TRAILER #2 FOR LOGAN

20th Century Fox's Logan is shaping up to be one of the best superhero movies... ever? That is, if this strong trailer and the even stronger first trailer are to be trusted. Looking to capture some of the same R-rated X-Men universe magic that Deadpool conjured up at the early-year box office last year, Hugh Jackman's reported final appearance as Wolverine is out in the UK on the 2nd of March and in the US on the 3rd.

PGA NOMINATIONS MAKE THINGS WORSE

Was there any need for this? Sure, Deadpool isn't a bad film, and sure, Silence probably never stood a chance given Paramount's release and campaign strategies. But rly, PGA? Always doing the most to do the worst. We also now have the official credits for the documentary nominations, which were announced in November, and five animated nominees additionally. The 28th of January is the date for this year's PGA awards. Couldn't give the tiniest fuck rn.

The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures

Arrival (Dan Levine, Shawn Levy, David Linde and Aaron Ryder)

Deadpool (Simon Kinberg, Ryan Reynolds and Lauren Shuler Donner)

Fences (Todd Black, Scott Rudin and Denzel Washington)

Hacksaw Ridge (Bill Mechanic and David Permut)

Hell or High Water (Carla Hacken and Julie Yorn)

Hidden Figures (Peter Chernin, Donna Gigliotti, Theodore Melfi, Jenno Topping and Pharrell Williams)

La La Land (Fred Berger, Jordan Horowitz and Marc Platt)

Lion (Iain Canning, Angie Fielder and Emile Sherman)

Manchester by the Sea (Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward and Kevin J. Walsh)

Moonlight (Dede Gardner, Jeremy Kleiner and Adele Romanski)

Outstanding Producer of Animated Theatrical Motion Pictures

Finding Dory (Lindsey Collins)

Kubo and the Two Strings (Travis Knight and Arianne Sutner)

Moana (Osnat Shurer)

The Secret Life of Pets (Janet Healy and Chris Meledandri)

Zootopia (Clark Spencer)

Outstanding Producer of Documentary Theatrical Motion Pictures

Dancer (Gabrielle Tana)

The Eagle Huntress (Otto Bell and Stacey Reiss)

Life, Animated (Julie Goldman and Roger Ross Williams)

O.J.: Made in America (Ezra Edelman and Caroline Waterlow)

Tower (Megan Gilbride, Keith Maitland and Susan Thomson)

2016 WRITERS GUILD OF AMERICA NOMINATIONS

In a joke on par with the standard of some of Deadpool's stickier gags, the Writers Guild of America nominations have been announced. Winners will be revealed on the 19th of February, if you can bear to stick around that long.

Best Original Screenplay

Damien Chazelle (La La Land)

Barry Jenkins and Tarell Alvin McCraney (Moonlight)

Kenneth Lonergan (Manchester by the Sea)

Jeff Nichols (Loving)

Taylor Sheridan (Hell or High Water)

Best Adapted Screenplay

Tom Ford - based on the novel Tony and Susan by Austin Wright (Nocturnal Animals)

Eric Heisserer - based on the story Story of Your Life by Ted Chiang (Arrival)

Theodore Melfi and Allison Schroeder - based on the book by Margot Lee Shetterly (Hidden Figures)

Rhett Reese and Paul Wernick - based on the X-Men comic books (Deadpool)

August Wilson - based on his play (Fences)

Best Documentary Screenplay

Jeff Feuerzeig (Author: The JT LeRoy Story)

Alex Gibney (Zero Days)

Robert Kenner, Brian Pearle, Kim Roberts and Eric Schlosser - based on the book Command and Control by Eric Schlosser (Command and Control)

2016 OSCARS MAKEUP SHORTLIST ANNOUNCED

The Academy's make-up branch is moving into slightly new territory this year, though you'd hardly know it by observing their seven-strong shortlist. For those in the know, this branch fucking loves Mel Gibson films, yet his Oscar-hyped Hacksaw Ridge is absent from this list. These seven will become three, the sole existing category with fewer than five nominees, on the 24th of January, when nominations in all categories are announced. And these seven are...

Deadpool

The Dressmaker

Florence Foster Jenkins

Hail, Caesar!

A Man Called Ove

Star Trek Beyond

Suicide Squad

REVIEW - DEADPOOL (TIM MILLER)

We are slaves to the system. We have succumbed to servitude, consuming superhero films with the appetite and the attitude prescribed to us by studios. Their processed produce now provides us with a balanced diet - or, at least, one as balanced as we want - with the proper portions of dark thriller, high-octane action, and Deadpool's self-deprecating comedy. And all with a side order of supposed independent agency: see how you smirk with self-satisfaction, invited in on the joke with fourth wall breaks, an irony-laden soundtrack, and mocking self-awareness in the spoof opening credits. Never mind that this is merely 20th Century Fox forcing you to feel it - you know that you feel it, this sensation of self-ratification, excusing you for all the times you excused these superhero films for making you feel the same things time and time again. And so you may excuse Deadpool too, since its appreciation for the vapidity of these comic book tropes is activated, in part, by its own use of these tropes. Though less familiar and more fulfilling, and mostly intelligently-done, Deadpool's mocking flippancy is perhaps even more calculated than the movies it mocks, including itself. Thus, that which makes this movie so refreshing and endearing is also what makes it so irritating. Making his feature directorial debut, Tim Miller displays skill in constructing his film's buoyant action scenes, though his adequacy across the board never burgeons into anything greater. Alas, how could it? He, too, is a slave to this system, checking the required boxes on an exhaustive list of ingredients, all in service of delivering us our next meal of bloated, balanced studio slop.