Movie Review: Taika Waititi’s ‘Next Goal Wins’ Is a Sweet, Frothy Diversion but No Knee Slide

 This image released by Searchlight Pictures shows David Fane, left, and Michael Fassbender in a scene from "Next Goal Wins." (Searchlight Pictures via AP)
This image released by Searchlight Pictures shows David Fane, left, and Michael Fassbender in a scene from "Next Goal Wins." (Searchlight Pictures via AP)
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Movie Review: Taika Waititi’s ‘Next Goal Wins’ Is a Sweet, Frothy Diversion but No Knee Slide

 This image released by Searchlight Pictures shows David Fane, left, and Michael Fassbender in a scene from "Next Goal Wins." (Searchlight Pictures via AP)
This image released by Searchlight Pictures shows David Fane, left, and Michael Fassbender in a scene from "Next Goal Wins." (Searchlight Pictures via AP)

In "Next Goal Wins," a soccer coach comes from far away to lead a hapless group of athletes. He's a fish-out-of-water type, ill-suited for the job, but rises to the occasion and everyone feels good at the end. Wait, you're thinking, that's the plot of "Ted Lasso." Well, only kind of.

Writer-director Taika Waititi — the manic, slightly unhinged mind behind "Thor: Love and Thunder" and "Jojo Rabbit" — offers a sports movie that's not, of course, a sports movie and the opposite of whatever Jason Sudeikis was doing on his TV series.

"Next Goal Wins" — "inspired by true events" — stars Michael Fassbender as a bitter Dutch-American soccer coach assigned to help the struggling American Samoa national team qualify for the 2014 FIFA World Cup. The team is an international laughing stock and still stinging from having been on the wrong side of the worst loss in international soccer history — a 31-0 thrashing by Australia in 2001.

Waititi and co-writer Iain Morris based their movie on a 2014 British documentary of the same name and you can instantly tell why Waititi gravitated toward the story. It has a clash of civilizations, explores overcoming loss and it has a beautiful lesson about embracing those who are different.

In Waititi's hands, it becomes a sloppy, quirky, pop culture-studded frothy comedy that gently apes other underdog sports movies but doesn't offer much but a mildly funny respite from reality. It makes "Bend it like Beckham" seem really deep.

Waititi himself — he couldn't resist stepping into his own film — frames the movie in the first minutes by playing a priest on American Samoa who promises this will not be a tale of woe but "a tale of woah!" (Shakespeare isn't laughing).

Fassbender here is the opposite of Lasso — he's broken inside, angry outside, egotistical and unyielding, a coach fired from his last three teams and given a career lifeline no one else wants. He has no home-spun wisdom to offer, just routine high school bullying. "Something’s not right about that guy," says one islander. "Well," comes the response. "He is white."

The coach will eventually be redeemed by American Samoa itself, by the nobility of its people and the goodness of their souls, with the movie getting dangerously close to worn out movie cliche territory.

The script had an opportunity to really examine the demand of winning at all costs versus the rewards of merely having fun and having a passion for sports but abandons any lessons in a flurry of team-building montages.

This being a Waititi movie, there's a scattershot of pop culture references — "Karate Kid," "Taken," "The Matrix," "Any Given Sunday" and even Frank Sinatra ("You’re riding high in April, shot down in May"). At times, these seem more like the director's idiosyncrasies than plot advancers.

The script also takes a weird sort of glee mocking the islanders, who are portrayed sometimes as playing dress-up. One sits at a desk with a keyboard and a monitor but no computer and another makes siren noises with his mouth in a police car because of faulty equipment.

There are really nice turns by Oscar Kightley, Will Arnett and Elisabeth Moss, but it's Fassbender who must do the bulk of the lifting here. His accent is spotty and he may initially not have been on the top of everyone's list for the part but he sticks the landing, to mix sports metaphors. "Next Goal Wins" isn't a tale of "woe" or "woah!" but "meh."



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.