Batman vs. Superman: Dawn of Justice.
Unbearably long, lots of explosions, plot thinner than a randy nun’s knickers.
Deadpool is some sort of mercenary, either intimidating people or shagging his hot girlfriend (or she shags him; either’s good in Deadpool’s world). Unfortunately, Deadpool gets cancer and is offered a cure which will alter him physically, turning his lovely smooth skin into an approximation of a pink-coloured lunar surface and rendering him immortal. The treatment is horrible, but Deadpool eventually escapes to hunt down Frances, the man who turned him into a mutant.
There’s a big fight at the end set on a derelict aircraft carrier and with the help of a couple of cut-price X-Men, Deadpool takes out Frances and his minions.
By dint of being different, Deadpool is, to a degree, a bit more entertaining than the usual Bowdlerised superhero films. It’s not as metrosexual as the Guardian hacks gushed because it’s a parody. The girl-on-boy action is part of the mockery; so, too, when Deadpool gets shot up the bottom.
Entertaining, rather silly, and not for everyone.
The Earth is dying. Well, American farmlands are dying. NASA, working in secret, has sent astronauts on a one-way mission through some wormhole that has appeared near Saturn. Cooper, an ex-NASA rocket jockey, finds his way to NASA’s secret base where Michael Caine instantly appoints him to the expedition to go in search of the pioneering astronauts on the other side of the wormhole. When the expedition arrives, they find that the whole thing has been a failure, and that Matt Damon has gone mad and causes part of the expedition’s mother ship to be destroyed. Cooper uses a local black hole to try and slingshot himself to safety, but ends up behind the bookcase in his daughter’s bedroom, trying to send her messages. Somehow he’s rescued and wakes up inside a Dyson torus.
The other half of the film is about what’s been happening on Earth while Cooper is in space. His bad-tempered teenage daughter grows up to be a bad-tempered teenage woman who hates her father for abandoning her, but ends up working for NASA and working out that Michael Caine had already solved the gravity equation, only lacking one vital piece of information, viz. what happens beyond the event horizon of a black hole.
By that stage, the audience has ceased to care about this rambling, baffling film, which seems to be a metaphor for something entirely different. Something about fathers and daughters? Oh, who bloody well cares? Lacks adequate explanatory power.
A group of hunters is attacked by the Ree, who are searching for the chief’s daughter, Powaqa. The survivors start making the trek by river and overland to Fort Kiowa. On the way there, their guide, Hugh Glass, is badly mauled by a bear. When it becomes clear that the rest of the hunters cannot haul him all the way to safety, he is left behind with his son, Hawk, Hawk’s mate, Bridger, and the villainous Fitzgerald, who kills the former, tries to kill Glass, and intimidates Bridger.
In spite of his horrific injuries, and encounters with the Ree and the French (also, the man seems strangely immune to being thrown into ice-cold rivers where he ought to be dying of exposure), Glass is eventually rescued and Fitzgerald’s crimes are exposed. Even after all he’s been through, Glass insists on pursuing Fitzgerald and eventually leaves him to the tender mercies of the Ree.
The Revenant is an intense film, but drags on and on and on (which seems to be a common feature of all the films which I’ve watched recently). By the time Glass fights Fitzgerald, the whole plot has outstayed its welcome and the final battle descends into bathos with the two men crawling across the snow.
The cinematography is gorgeous, though, and the wintry American wilderness has never looked so nice.
Star Wars: The Force Awakens.
A considered survey of the parts of this film would almost certainly end up with it being reduced by an hour to an hour and a half with the removal of all the tedious bloat. By asking the questions “Where did the First Order come from?” and “How can the rebels be the rebels if they restored the Republic, and just who is the government?”, the film almost entirely vanishes.
The main storyline is that a BB8 droid has the final piece of a map leading to the location of Luke Skywalker, who appears to have disappeared after Kylo Ren, the son of Han Solo and Princess Leia, turned to the Dark Side just as his granddad, Anakin Skywalker did under the tutelage of Obi-Wan Kenobi.
The droid eventually reaches the rebels, who also have to see off Death Star++. Han Solo leads the away team, tries to get his son to return to the family fold, and gets skewered on a light sabre for his pains.
Meanwhile, Rey, some random girl from Jakku, goes and finds Luke Skywalker.
Not boring, but definitely flabby and full of holes.
Terry, the first mutant, who was a bit of a bastard, is raised from suspended animation by some chanting Egyptians. How does that work? (Oh, and I’m calling him Terry because he doesn’t appear to have a name.) He goes in search of the biggest bastards among the mutants of the 1980s, including Magneto. Only the X-Men can save the world.
Actually, only Jean Grey can save the world because she seems to be the only mutant powerful enough to taking down the power-sucking Terry, which begs the question why she wasn’t brought into play sooner, thus sparing the audience considerable amounts of suffering.