Sophie Cull Film & Photography

This particular sequence is shown to us in black and white. This is because either it is a flashback or a seemingly insignificant part of the characters life. Low key lighting is also present as it is using natural lighting; yet it could also suggest the protagonist does not want to be there. The monotone theme is not continued however as high key lighting is brought through when the outside area is introduced. It suggests hope or some thought of hope/happiness. It also obviously lets us know it is daytime.

When the sequence begins, we see that the Bride is walking down the aisle when she noticeably stops all of a sudden. Her smile drops from her face. We also know it is a church/wedding from the mise-en-scene. She is dressed all in white and there are benches and pews behind her. Her face being the main subject of this also tells us that a mid-close up is used; this shows us her raw emotion but also her location. She is followed with a backwards tracking shot that almost guides her to the door. It builds suspense for the viewer who does not know what she is feared of. It also creates mild confusion considering it seems she is walking away from her own wedding.

Then using parallel editing, in a P.O.V shot we see the church's doorway. Light floods in through it, making it seem more powerful than it literally is. Not to mention she is in a church when we (the audience) know how many people she has killed; it almost makes sense for her to subliminally want to leave it. It cuts back to her now more weary about her surroundings and becoming indecisive whether to leave or not. We also hear her breathing become deeper (which is a diegetic sound) which creates tension as we don't know what is outside. The close up also suggests she has blocked out all other senses once she hears the flute (again diegetic but seemingly only to her). A backwards track then shows her leaving and the clip cuts to her walking out of the door. Shadows become darker when she does this, almost like if she leaves it will become significant in the future (which can also be a plausible reason to why she remembers it). It can also resemble her curiosity and how whatever is outside is most important to her.

Once she exits we are introduced to a two shot which then turns into a close up of the woman's face; by her expression we can tell she is not impressed nor thrilled with the man's appearance. The camera films her face from a low angle which further exemplifies her annoyance. Cross-cuts are used in a fast pace to build tension; we are curious to hear who will speak first. A smirk slowly appears on her face which contradicts the pace of the scene. He looks up to her and ends the repetitive shots. This kind of 'show-down' shots are common conventions of a western movie and seen in most movies from the genre. Another movie that uses this is "The Good, The Bad and The Ugly" which also uses establishing shots and mid-long shots to establish proxemics between characters. They also use the 'show-down' type shot to establish strength and lack of fear; it replaces it with dominance.

The Bride and the Man are always positioned on alternate sides from each other; The Bride is usually on the right and the Man is usually on the left. It shows the rivalry and differences between them. However the Bride is still shot at a low angle when we see her in a mid shot with the desert behind her with spots of plants and telephone wires. It shows how vast and empty she is but also the mild humanity she holds. She is also stood on the left contradicting her normal stance which shows she comes from the same place as the Man and they do have something small in common.

The Man stand up and walks over to her and mirrors her stance and leans up the post. Again he is stood on the left and she is on the right. This further exemplifies the amount they have in common yet that she still is not comfortable with them; hence why they are not stood together but infront of eachother. Yet they begin to walk closer together, which physically makes their proxemics closer but metaphorically shows how she is now opening up to him. Yet could also relate to the quote 'keep your friends close, and your enemies closer' which then suggests they have some form of 'bad-blood'. Yet eventually they end up face to face with both leaning into each other when they speak. This then lets us know theres a form of romance as neither seem entirely bothered by the other getting closer. It is also filmed from eye-level, meaning they are equal/there is no longer any conflict (rather there is some type of sentiment).

There is also minimal to no cutting when the Man and Bride have their intimate conversation. Hypothetically the wedding is still going on too, which then means her focus is on him. Again this relates to the sense that they have a romantic potential/past. Shots vary from over-the-shoulder and two shots because physically they are that close. Yet because it is still in black and white, we know it doesn't make at incredibly important difference to her life.

.

2016 was thought to be the year superhero movies would fall, from a mixture of the amount being made and the repetitive context behind them. Steven Spielberg even predicted "The Big Danger" stating ""We were around when the Western died and there will be a time when the superhero movie goes the way of the Western. It doesn't mean there won't be another occasion where the Western comes back and the superhero movie someday returns". Though a plausible theory and no doubt will come to light in the next coming years due to the increasing pressure to make content and to feed demand of comic and superhero lovers alike; 2016 seems to not be the year. No doubt Deadpool being the "hero" the genre needed.

Deadpool would class himself as a ladies-man no doubt; but as a viewer (and a fan), i feel it's safe to say that Deadpool is for any man or woman. Compared to the failure of Deadpool's first appearance in Wolverine, the character has become more edgy, witty and sarcastic that often picks fun at other comics. This fourth-wall breaking builds a relatable aspect for comic and film lovers alike; with jabs to movie failures and the little amount of money spent on the film (a mere £50 million in comparison to Avengers: Age of Ultron's budget of £279.9 million). Not to mention the mixture of subtle and not so subtle easter eggs scattered throughout the movie, with Deadpool asking the audience whether or not they've seen 127 Hours (and then continues to cut his arm off like the movie) or Wade Wilson asking for his super-suit not to be "green or animated" (a reference to the movie failure that was Green Lantern which also starred Ryan Reynolds).  The character therefore speaks the mind of the viewer, not to mention no superhero movie has done it this effortlessly and directly. Deadpool has also been in the works for a while now. Ryan Reynolds was eager to "do the character justice" after his previous portrayal as the character (which he and many fans didn't believe nor agree with). You can see the amount of time and effort that has gone into research of the character, cinematography and even the endless jokes that somehow do not manage to cross a line into annoyance. These (often categorised as basic) features build it towards a box office success. And if we're comparing box office success in terms of money, Deadpool has become the 2nd most grossed superhero origin movie (closely behind Spiderman) in both opening week and lifetime categories; the movie has also become the number one Revenge movie in the Lifetime Gross, Theatres and Opening categories.

The method of which box office success is measured is debatable, but nonetheless Deadpool has been an overwhelming victory no doubt. Whether you read the comics constantly or only seen the movie once, you know who he is and will definitely be queuing up for the second instalment. 

*Side-note Deadpool is now on DVD, so i'll be watching it 50 times*