The Suicide Squad: A Review and Commentary

****THIS REVIEW CONTAINS SPOILERS!! THIS IS NOT A SPOILER FREE REVIEW!!***

My Rating: 2.5 out of 5 stars

My Recommendation: SEE IT. A significant upgrade over 2016’s Suicide Squad, this movie is a stylized, at times amusing, blood-soaked comic book comedy that boasts a shockingly subversive political message at its heart.

This article contains spoilers to ‘The Suicide Squad’.

Despite garnering mostly good reviews and generating positive word of mouth, I didn’t watch director James Gunn’s The Suicide Squad when it hit theatres and HBO Max on August 5th here in the U.S.

I was, pardon the pun, ‘gun-shy’ about the film because I’d suffered through the previous cinematic crucifixion that was Suicide Squad, the David Ayers directed movie monstrosity from 2016.

Still bearing the scars from the Suicide Squad atrocity, I expected Gunn’s new pseudo reboot, oh-so-creatively titled The Suicide Squad, to be more of the lifeless, corporatized, Pentagon approved propaganda that passes for blockbuster entertainment nowadays.

That expectation was based on the fact that Warner Brothers is notorious for squeezing the artistic life out of their superhero movies and that leaked documents revealed that the Department of Defense were, not surprisingly, nefariously involved behind the scenes in the making of The Suicide Squad, no doubt assisting in extraction of anything remotely interesting from the final product in exchange for the use of military members as extras and the use of an Osprey aircraft.

But then a funny thing happened when I watched The Suicide Squad, I actually found a shockingly subversive movie wrapped in the usual corporate comic book cloak.

Now maybe I’m wearing my tinfoil hat too tight, but it seems to me that Gunn’s greatest accomplishment with The Suicide Squad was sneaking its remarkably subversive political message past his controlling corporate overlords and censorious Department of Defense bureaucrats.

How else to explain a mainstream comic book film that boasts ‘9-11 was an inside job’ symbolism at its narrative heart, and anti-American imperialism at its sub-textural center?

The plot of The Suicide Squad is that two ‘suicide squads’ of super-villains are taken out of Belle Reve prison in Louisiana and sent on a mission by the U.S. government to invade a small island off of South America, Corto Maltese, which was ruled by an American-friendly dictator now deposed by a hostile military coup.

The first group of suicide squaders hit the Corto Maltese beach like the Bay of Pigs invasion force, and meet a similarly gruesome fate.

In another tinfoil hat moment, during this initial ‘Bay of Pigs’ type invasion fiasco, Blackguard (Pete Davidson) storms the beach and gets his brains blown out by a high-powered rifle, just like JFK did in Dallas, and yes, both of their heads went “back and to the left”.

When supervillain Savant (Michael Rooker) tries to run away from the fray, U.S. government official Amanda Waller (Viola Davis) detonates an explosive device implanted in his head in a Stalinesque lesson to the others to never retreat.

This is not exactly standard issue Pentagon propaganda.

This invasion is simply a distraction so a second suicide squad, led by Bloodsport (Idris Elba) and made up of Peacemaker (John Cena) – a super patriot and psychopath, Ratcatcher (Daniela Melchior), Polka-Dot Man (David Dastmalchian) and King Shark (Sly Stallone), can arrive unnoticed on Corto Maltese.

As the Suicide Squad go on their odyssey, they mistakenly massacre a group of rebels intent on overthrowing the anti-American military junta due to Ms. Waller’s order to “kill anything they see”.

Again, not exactly the usual pro-America message the Pentagon prefers.

The Squad’s mission is to break into a heavily fortified tower named Jotunheim that houses a powerful, one-eyed Sauron-esque alien named Starro, which can control entire populations of people by taking over their brains.  

The U.S. were complicit in capturing Starfish from space and now that an unfriendly government has taken over Corto Maltese, they want the Suicide Squad to blow up Jotunheim and kill Starfish.

The Suicide Squad eventually get to Jotunheim and, hold onto your tinfoil hats, they place C4 explosives on each floor of the tower. But the plan goes awry and the explosions happen too early, thus the tower only partially collapses.

The visual similarities of the demolition of the Jotunheim to the WTC towers collapsing on 9-11 are pretty blatant, and one doesn’t have to be a “conspiracy kook” to notice them.

For instance, Bloodsport escapes the tower’s initial collapse and finds himself atop what is left of the Jotunheim, but then the floor he’s standing on collapses to the floor below, which begins a cascading collapse where each floor pancakes onto the one below with Bloodsport surfing the crumbling building to the bottom.

The symbolism when Bloodsport arrives at the bottom of the tower is striking, as he finds super-patriot Peacemaker poised to execute Ratcatcher at the behest of the American government so as to keep a computer file detailing the U.S.’s involvement in Project Starfish from ever coming to light.

Donning an Izod shirt and short shorts, and brandishing a flag-waving, violent self-righteousness, Peacemaker is Reagan’s America incarnate, who’d do anything to maintain America’s ‘shining city on a hill’ image.

In the aftermath of the tower’s collapse, Starro escapes and sets out to control or kill the entire population of Corto Maltese but the U.S. government doesn’t care as long as America’s connection to the alien is forever hidden.

Speaking of hidden, in a nod to Operation Paperclip, Jotunheim was built by Nazis who escaped Europe after World War II, which is not the only Nazi symbolism in the film. Javelin, part of the first suicide squad invasion force, is a former Olympian who uses his javelin as a weapon. He’s German, a model of Hitler’s dream of Aryan supermen, and Harley Quinn, who has a crush on him, uses his javelin to pierce the eye of Starfish and ultimately destroy the alien, with the help of hordes of hungry rats (it’s a long story).

As for Starro, the beast released by the tower’s destruction, it’s symbolic of the mindless militarism and neo-conservate group think belched up by America after the twin towers were destroyed. Similar to America’s militarism and neo-conservatism, which led to the disastrous and failed wars in Afghanistan, Iraq, Libya, Syria and Yemen, Starfish’s invincibility is punctured by a rag-tag group with primitive weapons (javelin) assisted by the reviled that live in the shadows (rats).

With an authoritarian, deceptive, murderous American government slaughtering friendly rebels and shrugging at the massacre of innocent women and children, a super-patriotic sociopathic serial killer, Nazis and implying 9-11 government nefariousness, this movie is definitely not the usual Pentagon approved propaganda.

The Suicide Squad is, like most comic book movies, a corporate money grab and commercial for future corporate money grabs, but it’s also a movie with a gloriously subversive political message hiding in plain sight. That’s either a testament to James Gunn’s creative stealth or to the winless-in-wars-over-the-last-80-years Pentagon beginning to slip in the propaganda department too. Regardless of how the message got there, the reality is that the film’s alternative politics are one of the things that make it at least a somewhat interesting and worthwhile watch.

All Gunn had to do with the The Suicide Squad was make it not as awful as Ayer’s Suicide Squad. A major step in the direction for the project was jettisoning the abysmal dead weight of the always dreadful Will Smith as Bloodsport and casting Idris Elba in his stead. Elba is an actor, Will Smith is a poseur.

The rest of the cast acquit themselves well enough, with Margot Robbie and John Cena as the standouts. The elevation of the acting can be attributed to Gunn as Viola Davis was utterly abysmal in the first film but actually does pretty well in this one.

The bottom line is this, I’m no Gunn fanboy, but it’s obvious he succeeded in his task by making a very stylized comic book comedy with a rip-roaring soundtrack that is best described as a foul-mouthed, blood-soaked, raucous romp akin to a second or maybe third-rate Deadpool…and I guess that’s good enough.

 A version of this article was originally published at RT.

©2021

'Birds of Prey' Hates Men, but Wants Their Money - No Wonder It's Bombing at the Box Office

Estimated Reading Time: 3 minutes 28 seconds

The new film Birds of Prey is populated by despicable men, and feminist women who want to be just like them. The outcome: Financial losses and moral bankruptcy.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) opened on Friday and stars two-time Academy Award nominated actress Margot Robbie reprising her role as DC Comics super villain Harley Quinn.

The film is marketed as a girl power manifesto that re-imagines Harley Quinn without the condescending sexism feminists felt was so prominent in Suicide Squad (2016), the last movie that featured Margot Robbie as Harley.

Suicide Squad was a horrifically shitty movie, and was regarded as a box office underperformer with a notoriously troubled production history, but it still made $750 million in total.

Early numbers suggest that despite oddly positive reviews from woke pandering mainstream critics, Birds of Prey will struggle to do half that number in its theatrical run. With a reported production budget of between $80 and $100 million, and additional marketing costs, Birds of Prey looks primed to lose money for the suits at Warner Brothers.

How did things go so wrong?

Birds of Prey banished the problematic “male gaze” of Suicide Squad that allegedly dehumanized Harley by making her purely an object of desire, by employing an all female creative team that included producer Margot Robbie, writer Christina Hodson and director Cathy Yan. The production goes so far in exorcising men as to even have a soundtrack with all-female artists on it.

The problem though is Birds of Prey tries to thread the needle and make a chaotically cool combination of Deadpool meets Wonder Woman, only it doesn’t have the first clue about the sardonically masculine humor of Deadpool and the appealing feminine power of Wonder Woman, or masculinity and femininity in general.

The film’s sexual politics are aggressive to say the least. In our current cultural moment, toxic masculinity and masculinity have become synonymous, so it is no surprise that Birds of Prey goes to great lengths to denigrate and disparage all its male characters and yet also to venerate all its female ones.

Every man in the movie, with the lone exception being a character (played by the criminally underused actor Eddie Alfano) with fifteen seconds of screen time and no dialogue, is either entitled, conniving, maniacally violent, a rapist or all of the above.

In contrast every female character wears the noble crown of resilient victimhood after having suffered at the cruel hands of men.

The portrayal of men as misogynist beasts is pretty heavy handed, as at one point Harley and female friends are surrounded and the sadistic Roman Sionis (Ewen McGregor) yells to his army of all-male thugs, “Men of Gotham, go get those bitches!”

What’s so bizarre about the supposed girl power message of the movie is that while it relentlessly tells us that men are despicable creatures, all of the female characters are lionized for trying to behave like men. Like the recent batch of feminist movies such as Charlie’s Angels (2019) and Terminator: Dark Fate, Birds of Prey believes that feminism means women should act like men.

Even more baffling is the cinematic schizophrenia of Birds of Prey, as it obviously loathes men yet is so desperate for their attention it serves up a steady supply of hyper-violence. As Harley Quinn says, “nothing gets a guy’s attention like violence…blow something up, shoot someone.”

Totally coincidentally, The New York Times published an op-ed by an actress, Brit Marling, titled “I Don’t Want to be the Strong Female Lead” on the day Birds of Prey premiered.

In the piece Marling describes strong female leads as, “She’s an assassin, a spy, a soldier, a superhero, a C.E.O. She can make a wound compress out of a maxi pad while on the lam. She’s got MacGyver’s resourcefulness but looks better in a tank top.”

In some ways this applies to Birds of Prey, since the women in it are smarter, tougher and stronger than the men, except they have been stripped of their sex appeal in a convoluted attempt to be pro-feminist.

For instance, Harley Quinn wore short shorts and alluring outfits in Suicide Squad, but in the female empowering Birds of Prey she dresses in baggy, Bermuda length shorts and a pink sports bra. It’s as if Harley went full Lady MacBeth and cried “unsex me here” and the filmmakers dutifully complied to stick it to the patriarchy.

Contrast this with the Super Bowl halftime show where Jennifer Lopez and Shakira were declared fiercely feminist when they wore skimpy outfits and literally danced like strippers.

How can female filmmakers like Cathy Yan properly tell an empowering feminist story if feminists haven’t even figured out what feminism is just yet?

This confusion manifests when Birds of Prey defines women solely in opposition to men, but then has them emulate masculinity as a show of their feminine strength.

Brit Marling wasn’t commenting on the troubling Manichean anti-male sexual politics of Birds of Prey, but she could have been, when she eloquently wrote, “I don’t believe the feminine is sublime and the masculine is horrifying. I believe both are valuable, essential, powerful. But we have maligned one, venerated the other, and fallen into exaggerated performances of both that cause harm to all. How do we restore balance?”

That is a good question, but Birds of Prey is oblivious to balance…and quality for that matter. It’s a hot mess of a movie that features derivative, repetitive and dull action sequences, and that tries to be funny, but isn’t…hell…there is a hyena in the movie and even he wasn’t laughing. Watching this thing felt like wading through an Olympic-sized swimming pool of radioactive girl power vomit.

If equality is women making misandrist, hyper-violent, incoherently vapid and dreadful movies…then Birds of Prey is a smashing success for feminism. It is also an abysmal failure for cinema…and probably humanity. It deserves to fail.

A version of this article was originally published at RT.

©2020

2018 Mid-Term Elections

Ever since Trump was elected president in 2016, the media have declared that he would face a comeuppance in the form of vast Democrat victories, or as they call it, a “blue wave”, come the 2018 mid-term elections. While I would like to think that would happen…I don’t think that will happen.

As long time readers know, I was one of “those people” who, in the face of a cavalcade of opposite opinion in the media and in my social circles, accurately predicted Trump’s victory in 2016. As I said in my writing from that time, I didn’t want Trump to win (nor was I a Hillary supporter), I just thought he would. I ended up being right and we have all had to suffer through the never ending reality show that is Trump TV ever since.

The formula I used to predict Trump’s 2016 victory is my McCaffrey Wave Theory, which again, I am sure long-time readers are sick of hearing about…but what can you do? My wave theory uses, among other things, popular culture, most specifically, at least currently, film and television, as indicators of the mood in the collective unconscious. The formula of the McCaffrey Wave Theory is actually very complex and complicated, and takes into account numerous cultural and historical “waves” or “cycles” that are all simultaneously in motion.

Interpreting the data from these waves/cycles and measuring their relationship to one another is how the McCaffrey Wave Theory is able to “predict” certain turn of events. And to be clear, this is not about being Nostradamus and saying planes will fly into buildings on 9-11, but rather about understanding the ebbs and flows of the collective unconscious and knowing when both big and small shifts will occur when portions of the collective unconscious become conscious.

The key elements of the McCaffrey Wave Theory are the archetypes, narratives and sub-texts prominent in films/tv along with their color scheme and visual/cinematic tendencies. These data points are how my wave/cycle theory is able to discern which films and/or television shows are leading indicators and which are lagging indicators of the collective unconscious. Leading indicator films are the ones that express the unconscious desires/fears of the collective, while lagging indicator films are the ones that express conscious fears or desires of the collective.

Some examples of leading indicator film and tv were pretty obvious in 2017 when HULU’s A Handmaid’s Tale (its narrative and vibrant red and green color scheme) and the DC film Wonder Woman (its narrative and red and blue color scheme) jumped to the fore of our culture in the early summer. These two successful projects accurately foretold of the coming feminist outcry and the rise of the #MeToo movement in the wake of the Weinstein revelations that came out in October of 2017.

A good example of a lagging indicator film was in 2017 as well, when Steven Spielberg rushed into production his thinly veiled anti-Trump/pro-Hillary film, The Post, that underwhelmed both at the box office and come awards time. The Post failed both artistically and financially because it was little more than wish fulfillment that attempted to give the audience what it wanted, not what the collective sub-conscious needed.

In the years leading up to the rise of Trump in 2016, there were numerous films and television shows that were ominous signs of a very dark impulse coming to the fore in American life and across the globe.

Two glaring examples were HBO’s Game of Thrones with its marketing campaign which for years was warning us all with their ice-blue billboards proclaiming that “Winter is Coming”. The other was Amazon’s The Man in the High Castle, a show about what America would be like if the Nazi’s and Japanese won World War II, which hit the airwaves in 2015 accompanied by a prodigious marketing campaign which had the Nazi Eagle on the American flag and the Imperial Japanese flag plastered all over the New York subway and elsewhere. Both of those shows resonated within the culture because they accurately gave voice to what was lurking in our collective unconscious. On some level we knew what was coming…a horrible “winter” and the Nazi’s/Not Sees…and these shows knew it before we were even conscious of it. (and don’t kid yourself, the Nazi/Not See impulse is not solely of the right, the left has a strong Not See impulse too).

In 2015 there were many films that were also giving us warning signs of big trouble ahead. The Martian, The Hateful Eight, The Revenant and Star Wars: The Force Awakens were all through their narratives, color schemes (Martian - Red, Hateful 8 - Blue, Revenant - Blue, Star Wars - Red and Blue) and cinematic visuals (shots of foreboding vast expanses) the equivalent of a flashing red sign that a gigantic storm was coming.

In 2016 things got even clearer, as the blockbusters Captain America: Civil War, X-Men: Apocalypse, Deadpool, Batman v. Superman: Dawn of Justice, Rogue One: A Star Wars Story and even La La Land all revealed through their narratives (internecine warfare), sub-text and color schemes (all of them with vibrant clashes of red and blue) that our cultural train was headed off the track if not the cliff.

As I have previously written, last year cinema gave us some signs of what to expect going forward. The big archetype of the year in 2017 was Winston Churchill…with the films Dunkirk, Darkest Hour and the Netflix show The Crown. The Churchill archetype can be interpreted in numerous ways, but when seen in conjunction with other wave/cycles, it strikes me that the Churchill archetype is manifesting in the Trump’s of the world…in other words…it is actually the Churchill shadow archetype that is taking center stage.

Which brings us to this year and the mid-terms. As I said, there has been incessant talk of a blue wave and in its jubilant wake the possibility of a Democratic House and maybe even Senate where, like a scene out of The Godfather where Michael settles all family business, liberals exact revenge by impeaching not only of Trump but Supreme Court Justice Kavanaugh. As entertaining as that liberal porn may be…I don’t think it is going to happen.

According to my wave theory, there will be no blue wave. Not only will the Democrats not win the Senate, I don’t think they will win the House either, and if they do it will be by the skin of their teeth. Now…before you stick your head in the oven…to be very, very clear…I could certainly be wrong about this, God knows it wouldn’t be the first time. For starters, I have never used my wave theory to predict a mid-term before, and it could be I am interpreting the data entirely incorrectly, this is a distinct possibility. But with that said, ever since last June, when I wrote a piece for CounterPunch on the topic, along with a follow up posting on this blog in July, I have thought that this blue wave was a mirage.

As I stated in my CounterPunch piece, the big warning signs for me were the prominence and success of both Deadpool 2 and Avengers: Infinity War, both of which had narratives, sub-text and color scheme that spoke clearly of the failure of the opposition to Trump to succeed in toppling him.

Other films, such as A Quiet Place, Hereditary and even A Star is Born, that have all resonated deeply within the culture this year, are also leading indicators of a Democratic failure come the mid-terms because of their narratives and sub-text. Believe it or not, A Star is Born is remarkably insightful sub-textually and that sub-text very clearly (once you crack the code of it) states that if not Trump, then at least Trumpism, is here to stay as a replacement for the old paradigm, as indicated by the song in the film “Maybe it’s time we let the old ways die”. (I hope to have a full analysis of A Star is Born done soon).

Just as importantly, there are lagging indicator films that are, just like Spielberg’s The Post in 2017, falling flat, which highlight what isn’t resonating in the collective unconscious. Films with similar narratives, like the “aggrieved and under-appreciated genius wife/power behind the throne” stories of The Wife and Colette, or the “police shooting/racism” films The Hate U Give, Monsters and Men and Blindspotting, have all fallen flat in the broader culture. Even the colossal failure of the cinematic celebration of multi-culturalism and female empowerment, A Wrinkle in Time, is telling us what is going on in our collective unconscious, and it isn’t good news.

Now…maybe I am dead wrong about all this…maybe I am misreading and misinterpreting the data, that is a distinct possibility. Maybe the Democrats win a huge majority in the House and even get one in the Senate…but neither of those things will lead to a return to “normal”…only an escalation of the clash for civilization that is currently taking place.

Even if Democrats win, the intensity of the political turmoil here in America will not recede but proceed at an even quicker pace. Two more years of impeachment talk and congressional hearings will only heighten the tensions that are already near a boil. If you thought Trump was awful these last two years, wait until he faces an existential threat to his presidency from a Democratically controlled House and possibly Senate.

On the other hand, if, as I have been predicting since June, there is not blue wave, don’t expect tensions to lessen. If Democrats fail to gain the House, Trump will turn his obnoxiousness up to 11 and liberals and the media will ratchet up the crazy to unseen heights. And on top of that, if Mueller ends his investigation with no bombshells or smoking gun of “Russian collusion”, the liberal and Democratic meltdown will make Chernobyl look like a cookout.

In other words…no matter the outcome on November 6th, the conflagration that is American politics will only grow bigger, hotter and much more dangerous.

The reality is that there is no stopping the collapse of the institutions of western civilizations. Trust me, we have a very, very bumpy road ahead. That means more authoritarianism across the globe (Bolsonaro will win in Brazil) and more shocks to the system, like economic earthquakes, natural disasters and war.

The good news is that this current wave/cycle of collapse and destruction will not last forever. Eventually, after maybe a decade or so (or God help us a decade or two), this collapse and destruction wave/cycle will transform into a more optimistic wave/cycle of growth, stability, relative peace and prosperity. Remember, destruction is the first act of creation, and we will create, hopefully, a more just, localized, thoughtful and sustainable civilization in the crater where this one once stood.

As for the bad news…we are still in the destruction phase…and come November 7th there are going to be a lot of really pissed off Democrats, liberals and anti-Trumpers, who will still have no power in Washington with which to vent their rage. And if you thought things have been bad the last two years, what ‘til you get a load of what comes next because you ain’t seen nothing yet.

©2018

Trump is Deadpool and We're All Doomed

Estimated Reading Time: 4 minutes 04 seconds

WARNING: This article contains spoilers for Deadpool 2 and Avengers: Infinity War.

Deadpool 2 is currently resonating with audiences to the tune of $600 million at the box office, which does not bode well for Democrats in the 2018 mid-term elections.

What does Deadpool 2 have to do with the elections this fall? Well, popular culture, most notably film and television, can be a leading indicator of the sub-conscious mood of the collective.

For instance, in the summer of 2017, the female empowerment narrative of Wonder Woman deeply connected audiences, raking in $821 million at the box office. Wonder Woman's success, combined with the cultural cache of Hulu's series The Handmaid's Tale and its dark themes of misogyny and ritualized sexual abuse which premiered in April of 2017, foreshadowed the #MeToo and #TimesUp movements that erupted in the wake of the Harvey Weinstein revelations.

Similarly, in 2016, there were bright warnings signs in the form of numerous superhero movies that dominated the box office whose narratives foretold the coming of the paradigm-shifting Trumpacolypse that was headed our way.

Two of the cinematic indicators in 2016 were the films Batman v Superman: Dawn of Justice, which was released in March and grossed $873 million worldwide and Captain America: Civil War, which hit theaters in May and hauled in $1.1 billion worldwide. 

Both films arrived at the Cineplex with strikingly similar narratives. In Captain America: Civil War, the globalists wing of the Avengers, led by Iron Man, faces off against the nationalist faction, led by Captain America. In Dawn of Justice, Superman, the ultimate international "elitist" Superman, battles the localist vigilante Batman.

The color schemes of both Civil War and Dawn of Justice fed into the red state-blue state divide of our election as well, with Iron Man's dominant color being red and Captain America wearing his signature blue, along with Superman’s vibrant red cape opposite Batman’s dark blue Bat-suit. These clashing colors were emphasized in the film’s posters and billboards, which littered the American landscape in the spring of 2016 and registered in America’s psyche.

These films presciently mirrored the internecine political battles of the party primaries and also the bitter divisions in the general election, but there was another film that actually revealed who would win the presidency. That film was Deadpool, starring Ryan Reynolds, which hit theaters in February of 2016 and went on to gross $783 million worldwide.

Deadpool, whose mutant superpower is that he cannot die, is an irreverent, foul-mouthed and morally ambiguous character. Sound familiar? It is pretty obvious that Trump is to politics what Deadpool is to superheroes. Trump too is maliciously irreverent, shamelessly foul-mouthed and at best morally ambiguous and with his signature (too long) red tie, Trump even shares a color scheme with the red-clad Deadpool.

Like Deadpool, who can be shot, beaten and blown up and still survive, Trump cannot be destroyed. Trump's messy public life is a testament to his indestructibility, having survived two tabloid divorces, three weddings, six bankruptcies and that was before he ever even ran for president. As candidate and president, Trump's invincibility is remarkably Deadpoolian as he has survived a cavalcade of scandals that would have obliterated any other "normal" politician.

When Trump said he could shoot someone in the face on Fifth Avenue and still not lose any voters, I thought of Deadpool, who Trump could actually shoot in the face on Fifth Avenue, and neither of them would suffer any long-term physical or political damage.

Moviegoers loved Deadpool because it mocked the superhero genre's tropes and conventions, but also effectively used them to entertainingly propel the film’s narrative. Similarly, to the delight of his supporters, Trump took a sledgehammer to American political "norms" yet also masterfully used his opponent’s respectful adherence to those norms as a weapon against them.

Just as Deadpool charmed audiences by being the anti-superhero superhero, Trump, the billionaire plutocrat who ran as a populist for the workingman (shades of Batman/Bruce Wayne), won the adoration of his fans posing as the anti-politician politician.

Which brings us to Deadpool 2, whose box office success is an ominous omen for Democrats in the up coming mid-term elections.

The uncomfortable symmetry of another Deadpool film, once again accompanied by a Marvel blockbuster, Avengers: Infinity War, being in theaters during an election year is only heightened by Infinity War’s unsettling story.

In Infinity War, super-villain Thanos, played by Josh Brolin who coincidentally and promiscuously enough also stars as Cable in Deadpool 2, is an outsider who defeats the superhero establishment in the form of the Avengers and the Guardians of the Galaxy, and then executes half of all living beings in order to bring “balance” to the universe. This is the equivalent of Democrats and never-Trump Republicans joining forces and being completely decimated by Trump with extinction level consequences. 

People keep telling me to relax, that the Democratic juggernaut coming in November will take down the Republican congress, but Deadpool 2 has a specific storyline that bodes particularly ill for the Democratic dream of redemption in 2018.

In the movie, an unstoppable mutant named, ironically enough, Juggernaut, breaks out of mutant prison and literally tears Deadpool in half. But in the film's climactic battle, the invincible Juggernaut is defeated, not by Deadpool, but by his associates, Colossus and Negasonic Teenage Warhead, who stop Juggernaut by opportunistically shoving a live wire up his ass and then throwing him in a pool, where he flails away in agony. My fear is that the Democratic juggernaut will suffer the same fate on election day. Is Mitch McConnell Colossus? Is Paul Ryan or Mike Pence Negasonic Teenage Warhead?

And even if Trump does get torn in two by the Democratic juggernaut in November, he'll no doubt just emulate Deadpool and grow a new bottom half in time to win re-election in 2020.

Speaking of 2020, rumor has it that Deadpool’s next film will be X-Force, which has a tentative release date of…2020…just in time for Trump's re-election bid!

I'm telling you, the signs are all there, Trump is Deadpool. Let's just hope he isn't Thanos too.

A version of this article was originally published at CounterPunch.

©2018

Deadpool 2: A Review

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

My Rating: 3 out of 5 stars                 Popcorn Curve* Rating - 3.9 stars

My Recommendation: SEE IT. An entertaining anti-superhero movie superhero movie. 

Deadpool 2, directed by David Leitch and written by Rhett Reese, Paul Wernick and the film's star Ryan Reynolds, is the story of the foul-mouthed, snarky, former Special Forces soldier turned superhero immune from death, Deadpool. Ryan Reynolds stars as Deadpool with supporting turns from Josh Brolin, Morena Baccarin, Zazie Beetz, T.J. Miller and Julian Dennison. 

Deadpool 2 is the aptly titled sequel to 2016's surprise success Deadpool and is considered the eleventh film in the X-Men series but it really only has a very passing and peripheral connection to that cinematic universe. The first Deadpool came out of nowhere in 2016 to rake in $783 million at the box office.

I have always liked Ryan Reynolds as an actor…well…not always…but I did used to like him. He looks and acts like my best friend who died twenty years ago, and so I always rooted for Reynolds to succeed. But then he churned out a cornucopia of shitty movies, with the apex, or nadir, being 2011's crap-tacular Green Lantern, which was so mind-numbingly awful as to be miraculous. 

Hollywood had been trying to turn the handsome, charming and affable Reynolds into a star for years and after repeated misfires he perpetually failed upwards. With Green Lantern, I finally washed my hands of the Ryan Reynolds experiment, and I thought Hollywood had done the same. Then in 2016 Deadpool came out with Reynolds in the lead and I thought, "what sort of compromising material does Reynolds have on studio big wigs that they keep giving him so many shots at the brass ring?" I had zero interest in seeing the film and so…I didn't. 

After a plethora of friends raved to me about Deadpool I still had no interest, and only ended up seeing it for free on cable. Seeing it was like witnessing the resurrection…of Ryan Reynolds moribund career. If ever there were a role perfectly suited for a specific actor, it was Deadpool and Ryan Reynolds. Reynolds' sharp wit and deadpan humor combined with his athletic physique made for the perfect match as Deadpool. 

The original Deadpool was a fantastic superhero movie for two reasons, the first is Reynolds and the second is that it had the perfect tone and original approach to the genre at exactly the right time. Deadpool was the antidote to the tsunami of Marvel and DC films over the preceding decade, and decades to come, that either took themselves too seriously or not seriously enough. 

By breaking the fourth wall Deadpool broke conventions, and by winking at the audience Deadpool got to have his cake, making fun of superhero contrivances, and eat it too, using those same superhero contrivances to entertain. Deadpool was the most unique superhero film in recent memory and it succeeded both as an action movie and a comedy. 

Deadpool 2 is not as good as Deadpool, but how could it be? With the first film audiences had no expectations, but with the sequel expectations are definitely heightened. The weight of those expectations does drag down Deadpool 2 a bit as the comedy seems a little more forced and less free flowing than in the first film. But with that said, Deadpool 2 is still an excellent superhero movie and in parts is explosively funny. It even made me, someone who almost never laughs aloud at movies, actually laugh out loud, or as the young people say "LOL", multiple times. Even the post-credit scenes made me guffaw heartily.

In Deadpool 2 Reynolds is at his sarcastic best as Deadpool once again and carries the film from start to finish. A big key to Reynolds success in the role is that we usually see his face covered with a mask and if not, then it is scarred from the burns received during the characters origination. Reynolds detachment from his handsome boy face allows the actor to release a volcanic amount of energetic cynicism that makes Deadpool…well...Deadpool. Reynolds doesn't do any movie star preening, he just fully embodies the dynamic character and seems to be having a helluva lot of fun, which in the hands of a lesser talent would result in disaster, but here it becomes contagious with the audience. 

The supporting actors are good, and in the case of Josh Brolin's Cable, very good. Brolin does the impossible and never breaks while being on the opposing end of Reynolds relentless shenanigans. Brolin brings a palpable melancholy and gravitas to Cable along with a grounded physicality that translates well and is a worthy counterbalance to Deadpool.

Zazie Beetz is a revelation as Domino, whose super power is "luck". Beetz is a charming, magnetic and compelling actress who seems right at home on the big screen with Reynolds and Brolin. My guess is that Ms. Beetz has a very bright future ahead of her. 

Julian Dennison is the teenager "Firefist" and is definitely the weak link in the cast. Dennison's New Zealand accent leaves his speech a bit difficult to decipher and out of rhythm with the rest of the cast which undermines his performance. In addition he has the least fleshed out character and least interesting material with which to work. 

The action sequences in Deadpool 2 are pretty spectacular and never fail to deliver excitement and a lot of laughs. The "X-Force" sequence, from start to finish, is uproariously funny and boasts an A-list cameo for which to keep an eye out. 

The Deadpool films are a breath of fresh air in the otherwise stiflingly homogenous superhero cinematic universe. Now that Deadpool has been unleashed in two films, the character will only bring diminishing returns as audiences become more and more accustomed to him and therefore more resistant to his charms. As the new car smell of Deadpool wanes, the danger Reynolds faces is that audience familiarity with his style will breed contempt. As the Deadpool films go forward, the bar gets ever higher for Reynolds to pull off the character with the same cheeky aplomb as he did in the original and first sequel, and that is no easy task. 

In conclusion, Deadpool 2 is a bit underwhelming in terms of the storytelling and coherent narrative, but in terms of pure entertainment value, it is definitely a success. If you want to be entertained for two hours, I recommend you go see Deadpool 2 in the theatre. If you enjoy comedy and superhero movies, this is the film for you. If you are lukewarm on superhero movies but want to laugh at them, this might also be the film for you. If you dislike raunchy humor, hate Ryan Reynolds and loathe superhero movies…then I recommend you go shove five Skittles down your dickhole and then play with yourself until you ejaculate a rainbow, because you are absolutely impossible to please. 

*The Popcorn Curve judges a film based on its entertainment merits as a franchise/blockbuster movie, as opposed to my regular rating which judges a film solely on its cinematic merits.

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