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The Worst Movies of 2021

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

There are worse things going on in the world than these movies—than any of these movies. I mean, the fact that I got to actually go to the movies a hundred-plus times this year counts, unfortunately, as a triumph, and even the worst movies of 2021 didn’t inspire the same hopelessness as much of 2020. Instead, the worst movies of 2021 were back to something more like business as usual: overblown blockbuster chintz, self-conscious entries in genres the filmmakers thought they had down pat, bad horror shit, and even more attempts to do the Coens or Tarantino or whoever else. (Say this for Dear Evan Hansen: It’s bad in new and unfamiliar ways.) Many of them were streaming-only titles; others played in thousands of theaters nationwide. The worst movies of 2021, like the best ones, know no boundaries. Here I purge them from my ledger, with a mix of links to my past writing/ranting and some newly created sum-ups. Here’s to more regular old bad movies in 2022—that aren’t outshined by the bad movie unfolding all around us.

The Worst Movies of 2021

15. The Tomorrow War

“That’s where The Tomorrow War’s whiff of Christian-movie piety comes in: The filmmakers are careful to characterize Dan as a good husband, attentive and loving father, tough soldier, capable leader, and near-genius scientist, leaving any personal failings as abstract, offscreen concepts that can only be explained, never dramatized, before they’re heroically overcome. Pratt gets in a few of his trademark regular-guy semi-witticisms, but mostly the movie extends the option on Hollywood’s baffling collective decision to employ him as an all-American can-do adventurer rather than an underachieving goofball.”

14. South of Heaven

I believe in Jason Sudeikis’s capacity to go serious… but not like this… not like this. A grave and tone-deaf mix of reflective indie redemption drama, blackly comic Coen Brothers-esque crime caper, South of Heaven made me nostalgic for the days when SNL alumni made terrible feature-length shtick out of their comic personas, rather than po-faced junk.

13. Dear Evan Hansen

“In a weird way, Dear Evan Hansen does achieve the effect it’s going for, in that the whole movie feels like an out-of-control lie: Its phoniness, starting from Platt’s masquerade and building from there, compounds and compounds, and no one involved, especially not director Stephen Chbosky, is willing to call the bluff. Platt gives the worst performance, in the sense that it feels like you’re watching a police sketch of Jason Biggs go through psychotherapy against its will. But there’s a different sort of badness in watching Amy Adams and Julianne Moore (as Evan’s mom) flounder through material so ill-considered.”

12. The Fear Street Trilogy

I have rarely felt crazier than I did watching Twitter reactions and even Rotten Tomatoes scores on this Netflix botch get ever more enthusiastic as it dropped each weekly entry, as if the contact high from an efficient knockoff-Scream opening sequence somehow got into everyone’s bloodstream and kept them peaking for weeks. Guys, this is the bad stuff: archly written without any proper laughs or scares; clumsily plotted and seemingly convinced of its own cynical relevance; saturated with lazy anachronisms disguised as pop-culture signifiers (hint: American kids in 1978 were not saying “shagadelic,” a word coined by Austin Powers in 1997); and ruthlessly extended in the manner of a bad streaming TV show, suggesting a genuine interest in smearing all forms of visual art into generic content paste. The creepiest thing about this trilogy is the way it evokes the feeling that no one involved with this teen horror movie has ever been a teenager or even watched one in a horror movie;

11. Breaking News in Yuba County

“You can probably tell what kind of bad movie this is: Affected. Smugly “satirical” without really satirizing anything. One of many Fargo knockoffs, full of zany quirks and sticky ends, that makes Fargo seem better and richer than ever.”

10. Cherry

Joe and Anthony Russo seem like fairly mild-mannered and pragmatic fellows, having made a name for themselves as go-to network comedy directors throughout the 2000s, then unexpectedly becoming MCU mainstays starting with their work on Captain America: The Winter Soldier. Yet Cherry, their first movie following the unfathomable global success of their Avengers sequels, feels like the Russos have worked themselves into a rage binge over any perceived lack of seriousness to making multibillion-dollar superhero movies. So, they kick up a bunch of aggro grit, with their Avengers co-star Tom Holland playing a vet turned addict turned criminal. This is a movie that has nothing to say about war, addiction, or anything else that it’s supposed to be about, instead focusing on providing the Russos plenty of opportunities to dick around with camera tricks and show-off shots. The striving for gravitas starts to feel like auteur hubris minus any personality: Just pure movie-director ego. Good on them, though, for finally making the incompetent “serious” movie Michael Bay keeps smirking his way out of making.

9. Joe Bell

Plenty of writers focused on the questionable taste of Mark Wahlberg, who committed a hate crime as a young man, playing a father embarking on a cross-country anti-bullying campaign on behalf of his gay son. That’s probably because they weren’t sure how or if they could discuss either the mid-movie twist, or the real-life twist the movie conveys in its final on-screen text, an attempted gut punch that misses and falls on its face. I think enough time has passed to issue a spoiler alert: This movie ends with a serious-minded equivalent of “Poochie died on the way back his home planet,” offering incontrovertible proof that sometimes real-life tragedies are better left unadapted.

8. Here Today

Here Today has some—well, a few—well, a handful of—graceful moments, focusing on the unlikely, ambiguous, surprisingly supportive relationship these characters. It is also singularly, fascinatingly, appallingly, confusingly unfunny… The writing, and the writing-within-the-writing that supplies the movie’s fake comedy, feels restless and rushed, as if Crystal and Zweibel affixed their every “yes and” with the words “…then we’re done.” There’s rich material to be mined from the quirks and foibles of a professional comedy lifer. Instead, Charlie Burnz just sounds like someone opened an expired jar of Billy Crystal and left it out on a counter for several decades.” – my newsletter entry on Billy Crystal. Subscribe to it, maybe I’ll do more in the new year!

7. Demonic

Seeking an M. Night Shyamalan-style low-budget rebirth, Neill Blomkamp returns with an amateurish shocker—that is, a movie that is shockingly amateurish, especially given that he’s been involved with some of the best lower-budget visual effects I’ve ever seen. No such luck in the haunted virtual world of Demonic. Then again, maybe this movie is a miracle: Using a sliding scale based on the fact that District 9 and Chappie cost under $50 million apiece, it would be fair to assume that Demonic cost no more than $600 cash. None of that would matter if the movie were scary or engaging, but its best ideas—involving a woman who uses new technology to venture into her comatose mother’s mind and winds up unleashing a terrible evil—languish with bargain-basement production, and not just in the area of visual effects. It’s one of those movies where I’m shocked to discover afterward that the lead is a professional working actor; whatever she learned in her literal years as a well-liked and successful television performer, Blomkamp managed to wipe the slate clean.

6. Space Jam: A New Legacy

“This is the least funny Looney Tunes endeavor since Cartoon All-Stars to the Rescue. It is worse than the original Space Jam, because the original Space Jam had Bill Murray. Imagine a movie that replaces Bill Murray with 30 minutes. That Justin Lin and Ryan Coogler, filmmakers I would prefer to continue liking, were not frightened away from putting their names on this shit either speaks to their bravery, or their unexpected kinship with Ivan Reitman.”

5. Hero Mode

“It’s tempting to call Hero Mode harmless. It’s a low-budget indie, and the fact that the lead actor, screenwriter, and group of people given a story credit all share a surname suggests that this may be a family project taken too far. Yet in addition to the latent sexism, unmitigated by Mira Sorvino’s nothing of a mom role, there’s something insidious about the movie’s incompetence, and the accompanying belief that it’s good enough to entertain audiences of any age. It aspires to harmlessness, and fails. Even its version of a valuable family-film lesson is bizarre and off-key. Remember, kids: If you happen to become the head of a company before you’ve learned anything about employee management or leadership, be sure to embrace teamwork.”

4. Dating & New York

”Some credit must be awarded to the actors: First, based on the available evidence, they did not flee the movie mid-shoot. (Although if they did, the movie wouldn’t look much different; some of their scenes may well have been completed from the comfort of home.) Second, Young-White is a successful stand-up comic in real life, playing an aspiring stand-up comic in this movie, and he is extremely convincing as someone who will never, ever succeed at stand-up, or possibly anything else besides the wearing of turtlenecks. Even that, I’d call more of a qualified success. They do go around his neck, but at what cost in terms of indicating what season it’s supposed to be? Further to that concern, another scene has Reale wearing a turtleneck of her own, with overalls, while Young-White wears a half-buttoned Hawaiian shirt. Finally, a movie that asks the haunting question: Does New York have weather?”

A postscript to this review: Here and in my A.V. Club preview item about this movie, I mentioned that it was an obviously green-screened New York experience that looked as if it had largely been shot elsewhere. Apparently the writer-director took issue with this, claiming that nothing in the movie was green-screened. This speaks to both the false authority with which we critics sometimes speak, and what a strange, uncanny experience this anonymous-looking New York Movie is, full of generic interiors and obscured backgrounds. If green-screen wasn’t involved, certainly some cheap digital effects make an appearance. I mean, take a look at the header image for this piece again.

3. First Date

A crime comedy that emerges as if from a gruesome accident at a late ‘90s video store, this movie somehow played the Sundance Film Festival in 2021, which would be a source of intense bitterness for the next two decades’ worth of Sundance rejections, if anyone bothers to seek it out. A teenager buys an old car so he can take out his crush, and everything goes wrong—not just with the car and the cops/criminals on its tail, but with the movie, which introduces two likable young characters, contrives idiotic reasons to keep them apart, and drowns everyone in imitation-Tarantino banter.

2. Separation

“It’s this sad-sack divorced idiot, who by all we can tell is a terrible provider, a bad husband, and a mediocre dad… there’s a fascinating convergence of bad directing, bad writing, and bad acting to make this character both terribly unlikable and at the same time, intended to be likable. It’s a feature-length apologia for deadbeat dads everywhere. If we’re OK to get into spoilers, I’ll eventually talk about how the movie even fucks up its weird attempts to mitigate how toxic and poisonous this thing is.” – selections from my sputtering disgust expressed in a discussion on the New Flesh podcast

1. He’s All That

“I do believe fans of That Type of Stuff (a group that I obviously, albeit somewhat torturously, belong to) deserve movies starring people who actually like movies, rather than seeing them as a subsidiary of their TikTok empire. Addison Rae doesn’t look especially excited or moved by anything happening in the movie that she’s starring in. She’s just there, photographed as prominently and helplessly as those plastic-looking slices of Pizza Hut-brand pizza product.” – Also from my newsletter! Like and subscribe!!!

FLIRTING WITH DISASTER at 25: To Break Things and Be Forgiven

Sara is big into reading and writing fiction like it's her job, because it is. That doesn't mean she isn't real as it gets. She loves real stuff like polka dots, indie rock, and underground fight clubs. I may have made some of that up. I don't know her that well. You can tell she didn't just write this in the third person because if she had written it there would have been less suspect sentence construction.

Mel Coplin cannot name his child. This is the inciting plot point of writer-director David O. Russell’s second and, in my opinion, best film: 1996’s Flirting with Disaster, which celebrated its twenty-fifth anniversary this year. It belongs in the same upper echelon of satirical road trip comedies as Albert Brooks’ Lost in America and Preston Sturges’ Sullivan’s Travels but is rarely granted that level of recognition, perhaps overshadowed in the popular imagination by Russell’s flashier but less soulful later efforts. Watching it now, there’s something quaint, even wholesome, about Disaster’s more pint-sized focus and ambitions; its entire budget could probably match the cost of one of American Hustle’s needle drops. It’s a portrait of a distinctly dysfunctional family, released during the height of the Clinton years, picking up on the ambient anxieties of the you-can-have-it-all era and mining it for painful laughs. But, like pretty much every character in the film, I’m getting a little ahead of myself.

Let’s get back to Mel, who is played with exquisitely calibrated neuroticism by Ben Stiller. Mel cannot name his child because he doesn’t understand where he came from. Mel was adopted as a baby by Pearl and Ed Coplin, played by an uncharacteristically ribald Mary Tyler Moore and perpetually harried George Segal, respectively. Though they are not his birth parents, it’s easy to see how they’ve rubbed off on Mel once they’re introduced in the sort of madcap multilayered “everyone talking at once and about different things” dinner sequence that will become this film’s recurring set piece. For someone like me, who grew up in a household that insisted on sedate nightly meals together that often unfolded with the television on in the background, these scenes hit the same pleasure centers as Moonstruck or Raising Arizona. It’s not that I recognize my own family in them, but the particularities of the arguments and the tangled affection informing them invite me, if only briefly, into a new, more emphatic one. Pearl and Ed are upset with Mel because, deep down, they fear they haven’t been enough for him. Because this is a David O. Russell comedy, that’s expressed by Moore boasting about the defiant buoyancy of her late-middle-aged breasts and Segal cautioning about the carjacking problem in San Diego, where Mel has just announced he’s heading with his wife Nancy (Patricia Arquette, expertly capturing the heightened-stakes sensuality of new motherhood) and his hapless caseworker Tina (Tea Leoni, never sexier), who is recently divorced and feeling pressed for time, biologically speaking. Tina has identified San Diego as the residence of Mel’s birth mother, Valerie Swaney.
Continue reading FLIRTING WITH DISASTER at 25: To Break Things and Be Forgiven

Is SPIDER-MAN: NO WAY HOME self-improvement or giving up?

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Let’s start with what we’re allowed to say about Spider-Man: No Way Home without spoiling anything, because it’s something you already know or could have guessed (or maybe even watched online already): It begins immediately after the end of Spider-Man: Far From Home, with J. Jonah Jameson, recast as an Alex Jones-like renegade buffoon but, crucially, still played by the inimitable J.K. Simmons, exposing Spider-Man’s secret identity to the world. So No Way Home starts in a tizzy, and only gets tizzier from there: Peter (Tom Holland) is accosted by the public, pursued by the press, and mortified that his nearest and dearest—the select few who already knew his secret, including his girlfriend MJ (Zendaya), his best friend Ned (Jacob Batalon), and his beloved Aunt May (Marisa Tomei)—are getting swept into his Spider-Drama. (He claims to also feel for the plight of Jon Favreau’s Happy Hogan, but who really believes him?)

These opening scenes represent a welcome pivot to the beleaguered Spider-Man who hasn’t always felt central to the Marvel Cinematic Universe incarnation, guided here, as in the previous two installments, by Jon Watts. Sure, Peter Parker has faced plenty of tough choices, but they’ve often felt a little softened: by a lifestyle that has appeared more middle-class than just-scraping-by, a mentor-benefactor in the form of Tony Stark, and by the support network of Ned, MJ, and May that’s gradually formed around him. The tradeoff has been that the Watts Spider-Man movies, especially Homecoming, have an appealing lightness of tone, where the patented MCU comedy beats mostly feel natural and in-character, with a sense of teen-comedy community around Parker’s misadventures (at least when he’s not blasting off into space for other people’s epics). Having the world learn his secret is a setback that Mr. Stark can’t buy out. Dr. Strange, however…
Continue reading Is SPIDER-MAN: NO WAY HOME self-improvement or giving up?

LAST NIGHT IN SOHO and ANTLERS on the horror elevator

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Edgar Wright seems like he was born to make horror movie. In a sense, he already has, depending on your analysis of the horror-to-comedy-to-squishy-drama ratios in Shaun of the Dead (or your tolerance for the millennial antics of Scott Pilgrim vs. the World; it’s my favorite Wright movie so far, but seems to be one of his more divisive works). Even in his non-zombie pictures, there are dark corners: The elaborate gore of Hot Fuzz, protruding into a spoof of a genre that doesn’t generally go that far (think of Timothy Dalton, spired through the jaw), or the ominous alien invasion (and existential dread) of The World’s End. Wright’s comedies are uncommonly perceptive about the psychology at the contemporary, and often very male, intersection between repression, dorkiness, and despair—without skimping on the geek-show flourishes that genre fans tend to love.

Last Night in Soho is not about men—at least not in its most literal sense. It’s the first Wright movie to assume a female point-of-view, then doubles and blurs that POV with dream logic. At first it’s about Eloise (Thomasin McKenzie), a withdrawn young woman who speaks in a slurry whisper, attending fashion college in London while daydreaming of the ‘60s culture and fashions she worships from decades later. With her obsessively rose-colored vision of past cultural peaks, she could fit right in on the couches of Wright’s nerd-layabout TV series Spaced, though she’d be the best-dressed character by a mile. Irritated by her snarky roommate Jocasta (Synnove Karlsen), Eloise vacates the dorms in favor of a flat upstairs from owner Ms. Collins (the late Diana Rigg). Living on her own for the first time, she plays her retro records loud and soaks in the flashing neon outside her window. But at night, she goes further, dreaming herself all the way back to the 1960s. In her realer-than-real dreams, she’s not exactly jumping into the body of Sandie (Anya Taylor-Joy), an aspiring singer who apparently once lived in Eloise’s flat; she’s more like a shadow, sometimes watching Sandie from a mirror-close vantage point, her empathy (or is it envy?) so intense that she sometimes feels as if she’s sharing Sandie’s experiences.
Continue reading LAST NIGHT IN SOHO and ANTLERS on the horror elevator

HALLOWEEN KILLS is David Gordon Green’s movie, through and through

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Because the Halloween movies are part of a long-running horror franchise, it’s natural that a new entry like Halloween Kills will be received as part of that legacy—even as the movie intentionally picks and chooses what’s part of its continuity, what’s sneaky homage, and what’s brand-new. Halloween Kills is a follow-up to 2018’s Halloween, which itself is not a remake of the original 1978 Halloween, but a 40-years-later sequel that ignores the many other sequels (and the 2007 remake, and its sequel). The new sequel takes some cues from the “original” Halloween II, but it’s not a remake of that one, either; at times, it seems to be consciously rebuking some of that old sequel’s most famous elements.

To a lot of critics and fans, Kills reverts its 2018 predecessor into slasher-sequel mode: more (and gorier) killing, additional backstory (or is it retconning?), more vaguely supernatural power emanating from the unstoppable masked killer Michael Myers. And the film undeniably has all of those elements. But Halloween Kills is more interesting than it sounds, because it represents another left turn in the career of director/cowriter David Gordon Green.

Green also made the 2018 Halloween (and is about to make Halloween Ends, the final movie in this trilogy, slated for release next October). That was a left turn, too, in a filmography full of them. He started out doing soulful, Terrence Malick-esque Southern indies like George Washington and All the Real Girls; tried his hand at stoner comedy with the well-received Pineapple Express and the less-beloved Your Highness; did some movie-star-gone-indie portraiture like Joe and Manglehorn; made a couple of true-life dramas including Stronger; and then signed on for this Halloween trilogy. Green has made a rich and prolific career of baffling different factions of his potential supporters.
Continue reading HALLOWEEN KILLS is David Gordon Green’s movie, through and through

NYFF59 Part 1: The Worst People

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

I’ve been trying and failing to wrap my head around Bad Luck Banging or Loony Porn (Grade: C) and the enthusiastic reaction it’s received at New York Film Festival press screening sand elsewhere, wondering if I might have been more receptive had the content warnings before the movie not characterized it as a comedy. I admire its bizarre juxtapositions: It opens with graphic and unsimulated sex, in order to depict a leaked sex tape with maximum verisimilitude; it then follows Emi (Katia Pascariu), one of the tape’s participants, on a harried bunch of errands as she prepares for a hearing at the school where she teaches, the camera drifting through the COVID-affected spaces around her, eavesdropping on various phone calls; next, there’s an extended break for a wry illustrated glossary of various social and political terms; finally, an extended set piece in the form of the hearing itself, where a group of largely ridiculous parents air their grievances over Emi’s accidentally exposed private life.
Continue reading NYFF59 Part 1: The Worst People

DEAR EVAN HANSEN has broken all contracts

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

The new stage-to-film musical Dear Evan Hansen tosses out established, unspoken contracts left, right, and center. It nixes the contract between stage production and audience, dictating that the energy of live theater overrides desire for literal realism in casting, sets, and developing relationships. It violates the contract between film musical and audience, where we accept the artifice of characters breaking into song and/or dance, so long as those songs or performances sweep us out of the dull constraints of the real world with emotion or spectacle. Perhaps most famously, it breaks, breaks, and re-breaks our collective agreement that it is permissible for actors well into their twenties to pretend to be teenagers on screen, so that we may enjoy the fruits of cruel 16-hour-a-day shooting schedules and more finely honed acting instincts.

On this point, I wondered—as I think others have—whether in a way, Dear Evan Hansen might be extraordinarily effective. Most teenage-misfit stories produced by major Hollywood studios feature misfits who have, at best, slightly obscured their supernatural-yet-conventional attractiveness with costuming, or “overcome” any perceived deficiencies in catalog-model attractiveness with boundless charisma. I haven’t seen the stage version of Evan Hansen played by Ben Platt, but his cinematic incarnation is genuinely, thoroughly, irretrievably off-putting, and also played by Ben Platt.

Continue reading DEAR EVAN HANSEN has broken all contracts


Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

In The Eyes of Tammy Faye, a new sort-of biopic about the spouse of disgraced televangelist Jim Bakker, Jessica Chastain gives us the visible-acting works. She does stuff to her voice, taking on a pinched midwestern sing-song, and does stuff to her face, using both her expressiveness and a ton of makeup—the latter used first to emulate the ritual face-slathering undertaken by her subject, and then to replicate the shifting contours of her actual face. It’s an approach that I’ve sensed may be going out of style—at least among some viewers, who are more attuned than ever to the shifty politics of “transforming” actors into shapes, sizes, and bodies (plus, in the not-especially-distant past, races and genders!) that don’t much resemble their own. It’s called acting, sure, but questions nag at these monuments to dedication and, yes, actorly ego: Must the same small pool of beautiful people be tasked with portraying the full range of humanity?
Continue reading Acting, My Dear Boy: THE EYES OF TAMMY FAYE and BLUE BAYOU

The Podcast: Top Movies of Summer 1991

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

As promised, the panel of summer movie experts is back and bigger than ever, with no fewer than seven all-star contributors assembling (virtually) to discuss the biggest and not necessarily best movies of summer 1991. The panelists are Marisa, Ben, Nathaniel, Sara, Becca, Jeremy, and Jesse. The movies of summer 1991 include R-rated sci-fi action hits that also generated playground buzz from the preteen crowd; a jetpacked retro superhero; Billy Crystal having a midlife crisis; a whole lotta fire; and Kevin Costner in a mullet. And that’s not all! You’ll also find out how Becca’s dad preferred to watch Backdraft, how Robin Hood: Prince of Thieves changed Marisa’s life, how Boyz n the Hood holds up thirty years later, which beloved blockbuster(s) that Ben actually kinda hates, and more, more, more!

If you love hearing us talk about the movies of summer 1991 and long to hear different combinations of us discussing other summer movies of yore, here’s the complete history of this project:


We are now up to SEVEN (7) different ways to listen to a SportsAlcohol podcast:

  • You can subscribe to our podcast using the rss feed.
  • I’m not sure why they allowed it, but we are on iTunes! If you enjoy what you hear, a positive comment and a rating would be great.
  • I don’t really know what Stitcher is, but we are also on Stitcher.
  • is a proud member of the Aha Radio Network. What is Aha? It’s kind of like Stitcher, but for your car.
  • You can download the mp3 of the Black Widow/Cruella episode here and the streaming-biz discussion episode here
  • Our most recent episode or two will sometimes be available on our Soundcloud. We don’t always have it working right but there’s good stuff there regardless!
  • You can listen to the episode in the player below.

REMINISCENCE shows why Hugh Jackman can’t go back to Wolverine again

Jesse is a cofounder of even though he doesn't care for sports or alcohol. His favorite movie is Ron Howard's The Paper. I think. This is what happens when you don't write your own bio. I know for sure likes pie.

Ryan Reynolds is at it again: A new round of press for his new movie Free Guy has meant another parallel round of Reynolds goofing on his former co-star of X-Men Origins: Wolverine—not least because Jackman does quick vocal cameo in the mostly video-game-set comedy. As it happens, Jackman also has a new movie out this month, so his press rounds for Reminiscence have included him discussing how much Reynolds wants to do a Deadpool/Wolverine team-up, and how Jackman doesn’t think that’s in the cards.

Reynolds and Jackman did, of course, team up briefly during that Wolverine prequel that introduced the wisecracking mercenary Wade Wilson, played by Reynolds (as well as the mutated and muted version that re-appears at that film’s misbegotten climax). Since then, Reynolds has resurrected Deadpool as an extremely popular and self-referential R-rated superhero, while Jackman has gone on to make two Wolverine movies that were actually good-to-great. Seems like everything worked out for both of them, but in the spirit of nothing being left alone, it makes sense enough that Reynolds would like a reunion that hitches Deadpool’s insouciant wisecrackery to Wolverine’s gruff irritability. It would probably be a fun and funny variation on the X-Men series that fans would enjoy.

It would also place the sensibilities of two major stars directly at odds. And not necessarily in the usual, familiar buddy-comedy way.
Continue reading REMINISCENCE shows why Hugh Jackman can’t go back to Wolverine again