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Comic-Con Fans Assemble as Marvel Eyes Major Reboot 

Convention attendees blur past a wall of illustrated Marvel superhero characters during preview night for Comic-Con International, Wednesday, July 24, 2024, in San Diego. (AP)
Convention attendees blur past a wall of illustrated Marvel superhero characters during preview night for Comic-Con International, Wednesday, July 24, 2024, in San Diego. (AP)
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Comic-Con Fans Assemble as Marvel Eyes Major Reboot 

Convention attendees blur past a wall of illustrated Marvel superhero characters during preview night for Comic-Con International, Wednesday, July 24, 2024, in San Diego. (AP)
Convention attendees blur past a wall of illustrated Marvel superhero characters during preview night for Comic-Con International, Wednesday, July 24, 2024, in San Diego. (AP)

Comic-Con returns in full force to San Diego this week, where a hugely anticipated Marvel superhero film event is among the draws for tens of thousands of hyped-up fans dressed as fantasy heroes and sci-fi villains.

One of the world's largest pop culture events, Comic-Con began five decades ago as a humble comic book-themed gathering in a hotel basement, but today draws vast crowds and A-list stars promoting new movies and television shows.

Last year's edition was dampened by Hollywood strikes -- which prevented actors from attending, and quelled fan interest -- but Comic-Con is expected to draw 130,000 attendees back to the southern Californian city this time around.

The hottest ticket is the Saturday night Marvel movies presentation, at which parent company Disney is expected to unveil plans to reboot its mega-grossing superhero film franchise, after years of high-profile missteps.

The Marvel movies dominated Hollywood and global box offices for years, with 2019's "Avengers: Endgame" briefly becoming the highest-grossing film of all time at more than $2.79 billion.

But the past few years have brought more flops than hits, as fans complained about over-complicated plotlines and mourned the departure of favorite characters like Robert Downey Jr's "Iron Man."

And the franchise has been rocked by domestic violence revelations about actor Jonathan Majors, who had been set to become the major new supervillain across multiple films.

Majors, who was convicted for assaulting and harassing his then-girlfriend, has been dropped by Marvel, but there is no word on who -- or what -- will replace him.

Saturday's presentation is expected to reveal how Disney will move forward without him, and has been billed as a potential "make or break" moment by some observers.

It will take place inside the 6,000-capacity Hall H, where many camp in line for days to gain access.

"If the company wants to lure in anyone besides the dwindling ranks of... diehards, it needs to bring the answer to these questions to Hall H," wrote Susana Polo, for entertainment news outlet Polygon.

- Aliens, Deadpool and Ancient Rome -

Also on the Comic-Con lineup from Disney are a look at "Alien: Romulus," the latest in the long-running sci-fi saga, and a "celebration" event for this weekend's major superhero release, "Deadpool & Wolverine."

Rival studio Warner, which runs the DC superhero movies, is keeping a lower profile, but will offer a glimpse at its Batman spinoff TV series "The Penguin," starring Colin Farrell.

Elsewhere, "Those About To Die," a bloody romp through Ancient Rome and its macabre world of chariot races and gladiator fights, starring Anthony Hopkins, will host multiple fan events.

Amazon's Prime Video will lift the lid on the second season of its "Lord of the Rings" television series, which aims to improve on the mixed reviews for its hugely expensive debut season two years ago.

And following the success of recent video game adaptations for the small screen such as "Fallout" and "The Last of Us," Amazon will take viewers into the underworld of Japanese crime lords with "Yakuza: Like a Dragon," based on the hit games from Sega.

But for many, Comic-Con is primarily a place to dress up as Disney characters or fearsome samurai warriors, and meet with like-minded fans to buy and trade comic books.

Comic-Con runs from Thursday until Sunday.

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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)
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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.