The Backend
A world where Mark Gatiss’ and Steven Moffat’s Dracula (2020) exists does not need such an unironically forced adaptation like this uneven paced snoozefest that simultaneously tries so hard to be and not to be Bram Stoker’s Dracula (1992).
#NotMyFeratu
| Storytelling | 🐷 |
| Characters | 🐷🐷 |
| Acting | 🐷🐷 |
| Drama, Baby! | 🐷🐷 |
| Fun | 🐷 |
| Humour | 🐷 |
| Visuals | 🐷🐷🐷 |
| Music and Sound | 🐷🐷🐷 |
| Originality | 🐷🐷 |
| Entertainment value | 🐷🐷 |
| Production value | 🐷🐷🐷 |
| Satisfaction | 🐷🐷 |
It…
It‘s…
It‘s nice.
But it‘s way too long.
That‘s what she said. 😎
| Storytelling | 🐷🐷🐷🐷 |
| Characters | 🐷🐷🐷 |
| Acting | 🐷🐷🐷 |
| Drama, Baby! | 🐷🐷 |
| Fun | 🐷🐷🐷🐷 |
| Humour | 🐷🐷🐷🐷 |
| Visuals | 🐷🐷🐷🐷 |
| Music and Sound | 🐷🐷🐷 |
| Originality | 🐷🐷 |
| Entertainment value | 🐷🐷🐷🐷 |
| Production value | 🐷🐷🐷🐷 |
| Satisfaction | 🐷🐷🐷 |
«Deadpool 2» does a wonderful job at being a highly forgettable but loveable delivery device for over-the-top action, gratuitous violence and countless throwaway (meta-) jokes that kept me laughing from beginning to end. Sometimes, that’s enough.