Tag Archives: Fox

“Kingsman: the Golden Circle” movie review

Posted on by
Reply

Rough start, but a smooth finish. The highly anticipated sequel to Kingsman: the Secret Service releases this week, and you are in for a fun time! Unfortunately, not as great a time as you had with the first one. Looks like this franchise fell victim to the same condition that plagues so many franchises’ sequels. One of the experiential elements that made the first one so great is the constant reminder that “this isn’t one of those movies.” The original was self-aware and full of excellent writing. Though this sequel contains the similar action and comedy, the novelty, that was the first, is lost with Golden Circle. A struggle of many sequels is opening with sufficient connections to the original but not in such a way that it feels like the same plot. Although the movie finishes satisfyingly well, the first scene felt too much like a cliche action movie–too animated feeling. However, it finds its way back to the soul of the original soon enough. Perhaps this installment plays out differently because it no longer feels new and different. While the writing may not be as on point as the previous film, the cast is still fantastic and there is one reoccurring cameo in particular that will catch you pleasantly by surprise.

After an explosive car chase through the streets of London, Eggsy (Taron Egerton) witnesses he destruction of his apartment, close colleagues, and discovers the headquarters of The Kingsman completely wiped off the planet. With nothing left to do except follow the mysterious doomsday protocol, Eggsy finds his way to a counterpart operations in the United States known as Statesman. Meanwhile, much of the world finds itself hostage in the grasp of Poppy (Julianne Moore), a peppy beautiful drug lord operating out of a remote jungle location. Poppy has poisoned illegal drugs with a compound that brings about certain death if left untreated. In exchange for the antidote, she is forcing the US President to declassify all drugs in order to tax them like a normal legit business. Once connected with the elite team of Statesman, both agents must form a partnership to take down Poppy and save the world from mass genocide.

Although this is a fun movie–no mistaking that–it contains far too many gimmicks than solid writing. The strength in the first one was two fold: (1) the writing and (2) the cast. Given that Golden Circle contains many of the same cast members, the fault has to then be in the writing. So much of the comedy and character dynamics felt forced and less organic than the original. This film serves as evidence than even an all-star powerhouse cast and talented director cannot save a film built upon sloppy writing. The Secret Service wowed audiences with a movie that transcended all other James Bond spoofs to create a world of its own–that’s it–it felt unique in a world filled with conventional and parodied espionage movies. Character wise, Eggsy is no longer the protagonist in a My Fair Lady meets James Bond but just another flat would-be action hero. Julianna Moore’s Poppy is more interesting because she is a cross between a deranged 1950s housewife meets Martha Stewart meets drug cartel kingpin. Though the trailers contain a lot of Tatum, his character goes by the wayside at the end of Act I. Halle Berry is a solid choice for her counterpart to Strong’s Merlin.

By in large, the plot is just too silly and lacks innovation. Even the cameo by a well-known and talented vocal artist feels like an excuse to dust off the most flamboyant costumes. The plot is certainly not helped by the heavy-handed CGI effects throughout the film, and it’s so incredibly concentrated in the beginning that it feels like an animated film. That’s not to say that there aren’t reasons to enjoy Kingsman: the Golden Circle. I certainly had a good time and so did my friend who accompanied me to the advanced screening in Tampa. Some of the enjoyable parts of the film are the high profile cameo, seeing A-list actors just have fun portraying outrageous characters, and the humorous one-liners delivered tongue in cheek. Although the opening scene is over the top, it does quickly connect the beginning of this film with the end of the previous one. Had this film taken itself more seriously as a spy movie that happened to also be funny, then I think it would have be more appreciated by the audience. Despite the rough opening, the film does manage to come in for a smooth finish and leads into another installment.

If you’re looking for 2015’s Kingsman, then you may be disappointed. If you’re looking for a fun spy movie spoof, then you’ll likely enjoy The Golden Circle for the most part.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

Thrillz (theme parks): Thrillz.co

“Miss Peregrine’s Home for Peculiar Children” movie review

Posted on by
Reply

missperegrinneSurprisingly exciting! Twentieth Century Fox brings another YA novel to the screen. Tim Burton’s Miss Peregrine’s Home for Peculiar Children (from here on out noted at Miss Peregrine) is both a fish out of water story combined with a magical adventure that mildly comments on the human condition. Of all the YA movies that have been produced over the last few years, this one provides a much more dynamic experience than many of the others. Burton delights audiences with the classic Burton style that many of us have grown up with. In more recent years, I have often commented that he is essentially a parody of himself–a.k.a. Burt Porn (as coined by my friend Leon in Germany)–not true with Miss Peregrine. Get ready for a return to the class Burton that brought us timeless movies such as A Nightmare Before Christmas and Edward Scissorhands. The great cast is supported by the appearances of Samuel L Jackson and Dame Judi Dench. From Florida to Wales, this movie is sure to whisk you away to daring adventures requiring rather peculiar abilities to defeat those who would seek to take what isn’t theirs to have.

All Jake (Asa Butterfield) knew was his ordinary life. He had a rather blah home life, an eccentric grandfather, and a job that he hated. Until one day, something peculiar happened. In his grandfather’s dying breath he told Jake to find the island. With his parents finding his sports of what he saw at his grandmother’s death to be quite bizarre, they forced hi to visit a psychiatrist. Upon finding a mysterious letter, Jake is determined to find the home in which his grandfather grew up. Accompanied by his cynical father, Jake returns to the island where his grandfather grew up. Only he could never have expected the adventure and run of this life that he will soon find himself. Stumbling across the children’s home ran by Miss Peregrine (Eva Green), Jake teams up with the most unusual but fascinating people who are in a rush against time to defeat those who are out to destroy them.

If I had to name one takeaway from this film, it would be that it reminds me of the 1980s/90s Tim Burton before he “went down the rabbit hole.” It combines his surreal and gothic filmmaking style juxtaposed against his flare for the colorful and bizarre. Although it is not an original concept by any means, if you’re a fan of Fox’s film adaptations of or the animated series X-Men, then you will likely enjoy this movie! Not having read the book, I cannot comment on the film’s alignment and commitment to the literary work written by Ransom Riggs; but, from what I have read online–even the author himself–is pleased with Burton’s translation from page to screen. Very few directors would have been so successful at bringing this story to life more than Burton.  Despite an apparent successful translation from book to movie, the film suffers from an overload of mythology, exposition through dialog, and lacks the thrills to completely balance out the former two elements. Although this movie may feel like one that you have seen before, it does offer a glimpse into Burton’s prime years and perhaps offers a hope that the acclaimed visionary director can once again impress us with his fantastical but highly effective cinematic storytelling.

One of the most successful elements to the X-Men’s plight as individuals born with peculiar abilities is the fact that they are human. They hold onto their humanity (the good guys anyway). Miss Peregrine’s children do not appear to offer the same level of humanity as their X-Men counterparts. The impact of the X-Men’s abilities is felt not only by the X-Men themselves but by the community at large. For the most part, Miss Peregrine’s children’s abilities largely leaves no impact upon themselves or others. Almost plays off more as a convenient plot device than character attributes. Hugo‘s Asa Butterfield’s fake American accent does not really suit his character of Jake. In a world of fantastical dynamics and depth, he plays off as a boring, flat character. In screenwriting, it is vitally important for the writer to cause the reader/audience to love the protagonist and/or love to hate the antagonist. I found it hard to love Jake or truly hate Barron (Jackson).

So, the movie may not have the amazing principle cast that we are accustomed to in a Burton movie; but, it does still contain Burton magic and some exciting and beautiful visuals. It is also a lot of fun to watch! In addition to being fun to watch, it contains some rather disturbing imagery and cringeworthy moments. But that’s par for the course with classic Burton. One of my favorite parts in the movie is the action-packed climactic sequence accompanied by dark humor. It’s a great combination of humor and visceral conflict. If you’re looking for a fun movie to watch this weekend, then this one is a solid pick! Furthermore, if you desire to get a glimpse into a more classical Burton film, then you’ll find utter delight in this one as well.

License to Create: Theme Parks and Intellectual Property

Posted on by
2

ThemeParkHighAngleLicense and registration please. With 20th Century Fox, Sony Entertainment, and Paramount Pictures entering the themed entertainment game as potential heavy hitters, and to some extent Warner Bros. as well, questions about cinema, television, and video game intellectual property (IP) begin to rise. Only having really had two main players in the industry for the last couple of decades, unless you count CBS/Paramount before selling off the amusement park investments to Cedar Fair, Disney and Comcast (parent company to NBC Universal) utilize their own respective IP libraries as well as licensed properties from other media companies. Not having as vast an IP library as Disney, many of Universal’s theme park properties have come from companies like TimeWarner, Viacom, and Fox. Whereas Disney primarily uses their own extensive library, they too have licensed other companies’ IP such as MGM Holdings, 20th Century Fox, and CBS. Although some of the once-licensed properties by either Disney or Universal have now been officially procured (i.e. Disney’s LucasFilm and Universal’s DreamWorks Animation), a common practice in the themed entertainment industry is to license, borrow, barter, trade, etc. But, with these new players demanding a slice of the hospitality and tourism pie, could we see more original television programming or movies?

SpyroThink about it for a moment. Let’s look at some of the most well-known IPs from Sony, Fox, Paramount, and Warner Bros. Although there is a mild to moderate degree of subjectivity in what constitutes “well known,” I am going to go with commonly thought of properties. Starting with Sony. In no particular order, some of the most popular Sony properties include: James Bond (formerly MGM), Spider-Man, Men in Black, Smurfs, Terminator, Silence of the Lambs, Hotel Transylvania, Spyro, The Nanny, Wheel of Fortune, Jeopardy, Price is Right, Final Fantasy, and Crash Bandicoot. Switching gears to Fox. Some of the most well-known Fox properties include: Avatar, The Simpsons, Rocky Horror Picture Show, The X-Men, Bones, New Girl, American Horror Story, Alien, X-Files, Die Hard, Futurama, and Family Guy. Although not well known in the US, Warner Bros. operates a theme park in Australia and what is now called Movie Park Germany. Some of the most popular Warner Bros., IP are: Harry Potter, Game of Thrones, Looney Tunes, DC Entertainment, Lord of the Rings, A Nightmare on Elm Street, Friday the 13th, and Lego Entertainment. Viacom, parent company to Paramount Pictures, is one of the original Hollywood studios and owns IP such as: Mission Impossible, Titanic (partnership with Fox), Star Trek (films and TV shows), Forrest Gump, and the valuable Nickelodeon. Obviously the aforementioned lists are not exhaustive, but I wanted to try to paint as brief but effective a picture as possible to understand why IP is a hot topic.

JamesBondLogoRecognize some of those titles? You probably recognize most, if not all of them. Unfortunately, these companies have already licensed out some of those properties to Universal, Disney, and Six Flags. Avatar and Alien are licensed by Disney. Marvel Entertainment, Harry Potter, and Nintendo are licensed to Universal, DC Entertainment and Looney Tunes are licensed to Six Flags Parks, and the Nickelodeon IPs are split amongst different entities. Of course, when the licensing agreements were drawn up, it is unlikely that either Sony, Fox, Paramount, and to a lesser extent Warner Bros., thought that they would enter or re-enter into the themed entertainment industry. Now that this part of the tourism and hospitality (and live entertainment) is exploding, Sony, Fox, Paramount, and Warner Bros. need to rethink how to play catchup–and FAST. But, when you have licensed out some of your most valuable properties, how do you make up for it? The short answer is (1) refuse renewal when the license expires or (2) develop original content. Since some licenses run for decades, the former isn’t really an option unless the license is coming up for renewal in the next few years; so, we are left with one logical conclusion: pump out original content that is adaptable to a live experience. This is where research like mine comes into play since I have studied the relationship between cinema and theme parks, and moreover how to successfully translate a movie or TV show into an attraction. It’d be nice if one of these companies would snatch me up. But, I digress.

Film Strip BoardIt is entirely possible that Sony, Fox, Paramount, and Warner Bros. will be forced to generate new ideas for movies, tv shows, and video games. More specifically, original creative media content that can and needs to be able to be translated from the screen into a theme park near you. When developing original content that has the ability to be translated to a live experience, companies need to keep in mind that a high-concept plot with unique settings, characters, and action sequences are necessary for a movie turned attraction. There is a lot more to it than that, but at least this gives you an idea what is required and backed by empirical evidence. Although blockbusters are typically the sourced content for theme park attractions, not every blockbuster is appropriate. Take Titanic for example. It is a movie about the 20th century’s worst and most infamous maritime disaster. So, I don’t think Paramount or Fox will add “Titanic: Ride it Out” to its parks. The ability to cross-promote intellectual property is of great importance for the strategic exhibition and integration of movies, tv shows, or video games. One of the reasons why the Disney parks are so successful is because the Disney movies can be (1) seen in the cinema (2) character meet and greets in the parks (3) the platform for a video game (3) used in theming on the cruise line (4) A-list artists can record covers of the songs from musicals (and broadway musicals can be produced) and (5) the platform for attractions in the parks. Sony, Fox, Paramount, and Warner Bros. need to concentrate on producing movies and TV shows (and by extension video games) that can be used in strategic and creative cross-promotion.

X-Men TASReturning to the present state of IP in the parks. Fortunately, some of those companies still–at least to the best of my knowledge–retain the theme park licensing for a few of the properties that were mentioned earlier; but for the most part, the most well-known movies, video games, and TV shows are already licensed by other companies. Viacom/Paramount operates the Nick Hotel near Disney in Orlando, so it still retains some licensing to its Nick IPs. However, since other parks use some of the Nick characters, there is probably some red tape to go through in order to fully use them in the Paramount park in the United Kingdom near London that is under development. Just like Disney wants to get their hands on Universal’s Marvel properties, Fox really needs to work on getting the X-Men back. On that note: since The Avengers is Disney’s heaviest of hitters and the same for Fox and the X-Men, perhaps eventually we will see that Disney has access to The Avengers and Fox the X-Men. Disney doesn’t really need The Avengers as much as Fox needs the X-Men. The X-Men is arguably Fox’s most successful film franchise in the last couple of decades and it is still going strong. Another Fox property that is licensed by Disney is James Cameron’s Avatar. As for Sony, they have not licensed out as many of their properties to themed entertainment companies, with the obvious exceptions of Terminator and Men in Black. Another area to explore is the reason why non Disney and Universal parks are mostly being built overseas. But that is the topic for another article; however, it is directly linked to IP and copyright.

maps_game_of_thrones_a_song_of_1024x1024_wallpaperfo.comCurrent IPs that would make for great attractions in a U.S. Sony, Warner Bros., Paramount, or Fox theme park would be Game of Thrones, American Horror Story, X-Files, James Bond, Lord of the Rings (but that is a whole other discussion in and of itself), Hotel Transylvania, Spyro the Dragon, Maze Runner, Hunger Games (need to be licensed from Lionsgate), Ice Age, or Mission Impossible. Content is king. More innovative and original content from the big studios who also have theme park investments means that there will be more movies to see each year!! It will also open the door for new ideas from comics, literature, history, and legend. Instead of reboots and remakes, you will enjoy new ideas and narratives. So, the long and short of it is that media conglomerates with movie studio and theme park investments are at a crossroads. They can either not go full-force into themed entertainment and play around with the current IP in their respective libraries or can rise up to the challenge to develop original movies and tv shows that can also find their ways into theme parks in the U.S. and around the world.

“Batman v Superman” movie review

Posted on by
4

BMvSMBetter brush up on your comics before watching this movie. If DC set out to produce a movie that was completely different than the Marvel movies, then they succeeded. Batman v Superman leaves you feeling like you are watching a sequel without an original movie. And no, Man of Steel does not sufficiently set up this “sequel.” Imagine if you will, opening a book and starting to read. You are a few pages in, and you realize that there are situations, characters, settings that are unfamiliar or seem out of step. Oh, duh, you started on chapter two by mistake. Just as you flip back to find chapter one, you discover that the pages are missing. DC’s attempt to setup an entire comic universe (Justice League), in one movie, failed miserably. However, you will be hard pressed to find another superhero action movie that is more cinematic than this one. The sound and visual effects blew my mind–exponentially more impressive than anything that Marvel (Disney or Fox) has produced; but that’s Zack Snyder for you. Unfortunately, the man should have assisted a director in crafting a visual story, not attempted to tell it himself. If DC was fighting a losing battle up a hill, now it is fighting that same battle up a mountainside.

Look! Up in the sky. It’s a bird, it’s a plane, it’s a box-office bomb. Two years following the epic battle between Superman (Henry Cavill) and Zod, Metropolis is still recovering from the mass devastation. Affected by this infamous battle, crime-fighting billionaire Bruce Wayne (Ben Affleck) is fully convinced that Superman is a threat to humanity and must be contained or destroyed. Although he is not as young as he used to be, Affleck once again dawns the Batman uniform and sets out on his personal vendetta against the god-like Kryptonian. Feeling the growing threat of Batman, Superman will stop at nothing to defeat Batman and save the city. In an effort to save their respective cities from destruction, Batman and Superman vow to kill one another. While each superhero has it in for the other, Lex Luther (Jesse Eisenberg) is cooking up something in his research park that can defeat gods and titans. It’s a good thing that Metropolis and Gotham are closer together than Tampa and St. Petersburg are (LOL).

Film is a visual storytelling medium, but storytelling nevertheless. The only other more visual medium, one could argue, is comics. And, you better have studied your Justice League universe comics before buying your ticket to this attempt at a Springtime/Easter blockbuster. But unfortunately, that’s all that this movie has going for it–its unparalleled use of phenomenal visual and sound effects to create a fantastically stimulating experience. One problem: where’s the story??? I thought that this was (to borrow from Star Wars: the Force Awakens) “supposed to make things right“? Ironic how Easter is a holiday and season which represents rebirth; and as hard as DC Comics and Zack Snyder tried to rebirth this struggling universe, it still remains in the ground. All the water and fertilizer in the world could not help this Easter lily, for the farmer forgot to plant the bulb. There is little to no exposition in the entire movie. If you are unfamiliar with the story from the comics, you will most certainly feel dazed and confused. DC really needed this movie to tell an excellent story in order to continue to compete with the Marvel movies that are coming from Disney and Fox. After this travesty, there is almost no competition any longer. One can only hope that the next installment fixes things. But, it’s highly unlikely at this point.

Sometimes poor writing can be covered and masked by flashy graphics and stunning cinematography, other times, it can be assisted by an excellent cast. Well, fail once again. The casting only aided in highlighting the fallacies in the plot structure and nearly non-existent, poorly setup story. Before I negatively criticize the majority of the cast, I need to point out what worked for the film in terms of cast. Although I have been informed that he did not portray the Lex Luther from the comics, I firmly hold to that Jesse Eisenberg played the Lex Luther that this film needed and benefitted from. The quirky, psychopathy, childlike, socially awkward, intellectual Lex Luther works for this universe. He was probably my favorite part of the whole movie. He was quite the juxtaposition to other villains that have been in Marvel and DC movies–a refreshing new take. Amy Adams also plays a great Lois Lane. Since I am not familiar with the comics, I am not going to try to compare and contrast her portrayal to that of past Lois Lanes or the ones from the comics. Still, Adams brought about a fantastic charm to the character and she fit in well with Henry Cavill’s Superman.

Sadly, the rest of the principle cast was terrible. Since when did Alfred (Jeremy Irons) become nearly Bruce’s age??? Maybe he is ten years his senior, but that’s pushing it. Alfred is supposed to be a lovable and endearing old man, and Batman’s Jiminy Cricket, so to speak. Neither does Irons fit the age nor the personality traits of Alfred. I sure missed Michael Caine and Michael Gough’s Alfreds. There was a lot of concern when Affleck was chosen to become the caped crusader; and as it turns out, these concerns were valid. He has demonstrated that he cannot fill the cape in the manner in which Michael Keaton and Christian Bale were so successfully able to do. It’s entirely possible that Holly Hunter’s Senator Finch and Gal Gadot’s Wonder Woman/Diana Prince could have been the much-needed support that the film lacked, but their respective characters were severely under-developed. Also, not so much cast as he is character but where did the Kryptonian deformed creature come from??? I think the film tried to explain, but again, it failed. Who cares, though? He made the climax shocking and exciting. A solid match for Superman.

If you want to have your eyes and ears stimulated beyond what you have likely experienced in superhero action movies in the past, then this is the movie for you. Just don’t expect much beyond the mesmerizing surface. Already having a 33% on Rotten Tomatoes, most likely the grade will continue to drop. That being said, I DO believe that if you are a follower of the comics and know your stuff, then you will most likely thoroughly enjoy this film. I warn you; be prepared to be your group’s personal Wikipedia after the movie.

“Deadpool” movie review

Posted on by
4

Deadpool-poster-2Absolutely brilliant super not-hero film! For those who often get the feeling that I simply do not like high-concept or superhero movies, let this be evidence that there certainly ARE superhero films that I feel are exceptional. And this is definitely one of those movies. As many memes across social media have indicated–and I will reiterate–this movie is NOT for kids (and no, your kids are not the exception). This is a super not-hero [and the not is important, but you must see the movie in order to understand] movie that is written for a mature audience. From the groundbreaking self-aware opening credits to the perfectly paced and strategic adult-humor, this movie is sure to have you laughing from beginning to end. And it’s not just the writing that is super but the visual effects, stunt sequences, and fight scenes are far above par for this action movie genre. Ryan Reynolds captures the character of Deadpool so incredibly effectively that you will swear that he was made for this role. Not your Disney-Marvel movie, Fox and Marvel bring you a spectacular combination of action and comedy to show off this unique anti-hero, so to speak, for fans of the comic and those who just enjoy a super movie.

Former special forces Wade Wilson (Reynolds) leads a very interesting post-dishonorable discharge life as a mercenary. The last man you’d ever expect to fall in love with anyone, Wilson falls for a burlesque dancer (who most likely moonlights as a hooker–let’s be honest). Following months of unparalleled passion and ecstasy, and after the unconventional proposal, Wilson finds out that he has an aggressive form of cancer that is unfortunately late in discovery. Devastated, Wilson has no idea what to do, but does not want his fiancé to have to go down the cancer road with him even though she clearly states that she is in it for the long haul. Acting upon a chance meting with a mysterious and well-dressed man in a bar, Wilson takes the man’s advice and undergoes a treatment from another equally mysterious but more sinister scientist. The results of the treatment will become clear as Wade Wilson becomes Deadpool and develops into the most unusual super anti-hero ever to come to the screen.

Simply from the opening credits, it is clear that this movie is incredibly self-aware and playing to the audience one hundred and ten percent. BEST opening credits ever, in terms of creativity and being an extension of the narrative itself. The idea of a self-aware movie is not a common one to begin with and certainly not a trope of traditional superhero movies. I think that is what I appreciated most about the movie. The brilliance behind the self-awareness is that the film is equally self-aware as it does take itself seriously as a superhero movie. Never before have I witnessed the fourth wall being broken so incredibly much. For those of you who do not know what breaking the fourth wall is, in its simplest form, it is when the character addresses the audience. This is apparently an element that was brought over from the comic, according to my comic and anime enthusiast coworker that went with me to screen the movie last night. What makes Deadpool’s continuous commentary so effective and entertaining is the fact that he says what many of us would be thinking given if we encountered the same scenario. The candor is such a breath of reality within this world of fantasy or augmented reality.

So often a movie will either choose to rest upon its strong writing, impeccable acting/direction, or visual effects; the sheer remarkable innovation in this movie is supported by not one but all the aforementioned elements. Ordinarily, I am able to find flaws in a movie–especially within the superhero genre–but not this time. I suppose, the fourth wall was broken a little too much, but that would be the only flaw I could identify. Sometimes a movie can be a great superhero movie but not a great film; however, Deadpool exceeds expectations both as a superhero movie and as a film in and of itself. At first thought, you may feel that a movie with endless diegetic and non-diegetic commentary may overshadow or steel attention or coherence from the narrative itself, but the writers did such a fantastic job of integrating the narrative and commentary so seamlessly that the movie is doubly entertaining as it would be without the offensive, explicit, hormonal commentary from the earthiest and most human of superheroes. And yes, I realize I am using superhero even though Deadpool reminds me over and over again that he is not a hero, but you get the idea.

Ryan Reynolds is one of those actors who is equally talented as he is attractive, and he gets to show off for this movie in ways that many actors wish they could in movies. But, it does not come off as obnoxious at all. That’s the beauty in the direction of this movie. You’d think that his over sexualizing of himself and the continuous adult commentary that he (or the movie) would play off as exceedingly obnoxious, but you’d be mistaken. There is a perfect balance struck by the writers and director that enable Deadpool to be a total douchebag, but oddly enough, in the most endearing way. For fans of the X-Men comics, 90s cartoon, or the X-Men movies, you will get to witness a crossover of movies in Deadpool. In an ever growing effort to recruit Deadpool to join the elite mutant force lead by Charles Xavier, Colossus and Negasonic Teenage Warhead confront Deadpool. This subplot is an important elements to Deadpool because it helps to build Fox’s X-Men universe by bringing two franchises.

Without getting into a lot of IP (intellectual property) rights discussion, despite the procurement of Marvel in 2012, as long as Fox keeps making X-Men movies, Sony makes Spiderman movies (even though he is appearing in the Avengers series), and Universal Studios Florida keeps modifying and improving attractions, then Disney does not have the rights to use the respective characters in movies or rides. Now, IP rights are a little more complicated than that, but I wanted to provide you with a general idea. Back to the crossover. Including the X-Men in Deadpool is strategically important for three simple reasons: (1) as I mentioned earlier, it helps to rebuild and reinforce the respective timelines of both franchises (2) it builds the foundation for a larger character universe, much in the same way Disney is doing with the Avengers and related movies and (3) part of what makes Deadpool so incredibly fascinating is his ability to play the anti-hero off of legitimate superheroes or, as Fox is able to officially call them, mutants.

If you are a fan of Disney-Marvel’s Guardians of the Galaxy, and you are NOT a kid, then you will definitely enjoy Fox-Marvel’s Deadpool. Prepare yourself to experience a superhero-action movie like no other. From being mesmerized at the stunning visual effects and editing to the incredibly funny writing and acting, you are sure to be entertained and will definitely crave more. Good thing that Deadpool has already received the green light for a sequel.