe my favorite movie of the year, tbh. Tightly-paced, well-written, brilliantly acted, HOT.

Lisa Frankenstein—Such a good romcom!!! Funny, sweet, ridiculous, emblematic of our times, the sort of teen movie I want the teens to have

Tell Them You Love Me—This was a documentary but RIVETING, and while a tough watch, very important

Argylle—I remain an Argylle Warrior. So funny, so irreverent, SO ROMANTIC FRANKLY

[seeminglyranch87]

Taylor & Travis Timeline

September 2023 - part 1

September 2 - Travis liked a Louboutin IG post about Taylor's legs ; ) (x)

September 5 - Taylor leaves Electric Lady Studios, NYC

September 6 - New Heights Ep 52 (x) with guest Kylie Kelce on life as an NFL spouse, Jason's Tinder Bio and Setting Up Travis. Personally a favourite episode of mine!

(9:30) When discussing the definition of a "diva" Jason says a diva is" just a famous singer", Kylie looks to Jason with a knowing smile... do they know about Travis' interaction with Taylor?

(20:00) Advice Kylie gives on Travis dating and what he should put on a Tinder profile... "I think you are doing great on your own Trav..."

(25:40) Talking about a tinder profile would Kylie recommend Travis go "Stache or no stache? " Kylie jokingly replies "if they swipe right at your worst, then they'll love you at your best"

(28:00) Jason begins telling Travis how he felt first meeting Kylie after a drunken first date...

Jason tells "it was love at first sight, let me tell you" Kylie replies " he doesn't even believe in love at first sight" Jason responds " I didn't until I met you... it was like fireworks. It was like fireworks exploded the moment she walked through the door..." "I want to feel those fireworks" Travis replies wistfully "It was like you when a movie has like an angel walk through doors and there is only one light on that person" Jason continues "that's what happened, I've always wanted that to happen" says Travis

Taylor is seen leaving Electric Lady Studios, NYC

September 7 - Travis is benched for the Chiefs vs Lions game due to a knee injury (x). Chiefs are defeated 20 - 21. Arrowhead Stadium, Kansas City.

September 8 - Taylor is seen at Electric Lady Studios, NYC for a suspected album release party (x)

September 11 - Taylor has dinner with Blake Lively, Ryan Reynolds, Zöe Kravitz, Channing Tatum, Gigi Hadid and Cara Delevingne at Emilio’s Ballato Italian restaurant in NYC (x)

September 12 - Taylor attends the 2023 MTV VMA's wearing a very reputation-esque custom Versace look and the VMA's afterparty in a demin look with a red lip (x x) Prudential Center in Newark, New Jersey.

Our girl cleaned up at the VMA's

ET publishes an article (x)

A source tells ET that the Kansas City Chiefs tight end and the "Anti-Hero" singer are not officially dating.

A source tells ET, "Travis has been into Taylor for a while and definitely has a crush on her. He is a simple guy that is very funny, charismatic, chill, and loves playing football."

'Kelce', Jason Kelce's Prime Video documentary is released

Rumours circulating (x x) according to The Messenger

"Taylor and Travis have been quietly hanging out," the source said. "She saw him when she was in NYC a *few weeks ago."

(*3 weeks ago is August 22)

September 14 - In an interview on TNF Nightcap (x), Jason Kelce mentions that he saw the rumours about Travis and Taylor but couldn’t comment on their relationship status, saying

"I've seen these rumours. I cannot comment... I don't really know what's going on there, so yeah, I know Trav is having fun. We'll see what happens with whoever he ends up with."

September 16 - ESPN's SportsCenter reporter Adam Schefter & Kevin Negandhi playfully reference Swift's song titles as they allude to Travis & Taylor dating rumours.

"Clearly, Travis Kelce, at this point in time, is trying to Shake It Off and get back out there. He knows how much he's needed and that he's The Man."

"It was a little bit of a Cruel Summer for Travis Kelce with that knee injury but he can see the Daylight, Kevin, he looks like he's Ready For It. And Travis [Kelce] is now tracking to play on Sunday against the Jacksonville Jaguars, despite the fact that he was just limited today."

September 17 - Chiefs v Jaguars, Everbank Stadium, Jacksonville, FL. Chiefs defeat Jaguars 17 - 9

Travis returns to play after his knee injury in the Chiefs vs Jaguars game. During the game, sports commentator Ian Eagle makes multiple Taylor Swift song references (x)

"Kelce finds a blank space for the score!"

Taylor goes out for dinner at Zero Bond with Blake Lively in NYC (x)

September 18 - Sports commentator, Rich Eisen, posts a video to instagram of himself making Taylor Swift song references during Travis' training (x). “Look what you made me do, @killatrav.” 

"The injury, one would think is delicate. He's been able to shake it off"

Travis replies

"Well played Rich... Well played 👏🏻😂"

Taylor seen out for dinner at Il Buca, NYC with Laura Dern, Zöe Kravitz and Greta Gerwig.

September 19 - Taylor dines at Via Carota Italian Restaurant, NYC with Sophie Turner and friends (x). A diner shares her observations (x). Did Taylor receive a text from Travis? They later moved on to Temple Bar , NYC

Travis Kelce speaks with Kristen Cavallari on her podcast Let's Be Honest where they talk dating. Travis says he is not interested dating someone "high maintenance" but the "initial spark is always fun" and looking for a partner "based on how kind hearted and sweet like my mother is" and they need to "have some sweetness to you" (x)

“To really dive into a relationship with somebody I feel like it’s going to take at least, I don’t know, it’s going to take some time,” Kelce said. “It’s not going to be immediate because, the stuff I’ve been through, just in my past, I feel like you really gotta know somebody to take that step and really be committed and be in full-throttle. I can’t just meet somebody and just automatically think that forever is just a day away … I think it takes quite a bit of time for somebody to really get to know somebody and really get to find that affection and love for them.” When asked if feels any sort of pressure about settling down, Kelce said he is “living my life” and is hopeful that when the time comes, everything falls into place.  “I like to believe that all of that stuff will come genuine and natural and I won’t have to think about getting into that part of my life ahead of time, the stars will align, I guess,” he said.

Go to previous update -> August 2023, part 1

Go to next update -> September 2023, part 2

Return to the timeline

[praesparo]

since i've yet to start & finish making individual posts about my muses (which i will definitely DEFINITELY do soon), here are some quick points about relevant muses! ps. exclusive with all of @excalibiur & @eueclid's muses.

peter parker / spider-man: canon compliant up until peter obtains the anti-venom suit. personally, i feel this completely dismantles peter's growth and arc. the moment he learns to let go of his addiction and accept his own strength as the spider-man he is, he gets ALL the symbiote powers back without the voices in his head. so, in my canon, he instead obtains an all new power that exclusively allows him to penetrate through venom's symbiote and nothing else.

link: although he's known to talk in other medias & does technically have dialogue in his games, i'm deciding to stick with the thematic choice of keeping link as a mute. instead, he uses sign language to communicate.

marc spector / moon knight: don't fuck with the MCU show. garbage. moving on. basing my interpretation from his 2016-2024 runs.

remy lebeau / gambit: no inspiration or influences from channing tatum what so ever. primarily based on his individual runs from 2012 onwards as well as the rogue & gambit, excalibur and mr & mrs X runs as well as the recent uncanny x-men run. also, shipping is open but will be super selective and take a lot of plotting so he's with rogue in canon unless stated otherwise. the man is a rogue simp 24/7 what can i say.

wally west / flash: anti-cw. primarily from his dawn of DC run.

[princetonsjp]

The Shy Politics of Fly Me to the Moon

By Joon Hwang

Scarlett Johansson and Channing Tatum’s Fly Me to the Moon, a revolutionary film on the popular conspiracy theory of the “fake” Apollo moon landing, is like butter on movie theater popcorn: subtle in taste, just like the film’s political commentary.

Johansson’s character Kelly fixes her hair, confidently saunters from the elevator, and brightly interrupts a company’s important product meeting. Leaning close to powerful executives with a lipstick adorned mouth, she feigns seduction to conduct her elaborate scam on misogynistic men. What I thought as this scene appeared was “Ah, feminism.” 

In so many contemporary films, critics have noted the modernization of feminist displays that have become a part of modern Western culture. And yet, the way that Johansson portrayed her character had more depth of political messaging than the average “feminist” show. The way that the music combined with Johansson’s sarcastic lip tilt and cunning gaze portrayed the misogyny found in the late ‘60s. The additional ways that she moved about the film grappling political figures with her con-woman talents as male characters stood awestruck lent an ironic tone to obviously sexist times.

In another political take, the film’s specific dialogue and shots demonstrated an interesting take on patriotism. The initial scene in the movie, with static-filled vintage shots of the Vietnam War and the tragic outcome of events surrounding the Space Race led elements of patriotism to create intent within the characters in the movie. And yet, the movie’s portrayal of the federal government as a deceptive character through Woody Harrelson’s Moe implicitly conveyed anti-patriotic sentiment because of his evil nature.

These messages were unsettling in their conveyance because of their supple properties. The messages of patriotism to some could be more prominent, leading to effects of movies such as Tom Cruise’s Top Gun: Maverick, which according to one Newsweek article had “ . . . Other prominent viewers who are also seemingly eager to celebrate America.” Additionally, Johansson’s character could be interpreted not as a feminist message, but one of sexism that continues to portray women as seductresses. However, from my understanding of the film, the film could prove to be a film that stands in solidarity with the colonized through its veiled criticism of the federal government and also for women through its proud portrayal of Johansson’s beautiful character.

Now, there are those that choose to disrespect the film’s mastery of delicate representation. It is exactly these properties that allow for films such as Minari to gain such wide recognition. Minari, after all, was a film about a Korean-American family moving to the Midwest to build a farm, but had the deep messages of remaining connected to your culture in the face of discrimination and lack of community. If only people took time to sit down and interpret the meanings behind the various shots of the film, they would begin to see that the film’s message is consistent throughout: be cautious of what you believe about history, and remember what was happening in the past in the contemporary tumultuous times.

[zalrb]

Omg you watched Blinked Twice? My cousin and I went to see it. During the whole movie, we were giving each other theories about what was happening. From cults to cannibalism. We were both shocked when we saw the twist. Throughout the movie, it kept building on the tension. I don’t know why if you or anyone felt the same but I felt like sometimes they prolonged the tension too much that it felt tiring. The ending also felt anti climactic. But I did enjoy it. Do you have any thoughts?

Also I don’t know much about cinematography but I like how it was shot.

Yeah! I really liked the movie despite its flaws. Zoe seems to be a much better director than actress, in my opinion.

I saw that a few people didn't like the mix of tones but I think for the most part it worked. Like, I read comments saying, "I can't just see this as a fun movie!" and I was like ... it's not supposed to be? It's meant to lure you in to something that seems campy and frivolous and then reveal that it's disturbing and dark and horrible ... which is what happens to the characters? But I didn't actually realize there was meant to be humour until things got really dark, like when Slater was like, "I really want to hear what you have to say! Don't move!" or when he said, "You're, like, my best friend. Boop!" because it was bizarrely funny since Channing Tatum is funny but it also was a great insight into his lack of remorse, into how horrible he is that he could be making jokes in that situation.

I think my favourite sequence is when Frida and Sarah figure out what's happening and they have to continue to smile to keep Slater and the others from figuring out that they know. Like, this movie and movies like Barbie have these speeches about the patriarchy and what it's like to be a woman and the dangers of being a woman and I'm never really one for those monologues, I like to see it in action and seeing that in such a hyper-intense situation, I mean, what woman can't relate to that, to having to smile through danger or having to find a way to assert boundaries but also be somewhat placating to keep yourself safe? Like, I thought that was done really well.

I also thought that they did a great job in showcasing Frida and Jess' friendship very quickly.

I also think the commentary on rich white men buying islands and having the people who are indigenous to the island work for them and using the island as a weapon was done really well.

Sarah and Frida, the "competition" at the beginning, being the final girls was also a nice touch.

I did appreciate how by the end, you understand just how dark things are, like the dresses they're made to wear are specifically designed for them to be hunted and bound.

I've seen some people say that Channing was too lovable to be the villain but that's what made him the perfect villain. He was charming af at the beginning of the movie, that's what was scary. And his apology rant was a good one to show how he truly feels but I don't necessarily think for this particular movie and this particular villain there needs to be a "switch to villain mode", his villainy lies in his charisma.

I think it's very clear that Zoe was heavily influenced by Get Out and in turn The Stepford Wives (since Peele named The Stepford Wives as a big influence on Get Out), which are movies that also start off really slow in order to build up the suspense but I think the difference is that I didn't find that Blink Twice had that much suspense, which I think is partly due to the music choices. Like I get her choices, "Are you having a good time?" "I'm having a great time!" *shows a great time* but things are ... off and we slowly start to see that the editing, the quick cuts, the incomplete scenes, the sound editing, they aren't just stylistic choices, they're all showing that the characters are losing time and there's something sinister beneath but I don't think the tone really reflects that there's something expressly sinister until about 40 minutes in. Because you get things like Frida getting the juices of the steak on her white dress and then suddenly she's waking up in a clean white dress, sure, and that is weird but it doesn't feel threatening because it's not supposed to yet because we and Frida are still here for the party.

Whereas Get Out, it starts with things are ... weird. Even before Chris gets to the house, it's weird. The opening scene is a [not so random] abduction. On the way to her parents' place, there's a dead deer on the side of the road. The score we hear is:

things are strange and chilling. I, as a viewer, don't know why they're weird, but they're still weird so even if things are slow you're aware that by the end (if it's a good movie) you're going to figure out why everything feels so weird. You definitely have to trust the process with Get Out but I find you have to trust the process more with Blink Twice because the characters are going through a different arc.

Like, from the outset Chris knows that things aren't right so we know immediately things aren't right. Frida (and Jess, and Sarah and Camille and Heather) don't go into the situation consciously thinking it's weird so instead of enveloping the viewer in how offputting and dark and sinister everything is, and building up that atmosphere, and building up that tension, the movie starts with enveloping you in Aren't You Having A Good Time? and that can make the first two acts feel a bit tiring because you want to get to the reveal sooner and half an hour of them drinking and microdosing and dancing, it can be like, OK we get it.

This is a movie that does raise questions and requires a suspension of disbelief concerning the details, like the common one is, how did none of them feel the physical effects of what was happening night after night? I do know some people were like, the recreational drugs acted as a kind of pain relief, which is, like, OK…. I guess. The idea of the perfume was poignant in and of itself but considering that Zoe is Lisa Bonnet’s daughter and Lisa Bonnet was Denise Huxtable on the Cosby Show, I think it provides the movie an extra layer but this all hinges upon them spraying perfume on themselves everyday and the flower is a motif throughout the movie, they’re constantly being given to Frida and the others, but then that just had me like, them inhaling the flowers can't be enough because the men would also get a whiff of the flowers too? And what exactly was Slater's plan after killing Jess? Because Frida knows Jess exists outside of the island, so it's not like Jess would be permanently erased from her memory? Was he just going to keep her there forever? And considering that they don't start with the perfume until they're on the island, wouldn't Frida remember going on the plane because she remembers meeting him at the previous gala? It also bothered me that in the middle of taking shots, they didn't tell Heather and Camille so by the way, this is what's up when they had each other to walk through the trauma of remembering, which was a little clunky in terms of the dialogue and the convenience of it.

In terms of the ending, I understand it as a conclusion for Frida. I think this aspect of the movie is probably the least fleshed out i.e. at the beginning of the movie, her manager tells her to be more invisible, she doesn't want to leave the island even though Jess is begging her to because she's not invisible and she's got a taste of being surrounded by power and celebrity, so by the end why would she not use that to her advantage and transform her trauma into what she considers to be power, that is her version of a happy ending, and I don't think the movie is necessarily saying it's the right path, but it did feel sort of unsatisfying as a viewer to watch at the conclusion. I was kind of like, "Oh."

Spoilers

The trigger warning at the beginning of the movie actually revealed the twist for me. Which isn't a complaint against trigger warnings, it was just a very specific trigger warning so I was like, oh so basically, Epstein Island.

[enixamyram]

My worst fears have been realized. I can't search Gambit/Remy Lebeau without seeing ChanTatum.

[recentlyheardcom]

Celebrity Girl Dads at Taylor Swift’s ‘Eras Tour’: Photos

They’re in their girl dad era. Channing Tatum, Max Greenfield, Billy Joel and more are rocking out at Taylor Swift‘s Eras Tour. Tatum, who shares daughter Everly with ex-wife Jenna Dewan, drew attention with his homemade outfit at a Los Angeles concert. “It’s me, hi. I’m the daddy, it’s me,” his black T-shirt read, parodying Swift’s “Anti-Hero” lyrics. Thank You! You have successfully…

[leinwandfrei]

Mehr witziger Moderator denn Korrektiv - Deadpool 3 von Shawn Levy

Der dritte Teil der nicht nur in Deutschland erschreckend erfolgreichen Reihe um den Anti-Helden Deadpool wurde im Vorfeld viel diskutiert und muss sich auch großen Erwartungen entgegenstellen. Da die klassischen MCU-Beiträge der letzten Jahre nicht nur in der Abrechnung für das Studio eher bescheiden ausgefallen sind und das Multiversum sich als zweischneidiges Schwert herauskristallisiert, verspricht der Anarchist unter den Marvel-Helden einen Ausweg. An seiner Seite ist Hugh Jackman in seiner ikonischen Rolle als Wolverine zu erleben und nach dem großen Rücktritt aus Altersgründen schlüpft er ganz geschmeidig zurück in den muskulösen Körper seiner bekanntesten Rolle, wenn auch entflohen aus einer anderen Zeitlinie. Erstmals tritt Wolverine im Original-Kostüm auf, auch wenn diese „Uniform“ den Höhepunkt des Films nicht übersteht. Wie und warum das funktioniert erklärt uns Deadpool zu Beginn des Films in klaren Worten (und Taten). Die einleitende Kampf-Szene gehört zu den beeindruckendsten Momenten und erinnert mit Tanzeinlagen auf den Punkt an die Eröffnung des Guardians of the Galaxy-Films. An Eleganz steht das Tanzdouble von Ryan Reynolds Chris Pratt in nichts nach.

Chris Evans wiederum fällt die Wiederauflage seiner Johnny Storm-Rolle sichtlich schwerer. Die Unbeschwertheit und nervige Spontaneität wie Jugendlichkeit seiner ersten Rolle für Marvel ist nach vielen Jahren als Captain America schwer wieder zu erwecken. Aber Deadpool weist richtiger Weise auf die Tantiemen hin, die der Superstar verlangt habe. Geld ist sicher ein starker Anreiz für die Wiederkehr – für Evans wie Jackman. Neben ihnen treten Wesley Snipes, Jennifer Garner, Channing Tatum und (als Synchronsprecher) Nathan Fillion in Nebenrollen auf. Snipes bleibt vorerst der „einzig wahre“ Blade-Darsteller. Die Ablösung durch Oscar-Preisträger Mahershala Ali wurde ins Jahr 2025 verschoben. Jennifer Garner nimmt ihre Rolle als Elektra wieder auf und Channing Tatum ergänzt die Truppe von in die Leere abgeschobenen Charakteren des MCU als Remy Le Beau/Gambit.

Mitproduzent, Drehbuch-Co-Autor und Fixstern Ryan Reynolds spiel seinen Deadpool gewohnt provokant und kommentierte alles in und um den Film herum ohne Skrupel. Auch das Multiversum würdigt er mit nett bösen Worten, die Übernahme von Fox wird hier besonders betont. Die Leere ist für diese Abwertungen und Schreie nach Aufmerksamkeit im MCU geschaffen. Als Nice-Pool trägt Reynolds einen Hipster-Butt, langes offenes Haar und ein breites, naives Grinsen. Er wird als Schutzschild missbraucht. Der Sinn dahinter bleibt unklar, der Reiz der Kämpfe der beiden Haupt-Helden ist die Regenerations-Fähigkeit, welche Verletzungen zu einem irrelevanten Faktor werden lässt. Neben den beiden Giganten erlaubt sich der einstige Mr. Darcy, Arthos und Hauptermittler im Fall Jack the Ripper Matthew MacFadyen als Paradox (= Rollenname) einige exzentrische Momente. Im Alleingang beschließt er das Ende dieses Zeitstrahls, welcher nach dem Tod Logans seinen Orientierungspunkt verloren habe. Neben Deadpool , pardon dem Marvel-Jesus, wirkt er damit fast zahm, aber oft unfreiwillig komisch (wie sehr britisch).

Dabei beginnt der Film mit einer Normalo-Phase von Wade-Wilson. Mit angetackertem Toupet arbeitet er (erfolglos) als Autoverkäufer. Seine Geburtstagsfeier im Kreise seiner Familie (= Freunde) wird von Agenten der TVA unterbrochen. Paradox will Deadpool in seine eigenmächtige Entscheidung einbinden. Nach einem erstem Messias-Moment macht sich Deadpool auf die Suche nach einem Ersatz-Logan, um dieses Schicksal abzuwenden -und seine Welt zu retten. Nach Kämpfen mit diversen Logan-Versionen gerät er an den nach Paradox verkommendsten Vertreter dieser Rolle. Beide werden in die Leere geschickt, auf den Friedhof des MCU, wo vergessene Rollen gefangen sind und Century Fox-Embleme neben Captain America-Schilden und den zerfallenden Überresten diverser Raumschiffe wie vergessenen Helden anzutreffen sind – und eine ganze Armee aus Deadpools. Ja, diese Leere lernten wir schon in Loki kennen, leider wird eine entsprechende Konfrontation der Deadpools auf eine aufregende Kampfsequenz beschränkt. Die Auflösung in Harmonie ist ein geschickter Kniff um die Regenerationsfähigkeiten der Deadpools (mit Ausnahme von Nice-Pool) auszuhebeln. Davor wird die Vielfalt der Deadpool-Comics zelebriert und kleine Rollen wie Head-Pool (ein schwebender Totenschädel) und Cowboy Pool von Größen wie Nathan Fillion und Matthew McConaughey gesprochen.

Im Vergleich zu den harten und sarkastischen Vorgängerfilmen wirkt Deadpool über weite Strecken fast versöhnt. Im Abspann erinnern Blicke hinter die Kulissen, an die hier erinnerten vergessenen Helden der Marvel-Studios, bevor das MCU geboren und eine ganze Fan-Generation herangezüchtet worden ist. Auch die „Korrektur“ des Zeitstrahls am Ende ist ein Image-Schutz seitens Deadpools, welcher sogar wieder auf seine Traumfrau (Morena Baccarin) hoffen kann. Trotz all dieser Harmonie bleibt nicht nur die Struktur des ersten Films der Reihe erhalten. Also Springen in eine Szene, dann wird der Weg dahin erzählt, um dann chronologisch weiterzugehen. Alles begleitet von Deadpools unnachahmlich trockenen Kommentaren und einer gewissen Neigung zu Gewaltexzessen. Auch die schwelgerischen Kampf-Bilder mit einem Jackson Pollock-artigen Umgang mit Blut und Körperteilen in Verknüpfung mit für Wolverine typischen Muskelstudien und Tanzeinlagen des wie immer übermäßig engagierten Ryan Reynolds halten die Charakteristik der Reihe bei. Es ist knallig, brutal, sprachlich böse, moralisch fragwürdig und vor allem schonungslos. Deadpool wertet alle MCU-Filme seit End-Game ab, spricht Hintergründe der Filmentstehung direkt in die Kamera und sagt voraus, dass Jackman mit seiner Entscheidung für das Geld von Disney sich wohl verpflichtet hat, bis er 90 ist. Studios und Rechtstreitigkeiten sind hier ein großes Thema und Disneys „familienfreundliche“ Maxime wird aus logischen Gründen der maximalen Gegensätzlichkeit mehrfach aufgegriffen. Deadpool und diese Maximen scheinen doch so gar nicht zusammen zu passen. Aber der Film ist in Deutschland ab 16 freigegeben, kein FSK 18, was dem Film sicher noch weiteren Anschub gegeben hätte. In den USA hat er ein R-Rating erhalten, ist also ab 17 freigegeben. Dennoch gab es ein überragendes Einspielergebnis am ersten Wochenende in den USA. Der Erfolg der Reihe ist auch deswegen erstaunlich, weil Deadpool von Beginn an als Korrektiv der Heldengeschichte eines einstigen Comicverlages gedient hat. Seine Gewalt ist egoistischer Natur, sein Sarkasmus ohne Schamgrenzen und seine offenen sexuellen Konnotationen für das Studio höchst einzigartig.

Aber nachdem man sich im ersten Teil an die Anti-Helden-Rolle geschlichen hat, sie in der Fortsetzung konsequenter umgesetzt hatte und den Egoismus des Helden stärker fokussiert hat findet der Neue, Shawn Levy, als dritter Regisseur des dritten Teils einen harmonischen Mittelweg. Anders als bei den Guardians oder den Avengers profitieren die Filme nicht von Beständigkeit, aber im Kern bleiben sie stilistisch eingängig. Einziger Vorwurf bleibt, dass um das antiheroische Dasein des Protagonisten mehr Wirbel gemacht wird, als tatsächlich zu sehen ist. Deadpool mag hässlich, vulgär, gewalttätig und moralisch flexibel sein, dennoch hat er nun schon drei Mal zur Rettung von einigen Menschen beigetragen und sich gerade in diesem Film doch zum typischen Helden gemacht. Also ist er doch weniger Korrektiv als witziger Moderator des großen Spiels MCU. Damit bekommen die Fans eine gelungene Blaupause und dürfen sich nun auf die Sony-Produktion Venom 3 freuen. Passen tun diese beiden Produktionen wunderbar zueinander. Beide Protagonisten sind zynisch und in beiden Fällen ist der Hauptdarsteller und seine Passion entscheidend für das Gelingen der Projekte.  

[technoturian]

Unpopular opinion? I hope Disney buying Fox means death to the Gambit movie. It’s been having development issues for a couple of years now, and Disney/Marvel must realize that Gambit and Mr. Sinister are much more valuable as part of the main X-Men brand than in a standalone movie that’s most likely taking generous liberties with their characterization.

[byneddiedingo]

George Clooney in Hail, Caesar! (Joel Coen and Ethan Coen, 2016)

Cast: Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, Channing Tatum, Frances McDormand, Jonah Hill. Screenplay: Joel Coen, Ethan Coen. Cinematography: Roger Deakins. Production design: Jess Gonchor. Film editing: Joel Coen, Ethan Coen. Music: Carter Burwell.

With Hail, Caesar! Joel and Ethan Coen return to Old Hollywood, the scene of one of their earliest films, the dark horror-comedy Barton Fink (1991), this time to give us what appears to be a cotton-candy fantasia on movie genres. But Hail, Caesar! in its sly way it reveals the grip that Hollywood myth and history have on our imaginations, using parodies of Hollywood genre films not just to send up their absurdities but also to show how deeply they color our dreams. At the same time, it explores Hollywood history -- the hold the old studios had on actors' lives, the role of publicity and gossip in creating and destroying stars, the interaction with politics during the Red Scare of the late '40s and '50s -- and combines it with the parody sequences to create a movie that turns out to be a parody of movies about The Movies, a genre that includes everything from the many versions of A Star Is Born to Singin' in the Rain (Gene Kelly and Stanley Donen, 1952) to, well, Barton Fink. The individual parodies -- the biblical epic, the drawing room drama based on a Broadway hit, the singing-cowboy Western, the Esther Williams extravaganza, the sailors-on-a-spree musical -- are all spot on. But it takes a special audacity -- something the Coens have never lacked -- to send up the anti-communist hysteria that led to the HUAC investigation and the blacklist. The Coens do it by treating the paranoid suspicion that left-wingers were undermining the American Way of Life by injecting Marxism into the movies as if it were real. So we have a communist cell made up of writers who kidnap a movie star for ransom, and another star who defects to the Soviets when the writers row him out to a submarine at night. It's a reductio ad absurdum of Cold War hysteria, as brilliantly handled by the Coens as it was by Stanley Kubrick in Dr. Strangelove (1964). The Coens also tease us by dropping the names of real people into the script. Josh Brolin plays a studio production chief and fixer named Eddie Mannix, which is the name of a real-life Hollywood fixer who kept wayward stars out of the headlines, and he reports to a studio executive in New York named Nick Schenck, the name of the president of Loew's, Inc., which owned MGM. One of the members of the communist cell in the film, a professor "down from Stanford," is called Herbert Marcuse (John Bluthal), the name of a Marxist philosopher popular with the New Left of the 1960s. It's a film of wonderful cameos, including George Clooney as the kidnapped star, Scarlett Johansson as the Esther Williams equivalent, Ralph Fiennes as the director Laurence Laurentz, and Channing Tatum emulating Gene Kelly as the singing and dancing sailor. Tilda Swinton plays the film's competing gossip columnists, Thora and Thessaly Thacker, based on the notoriously powerful Hedda Hopper and Louella Parsons. By making them twins, the Coens seem to have conflated them with the competing advice columnists Abigail Van Buren and Ann Landers, née Pauline and Esther Friedman. Hail, Caesar! got a mixed reception from critics and was a box office disappointment, but I think it's ripe for rediscovery.

[earnmysong]

fadsgdasg I haven't seen very many "iconic" movies myself, but ... One Royal Holiday, White House Down, My Date with The President's Daughter

k, dearest friend of mine, are you kidding? these are excellentttttt selections. anyone who says otherwise is an extremely rude bender of the truth! now, to business!

‘one royal holiday’ ✔️ | of course, naturally, anyone who’s heard me talk for two minutes would guess i’ve seen! i love a good hallmark holiday venture, and one headlined by my much-adored dude aaron tveit? i totally tuned in ‘opening night’, eschewing my final bag of candy corn in favor of gingerbread creamered-coffee on halloween! laura osnes being his partner in the endeavor? i could’ve collapsed from my joy! her being an anti-vaxxer wounds me to my core because everythingggg is a little tainted in hindsight... they danced to ‘the christmas waltz’ - a wonderfulllllll festive tune - and did the freezing suit jacket swap, though, so all cannot be lost!

‘white house down’ ✖️| i’m not usually one for action movies unless they’re superhero-studded, most often of the marvel variety. but i can say that this starred some combo or singular iteration of gerard butler or channing tatum? and the world was preserved upon its conclusion?

‘my date with the president’s daughter’ 💯 | i have the most idiotic grin on my face right now! tinier e cherished this and adult e now needs to investigate disney plus! eric matthews and alice from ‘adventures in wonderland’? i couldn’t have asked for a more perfect melding of my youthful affinities! this has always been my ‘chasing liberty’, honestly!

SEND YOUR FORMATIVE CLASSIC / FAVORITE FILMS MY WAY; i’ll say if i’ve seen and set the scene of that experience!

[lilnasxvevo]

We need a Kingsman 3 where they have a scene like the psuedo Westboro Baptist scene in the first one but instead Channing Tatum fucks up a bunch of anti-vaxxers