Yes, there is fangirl/fanboy reaction trickling in about “Deadpool 2,” which was screened all over North America last Thursday.
Ignore their nerdgasms or criticisms just a tad longer, if you would.
Official, grownup licensed (not really) critic reviews don’t arrive until 11 tonight. That’s when the Fox/Marvel embargo ends. For those of us with licenses (sorry, not a real thing).
For perspective, though, let me play the Elder Statesman of Cinema Criticism here and point out one other time this was done.
It was the spring of 2006, kids. America and the world were reveling in the wit and clumsiness of the Bush Presidency, year five, the Tigers and the Cardinals were slowly clawing their way towards a World Series date in October.
And Sony was about to unleash “The Da Vinci Code.” But they were showing it at Cannes, too. That self-same warm May night on the Cote d’Azur.
Rather than let Cannes-heads label their film as fabulous or a flop — these folks have been known to endorse Von Trier and “Tree of Life” tripe — Sony cleverly decided to show the film to EVERY critic at same time. The curtain would rise in Cannes, and critics from Orlando to Indianapolis, Philly to LA, DC to Atlanta, would see the credits roll at exactly the same time.
Similarly, in Greater Orlando we saw “Deadpool 2” at 430, LA saw it at 1:30, etc. this past week.
I’ve always thought that’s the way it ought to be, no favoritism for “the trades,” no Pixar sneak-peak to Time Magazine to game opinions and influence critics prone to pack mentality.
Yeah, we were all pretty much in lock step when “Da Vinci Code” came out. My review is preserved on Page 5 of the Rotten Tomatoes archive. And it still earned a fortune.
So there’s no lesson here, no learning — just a coordinated effort to level the playing field. Just the way Mr. Pool wants it.