On Deadpool's Overhyped Sexuality

Social justice warriors argue that "Straight White Male" ought not to be a default setting and they're right - it's a wide & diverse world. Arguably nowhere is this default more set in stone than in superhero movies.

I actually rushed out to see Deadpool this weekend because it promised to be something different in this regard. This, despite no real desire to see the movie since the hard obnoxious sell felt like flop sweat (though it sure as hell worked and no flopping occurred). I didn't end up reviewing the film but this piece I wrote for Towleroad is as close as I got. It's called "Pansexual Antihero or Gaybaiting Joke?" because the buzz surrounding the smart ass mutant's sexual desires is empty.

Here's an excerpt but I hope you'll read the whole thing...

Deadpool fits comfortably in the X-verse, being a mutant, but also by selling the troubled 'otherness' that is the X-Men's chief inclusive draw for moody adolescents and beyond. He's neither hero nor villain, but an amoral guy who discovers he has cancer. His superpowers are unlocked through a sadistic experiment to rid himself of the cancer which leaves him badly disfigured but incapable of being killed. This anti-hero has been described as "omnisexual" by the writer of his comic and the media has consistently referred to him at "pansexual". But is he either of those things, or just a typical straight guy who loves a good dick joke?

extra random thoughts about the movie after the jump...

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Berlin: 'Genius' starring Nicole Kidman and Colin Firth

 Amir Soltani is covering the Berlin International Film Festival, TFE's first time at Berlinale! Here is his take on Michael Grandage's Genius.

Berlinale is known for inviting one or two Hollywood pictures to the festival every year to add glamour to the sprawling selection of mostly arthouse curios. One of those films in this year’s edition was Michael Grandage’s first feature as a director, Genius. A period piece based on a true story, the film came to the festival with high expectations, given the distribution deal with Lionsgate already in place, and the pedigree of everyone involved, including thrice Oscar-nominated screenwriter John Logan, and Oscar winners Colin Firth and Nicole Kidman in the cast. But this was all before the film was screened and faced walkouts and unintentional laughs.

Maxwell Perkins (Firth) was the editor and invisible hand behind some of the biggest American masterpieces of literature in the 1920s, including novels by Ernest Hemingway (Dominic West) and F. Scott Fitzgerald (Guy Pierece). Perkins is a family man, living in an expansive estate with his wife Louise (Laura Linney) and five daughters. As one would expect of the editor responsible for taming wild characters such as Hemingway and, eventually, Thomas Wolfe (Jude Law), Perkins is a gentleman of the highest order, calm and gentle, but serious all the same. [More...]

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Adam Stockhausen: From a Budapest hotel to a "Bridge of Spies"

Adam Stockhausen won the Oscar on his first nomination for GRAND BUDAPEST HOTELEmmanuel Lubezki (who keeps winning prizes) isn't the only craft superstar repeating the Oscar rounds this year. Last year's winner for Production Design Adam Stockhausen (Grand Budapest Hotel), a 43 year old powerhouse who's amassed a very impressive resume in just a doesn't years, is back in the mix this season with the Cold War drama Bridge of Spies.

That Best Picture nominee is his first movie with Steven Spielberg but he's already worked with auteurs like Steve McQueen (12 Years a Slave) and Wes Anderson (Moonrise Kingdom) on terrific projects, too. 

Here's our interview:

NATHANIEL: From Wes Anderson to Steven Spielberg! These auteurs seem very different. I imagine Wes Anderson making his own dioramas, and being like "Recreate this. Adam!". Whereas Spielberg, I don’t think of him in that 'this is what the set looks like' way at all!

ADAM STOCKHAUSEN: They have more similarities than you think. I don’t know if I want to get too deeply into what they do, because I’ll leave that for more esteemed people than myself, but I certainly see similarities. There are differences in the day to day: Wes pre plans shots and they’re carefully choreographed, Steven is slightly different in that the shots aren’t planned in advance, but the choreography is very similar. 

more after the jump...

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Red Carpet Lineup: BAFTA w/ Cate, Rooney, Angela...

Jose here. London, bloody London, or rainy for that matter. It seems that as usual, it was either freezing, rainy or both at the BAFTA red carpet, and while sometimes the inclement weather makes for some truly adorable moments when actresses must accesorize accordingly (remember Marion's cute faces trying to stay dry in 2013?) sometimes it doesn't (Kate's gigantic umbrella in 2009 was a tragedy) This year we had two beautiful ladies showing us the right and wrong way to do it. Rooney Mara took on the red carpet in Givenchy Haute Couture which she chose to cover under a shapeless black coat. Once she removed it, there wasn't much to see either, she has worn this exact same dress at least 100 times by now. She gets points for being so funny/dismissive about the red carpet game though.

No, everyone's yelling at you"

...she said to a reporter who asked if she liked the experience.

more after the jump...

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Berlin: The Latest from Mia Hansen-Løve and André Téchiné

 Amir Soltani is covering the Berlin International Film Festival, TFE's first time at Berlinale! Here are the two French films from the festival’s Competition section (the group of film's Meryl Streep & jury are seeing).

L’AVENIR (Mia Hansen-Løve)
Mia Hansen-Løve has established herself as one of world cinema’s most exciting young filmmakers in the past few years. Her latest, L’Avenir (Things to Come) came to Berlinale as one of the festival’s most anticipated films. Starring Isabelle Huppert as Nathalie, a middle-aged philosophy teacher on the verge of significant changes in her personal and professional life, L’Avenir is an intimate, life-affirming character study with a superb star turn from Huppert...

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