Movie Reviews

Deadpool & Wolverine English Movie Review|Ryan Reynolds,Hugh

Published

2 years ago

July 25, 2024

Press Room

Movie Name : Deadpool & Wolverine

Release Date : July 26, 2024

123telugu.com Rating : 3.25/5

Starring : Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen, Jon Favreau, Morena Baccarin, Rob Delaney, Leslie Uggams, and others

Director : Shawn Levy

Producers : Kevin Feige, Lauren Shuler Donner, Ryan Reynolds, and Shawn Levy

Music Director: Rob Simonsen

Cinematographer: George Richmond

Editor: Dean Zimmerman and Shane Reid

Related Links : Trailer

After a six-year hiatus, the eagerly awaited third installment of the R-rated Deadpool franchise, Deadpool & Wolverine, has hit theaters amid considerable excitement. Dive into our review to discover how it measures up as Deadpool makes his entry into the Marvel Cinematic Universe (MCU).

Story:

Wade Wilson, aka Deadpool (Ryan Reynolds), lives an ordinary life as a used car salesman. On his birthday, he gets captured by the Time Variance Authority’s (TVA) agent Paradox (Matthew Macfadyen), who warns Wade that his world will end in hours. Wade steals Paradox’s Timepad, hops through timelines, and finds Wolverine (Hugh Jackman). They return to the TVA, only to be sent to the Void, a dangerous realm ruled by Cassandra Nova (Emma Corrin), who wants them dead. They escape but learn Cassandra is their only hope to go back to their world. Will she help them? Why did Deadpool wish to team up with Wolverine only? What challenges did they face? Can Wade save his world? What made him lead a normal life? Watch the movie to find out all the answers.

Plus Points:

The long-awaited crossover of Deadpool and Wolverine is finally here, delighting fans who have eagerly anticipated their on-screen pairing. Thanks to Marvel producer Kevin Feige for making this happen. Combining these two distinct characters is a significant triumph for the franchise.

Deadpool returns with his signature foul-mouthed humour, delivering even more witty dialogue and F-bombs than before. His dynamic with the gruff Wolverine adds an extra layer of fun. Ryan Reynolds excels once again in his iconic role.

Hugh Jackman’s return to superhero mode is a treat for his fans. His performance is impressive, with his physical presence and demeanour bringing a strong aura to the role.

The film offers more than just sharp humour and jabs at Disney, X-Men, and even the MCU. It features exhilarating action sequences that are sure to captivate audiences. Watching Deadpool and Wolverine together on screen is worth the ticket price.

The movie is packed with unexpected cameos, creating moments that will make you sit up and pay attention. The fourth-wall-breaking scenes are an added bonus.

Minus Points:

The film has its drawbacks. Like Deadpool himself, it has some imperfections. The storyline is simple and somewhat thin. Given the pairing of these unique superheroes and the TVA connection hinted at in the trailer, a more complex plot might have been anticipated. Instead, the simple narrative can feel underwhelming.

The film introduces a few characters from X-Men and Fantastic Four. While their appearances are appreciated, incorporating more nostalgic moments could have enhanced the experience. The supervillain’s role seems limited due to the focus on the main characters and the constraints of the story.

Expectations for numerous ‘Avengers’ cameos, based on trailers and TV spots, can be disappointing. The post-credit scene, which was anticipated to feature Deadpool breaking the fourth wall, falls short of expectations.

Technical Aspects:

Director and writer Shawn Adam Levy does a solid job, but there is room for more to elevate the excitement surrounding the main characters. The screenplay is adequate but appears sluggish at times despite the short runtime.

George Richmond’s cinematography is visually appealing, and the VFX work is solid with effective color grading. Editing by Dean Zimmerman and Shane Reid is satisfactory, and production values are high. The music by Rob Simonsen is cool.

The Telugu dubbing is excellent, thanks to dialogue director BV Ramanayya and translator Veerri Venugopal Reddy. They adeptly weave in trending social media lingo and popular movie catchphrases, adding a layer of contemporary humour that enriches the film’s overall experience.

Verdict:

On the whole, Deadpool & Wolverine is an entertaining superhero movie for casual viewers and a thrilling ride for fans of the characters and the Deadpool franchise. Ryan Reynolds and Hugh Jackman deliver solid performances, and the film’s humour, dialogues, and action scenes provide plenty of entertainment. Nonetheless, the film lacks a compelling narrative and emotional depth, and its mature humor may limit its appeal to a specific audience. Don’t wait; secure your tickets and catch this film in the best theater for an unforgettable experience!

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Movie Reviews

Maxime Giroux – ‘In Cold Light’ movie review

Published

3 hours ago

March 4, 2026

Press Room

Maxime Giroux – ‘In Cold Light’ movie review

(Credits: Far Out / Elevation Pictures)

Wed 4 March 2026 9:30, UK

Maxime Giroux – ‘In Cold Light’

The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.

The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.

Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.

Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.

Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.

As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.

The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.

The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.

The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.

Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

Published

15 hours ago

March 4, 2026

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Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

1 day ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.