“I don’t know anything about saving worlds, but you do.”

                                                                                          -Deadpool addressing Wolverine

The meta has overtaken the Marvel Cinematic Universe (MCU). After a six-year period marked by a wealth of change–studio ownership, story concepts, characters and directors–the antihero Deadpool has returned, as talkative, subversive and funny as ever. If you like your protagonists to save the metaverse with verbal barbs as well as weaponry, you’ve found the ideal superhero for this summer.

Ryan Reynolds, the creative force behind the Deadpool series, takes no prisoners in this third outing, which follows Deadpool (2016) and Deadpool 2 (2018). The screenplay, for which he and four other writers get credit, skewers the studio (with a clever visual RIP for Twentieth Century Fox), the MCU franchises, the characters and the actors themselves. One’s recent divorce even becomes the subject of a snarky aside. The fourth wall has disintegrated.

Disney, which now includes Deadpool in its portfolio, has carved out a special niche for it–an R-rated niche. It earns it here, with a steady stream of decidedly adult dialogue and violent action. Mind you, the violence often plays out in reduced motion and for humorous effect, but the death toll grows steadily and graphically throughout the movie.

In bringing Deadpool back to the screen, the collaborators have teamed him here with Wolverine (James Howlett, alias Logan), the mutant with the retractable claws often associated with the X-Men. Yes, Hugh Jackman has been “resurrected,” after publicly announcing his retirement from the role. (He memorably impersonated the character for two decades through 2017’s Logan, in which he died.) The pairing in Deadpool & Wolverine generally works well, with Reynolds’ irrepressible, smart-alecky style balanced by Jackman’s often angry, angst-ridden persona. 

Visually, the movie pops with color–exactly the vivid palette associated with the original comics. In fact, the producers have gone retro and authentic in dressing Wolverine in his classic canary yellow-and-blue outfit–the L.A. Rams’ look, as Deadpool describes it. 

Cinematographer George Richmond (Rocketman) and editors Shane Reid and Dean Zimmerman (Stranger Things) have crafted well-framed and intelligently paced action scenes, and the special effects team have endowed the picture with fresh, eye-catching visuals. The array of pop songs on the soundtrack, while not subtly introduced, enhance the tongue-in-cheek nature of the enterprise. Madonna gives her blessing.

If you’re wondering about the story, there’s a reason it gets demoted here. Call it serviceable, a basic narrative designed to sustain the bells and whistles, the one-liners, the gags and–yes, you’ve heard correctly–a parade of cameos, many of which will resonate with MCU acolytes. Suffice it to say that Wade Wilson (aka Deadpool) has withdrawn from his mercenary days and become a used car salesman, only to have the Time Variance Authority (TVA) inform him that his timeline, with his small circle of loved ones, is deteriorating. To restore it, he seeks out an appropriate variant of Logan, its “anchor being.”

Emma Corrin (Diana, Princess of Wales in The Crown} emerges as the lead villain. She portrays Cassandra Nova, the parasitic twin sister of Professor X, a character making her live-action debut here. Corrin brings a palpable sense of malice to her scenes, appropriately declaring that “boys are so silly.” 

You could make a strong case that the MCU itself has deteriorated since the Russo Brothers’ epic Avengers: Endgame (2019). A pre-COVID box office blockbuster, it had the scope and poignancy of a cinematic saga. It also served as a fitting homage to the late, iconic impresario Stan Lee. By comparison, the subsequent entries in the franchise have been mostly uninspired, even unnecessary (unless, like Kevin Feige, the President of Marvel Studios, you have to keep close watch on the bottom line). 

With Deadpool & Wolverine, Ryan Reynolds and Hugh Jackman have realized a dream more than a decade in the making. Throughout the previous two Deadpool films, the title character relentlessly cracked jokes at Wolverine’s expense. Here they demonstrate admirable chemistry. This melding of the X-Men and MCU franchises ultimately succeeds by deconstructing the entire superhero genre. At their origins, these are comics, after all, and a heady dose of humor, both verbal and visual, can sometimes triumph over thinness of plot. But, please, don’t view this as the end, either. As the Man in Red tells a group of earthly civilians, shocked at the sight of the prodigal Man in Yellow-and-Blue, “Disney brought him back! They’re gonna make him do this until he’s 90!”     

Kizumonogatari – Koyomi Vamp wows with its visuals and impresses with a character-driven story that redefines vampire tropes.

After all, the lead character, Koyomi (Hiroshi Kamiya), meets a vampire with severed limbs at a train station who pleads for his blood. This will save her life, but in turn, end his. That in itself is enough to make any horror fan curious!

What is so unique about Kizumonogatari – Koyomi Vamp is that this film consists of three previous films (Part 1: Tekketsu, Part 2: Nekketsu, and Part 3: Reiketsu) that have been edited together and condensed into one feature-length story. Though I can’t speak about how many scenes from the standalone movies have been left out of this version, Koyomi Vampdoes a fantastic job of shifting from one scene to the next and finding unique ways to piece them together. Some editing choices may feel jarring to some viewers and disrupt the narrative flow, but the transitions perfectly encapsulate the film’s quirky tone, erratic nature, and eclectic style. 

Kizumonogatari – Koyomi Vamp also blends multiple genres (fantasy, action, and horror) skillfully while creating innovative world-building and mesmerizing artistic imagery that showcases the film’s mood and evokes the emotions it wishes the audience to feel. The feature also boasts stunning visuals and action-packed fight sequences that are exhilarating to watch and allow viewers to become completely lost in the spectacle. 

If, like me, you’re unfamiliar with any of the previous Kizumonogatari films, some elements of this feature may surprise you, but that is by no means a negative thing. For one, I was taken aback by just how much gore is incorporated into the narrative, so if you enjoy bloody anime horror, there’s plenty here to sink your teeth into. The action-fight sequences also become so outlandish that they are downright hilarious. However, rather than feeling cheap and cartoonish, these scenes fit perfectly into the mythical world of vampires, who can have limbs ripped off, only for them to regenerate moments later. 

But where Kizumonogatari – Koyomi Vamp excels the most is through its interesting characters and distinctive storyline. Most films centering around vampires paint them as bloodthirsty predators who are a threat to humans and hunt them down to feed. Although those elements are explored in this film, Kizumonogatari – Koyomi Vamp is unique in that it doesn’t fit the typical “vampire who hunts its victim” narrative.

Instead, a shift in power takes place. When Koyomi and the vampire Kiss-Shot first meet, she is weak and desperately needs help. Though Koyomi is human, in that moment, he is the one who holds the cards and has all the power. When our protagonist decides to help the hopeless vampire, he not only shapes Kiss-Shot’s future, but his selfless act of empathy changes his life in a way he’d never have imagined. I really admire the film for starting with such a fresh take on a vampire story and the irony of the situation, as a good deed turns into a living nightmare.

Another highlight of Kizumonogatari – Koyomi Vamp is the feature’s compelling characters, who are engaging and well-developed, particularly Koyomi. He’s extremely likable, making the audience connect with him instantaneously as his kindness and compassion for others shine through. This is most apparent when exploring his friendship with Tsubasa (Yui Horie), as the pair grow close quickly and form trust and a special bond. Their strong desire to protect one another grounds the film and shows viewers glimpses of hope in an otherwise bleak, albeit gripping, narrative. Then we have the evil, mighty Kiss-Shot Acerola-Orion Heart-Under-Blade (her full name, and quite the mouthful), voiced brilliantly by Maaya Sakamoto. As the wicked vampire, she is the best kind of antagonist—manipulative and sinister—yet you can’t help but be intrigued by her backstory while hoping to uncover her hidden agenda.

Though Kizumonogatari – Koyomi Vamp is by no means the sort of film I’d usually look out for, it’s a visually stunning feature with a captivating plot, engaging characters, and noteworthy gore and action sequences. If you’re a fan of the previous Kizumonogatari films, this movie’s smooth narrative consisting of three edited films is sure to impress. If, on the other hand, you’re a newcomer to the anime space, this fantastical action-horror spectacle is a great introduction to the medium to get your feet wet.

Kizumonogatari – Koyomi Vamp premiered at the Fantasia Film Festival on July 27, 2024.

Sister Midnight Review: Unapologetically Wild – Loud And Clear Reviews

The Mumbai-set Sister Midnight is the bold, quirky, often hilarious tale of a young bride who dares to follow her instincts.

In “The Fabulous Four,” a quartet of female friends in their golden years — played by a powerhouse group of beloved and lauded actors — head out on a vacation, where their longtime relationships and ingrained patterns will be challenged, resulting in cathartic personal growth. Wait a minute, didn’t I review this film two months ago? A year ago? Twice?

It was while reviewing “Summer Camp” back in May that I questioned the robust proliferation of these oh-so-familiar films (four older actresses, one vacation). The concept must be a lucrative one, but the formula isn’t just familiar — it’s cloned. How can they keep getting away with this?

“The Fabulous Four” is only surprising in that Diane Keaton is not in it. Susan Sarandon steps into the Keaton role as Lou, an uptight, career-driven surgeon with a penchant for pantsuits. She’s tricked into a trip by her old pals, the wacky, randy singer Alice (Megan Mullally) and cannabis farmer Kitty (Sheryl Lee Ralph). They want to repair a decades-long rift between Lou and Marilyn (Bette Midler), who used to be best friends until Marilyn snaked Lou’s boyfriend John and married him. Naturally, things have not been the same since then — for good reason, one would argue.

Marilyn is now widowed and has moved to Key West, where she intends to marry her new beau. With promises of six-toed Hemingway cats, Alice and Kitty lure Lou to the Floridian island and then suddenly spring it on her that the trip is in celebration of Marilyn’s wedding. Let the misunderstandings, mishaps and male strippers ensue.

There are also shroom trips, parasailing fiascos and TikTok interludes galore, cluttering up what could have been a rather pathos-rich tale about interpersonal betrayal. Sarandon beautifully sells Lou’s hurt with a palpable sorrow (this is an Oscar-winning actor, after all), but every time the film settles into this core conflict, it scuttles away to something silly, like Lou using a personal pleasure device as a slingshot on the street, or a series of profoundly irritating social media-style interstitials.

There’s also this group of younger, drunken revelers who latch onto the women during the plane ride. They’re there to be the wild, inebriated foil to the straight-laced Lou (a woman wound so tight she never takes off her complex cross-body purse, not even for the closing choreographed dance number), but they also prove to be the only functioning moral compass in the whole film. They blanch in horror at the story of Marilyn stealing Lou’s boyfriend — as they should, but as none of Lou’s friends do. “The Fabulous Four” never justifies why Lou and Marilyn should repair their friendship, just that they used to be friends. Sometimes friendships stay in the past for a reason.

Ralph proves to be a steady supporting presence, despite a confounding subplot concerning her devout Christian daughter and gay grandson. Mullally’s Alice is just there to be a good-time gal and stoner, gobbling gummies and whisking every comely waiter into a closet for a liaison. Midler is game for what her outlandish — and somewhat odious — character gets up to. Bruce Greenwood and Timothy V. Murphy report for duty as the age-appropriate hotties.

Director Jocelyn Moorhouse (“The Dressmaker”) has a long resumé, but she shoots this in the style in which every other one of these films has been filmed: flat, bright and colorful. Savannah, Ga., subs in for Key West, with the island itself captured only in b-roll, so the film doesn’t express the essence of the place.

There’s a version of this film, about this conflict, with the twists and turns that present themselves along the way, that could be quite compelling, and Sarandon’s performance shows us what could be. Which is why it’s so frustrating when it constantly swerves away from anything real. This fearsome foursome may be appealing, but the film is beyond formulaic, and far from fabulous.

Walsh is a Tribune News Service film critic.