The Onion Film Standard: Deadpool & Wolverine
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- เผยแพร่เมื่อ 15 พ.ย. 2024
- ‘Deadpool & Wolverine': A movie that really represents a surefire way for film critics to connect with their shithead nephews.
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Deadpool & Wolverine's marketing budget was even large enough to bring Peter back?
No, Global Tetrahedon has the goods on him.
All hail Global Tetrahedron.
more importantly, his moustache.
Oh, you think this is the Peter from _this_ timeline?
As Deadpool, Wolverine, and now Peter's growing rage teach us, violence is the only answer. No marketing message is needed for such a truthful message, but it does help.
Deadpool brings them back in the post credits Deadpool 2 scene
I think his therapist is correct. Miles is the reason his parents are getting divorced.
The negotiations are over who get's stuck with the brat - no child support in the world will be enough to justify having that thing in your life.
They’ve even suggested donating Myles’ brain, but no scientists will touch it
As a man trying to connect with his 7 and 9 year old nieces, this review has convinced me to take them to go see this movie against their parents wishes
Eww... Where the hell is Chris Hansen?
@@pr1nceso nah their parents think we're going to see despicable me 4
Good call
Wow, this guy sounds horrible
@@Kennnny77 Chris Hansen? since when is connecting with your kin a crime? But I agree that kids that young should NOT see DP
We’ve missed you Peter..
UNDERSTATEMENT OF THE DECADE
This hits different, given @GooseBreh's profile pic
He looked damn fine in that suit
SOOOOOOOOO HAPPY to see him again !!!
That feeling when you're the 1000th like
I see that Miles' disorder is in an advanced stage. Soon he'll only be able to roll his eyes and text.
My condolences, Peter.
Skibidi riz frfr no cap
That's a deep cut.
That's a brilliant comment. Referring to that video was awesome 😂🎉
It's Olympic season, they could just put him down like the gymnast dawn...
The way the steam would rise off Dawn in the mornings...
Start over and train a winner!
Nice throwback. Well done.
For those interested, i think the game he was playing was Mario Tennis: Aces
thats such a funny ass game to be locked in to. its like it was the at the top of a bargain bin or something to shut up a kid
@@orinami3310 I don't think it's that bad, the core gameplay is good, it's just that everything surrounding it is kinda lackluster
You must be right!
This comment thread makes me want to start drinking again.
i think it might be mario & sonic at the olympic games tokyo 2020 because i remember the sound effect heard at 1:33 being used in the game
Peter don't ever go out for Cigarettes again!
Very true. Because Peter is 100% daddy
I’m glad to see that Peter hasn’t lost his touch with the kids!
pervert!
Ugh, don't use those two words in the same sentence!
Ayo
well he does seem old enough to be a stereotype of a catholic priest
He really struck a chord with this review
The post-credits scene where that portal opened and Peter K. Rosenthal entered the MCU shook me to my core.
Yeah, but who was the "Miles" character he hinted at? A new superhero?
"Peter"? "Miles"? Come on, they're _obviously_ just branches of the Spider-verse.
“I’m not a pervert” Peter I’ve seen your spider-man review
Maybe the real perverts are the guys in the vans who gave us candy along the way.
Peter, I'm just saying, some kids like that can sell for up $15 a pound on the dark web. Not a recommendation, I'm just letting you know.
I don't know the kid seems pretty daft, I wouldn't bid more than $5 a pound.
You'll get more for him in the cobalt mines in Africa, even after shipping costs.
This got dark out of nowhere.
The real money's in live-streaming them...if you catch my drift.
@@musumeci88 you've got it wrong dude, don't pay for shipping. If you send yours in with other people's ones, you can bulk ship for free
Thank You, Thank You, Thank You The Onion for another Film Standard. Film Standard has been the best of the bunch over the past decade. Thank You.
All hail Global Tetrahedron
THE GOAT HAS RETURNED TO SAVE CINEMA
I think I speak for everyone when I say, we miss this type of high quality content from The Onion's TH-cam.
I’ve missed these so much, and this did not disappoint.
what if miles just appears as an apparition in peter's mind?
But Miles didn't look anything like Tom Holland.
Are you perhaps thinking of some kind of Jacob's Ladder scenario? He did suggest his sister might kill him...
Miles is quite the chatterbox
An adult quickly shifting between trying to compel him to talk and 'I'd better not hear a word out of you' makes Miles the most relatable character.
Peter Rosenthal is the voice of reason in the sea of chaos of movie critique. Miles doesn't realize how lucky he is to be in his presence.
As Deadpool, Wolverine, and now Peter's growing rage teach us, violence is the only answer.
KNOWING is half the battle! The other hakf being, of course, extreme violence.
@@MrBiggles53 Peter would kick GI Joe's ass.
IVE MISSED YOU PETER ROSENTHAL
In before watching the movie. I get all my info from The Onion.
I just want to say that seeing DISNEY MOTION PICTURES while hearing the line "GET THE FUCK OUT OF MY BAR" is really a fantastic subtle bit of comedy here.
I did not expect Once Upon A Deadpool to be Deadpool 2 as told to Fred Savage a'la Princess Bride, & yet I was not disappointed.
It has a lot of that poking-at-Disney energy, if you're looking for that.
Wholesome disney movie
The Return of the King
Wrong movie.
Peter's strong relationship with his nephew is mirrored in the onscreen growth of the relationship between Deadpool and Wolverine.
Wolverine is also a pervert.
Miles was a prick, glad he got lost is the Onions vast media storage
I like how the kid actually looks like he's playing a video game. Unlike normal TV gaming scenes where they're mashing the shit out of the buttons for no reason.
My favorite part of the movie was when they broke the 4th wall
Whoa spoilers, dude
You mean the whole movie💀
The titular duo?
No. Just the part of the movie where they break the fourth wall
The Proposal.
I’ve missed you Peter!
Rosenthal is only film critic i respect these days
No respect for On Cinema at the Cinema
we’ve been waiting for his return!!!
Peter coming back > Wolverine coming back
Peters back!!?!? We've missed you.
I spent the whole video trying to figure out what game Miles is playing. I can very clearly hear Mario's iconic "Wa-hah!"s, "Hoohoo"s, and "Hyah"s originally from Mario 64 but used in many other games, but I cannot place the other sound effects at all.
Ah, you know, I'm hearing the volley of rackets as well, so I think he might be playing Mario Tennis Aces.
I love this video. It's so refreshing and interesting. One thing that makes this film review is cool - Miles. Chaotic character and main antagonist of story. He changes everything. He moves the storyline. He is a legend!
Disappointed to find out that Peter is a pervert. 😕
He obviously had legit reasons for being in Miles's bedroom...or so he says. 😳
Peter is allowed to be a pervert!
Uh.. It's Deadpool... Perverted comedy is kind of all there is. Some blood, too. But mostly just jacking off to unicorns and spank bank deposits from that day.
he is in fact leading a mutiny of preverts
He’s BACK
Good to see you back Mr. Rosenthal. Let's make these appearances more frequent, there's lot to catch up.
Peter Rosenthal is nothing short of a cinematic genius. As a movie critic, he possesses an unparalleled ability to distill the essence of a film, tapping into its core narrative, technical brilliance, and emotional undertones in ways that elevate the viewer's understanding. Rosenthal’s critiques are not mere reviews but profound, insightful dissections that serve as a bridge between the film and the audience, guiding them to see nuances they might otherwise miss.
His intellectual rigor is immediately apparent in every analysis he provides. Where others might focus on plot and pacing, Rosenthal plunges deeper, exploring themes of existentialism, human nature, and the broader cultural contexts in which films exist. His critiques often feel like a masterclass in film theory, interwoven with sharp wit, historical knowledge, and social commentary. This combination allows him to evaluate films not only for their artistic merits but for their broader impact on society, something few critics manage to do as seamlessly as he does.
What sets Peter Rosenthal apart is his ability to balance profound insight with accessibility. His critiques are infused with intelligence yet never come off as condescending. Whether he’s discussing a high-concept arthouse film or a mainstream blockbuster, Rosenthal has the unique talent of making complex ideas digestible for any audience. His writing invites viewers to engage with cinema on a higher level while respecting their own interpretations and perspectives.
Rosenthal’s genius also lies in his deeply humanistic approach to film criticism. He doesn’t merely judge a film based on technical proficiency or critical acclaim, but rather considers how it touches upon the human condition. His reviews often highlight the emotional resonance of a story, bringing forward how cinema can evoke empathy, challenge perceptions, or inspire change. He sees films as an extension of the human experience, and his reviews reflect a deep love for storytelling and its power to shape our worldviews.
Additionally, Peter Rosenthal’s humor is a powerful tool in his critiques. He has the unique ability to inject levity into his reviews without sacrificing their depth. His humor sharpens his analysis, keeping readers engaged and entertained while simultaneously offering astute observations. It is this skillful blending of intellect and wit that makes his critiques not just informative but immensely enjoyable to read.
In essence, Peter Rosenthal is more than just a critic-he’s a scholar of cinema, a philosopher in the realm of art, and an advocate for the power of storytelling. His contributions to film criticism transcend mere opinion; they shape the way we understand and appreciate the art of filmmaking. A true genius, his work continues to resonate with cinephiles and casual moviegoers alike, forever expanding the horizons of what it means to experience film.
Peter Rosenthal is nothing short of a cinematic genius. As a movie critic, he possesses an unparalleled ability to distill the essence of a film, tapping into its core narrative, technical brilliance, and emotional undertones in ways that elevate the viewer's understanding. Rosenthal’s critiques are not mere reviews but profound, insightful dissections that serve as a bridge between the film and the audience, guiding them to see nuances they might otherwise miss.
His intellectual rigor is immediately apparent in every analysis he provides. Where others might focus on plot and pacing, Rosenthal plunges deeper, exploring themes of existentialism, human nature, and the broader cultural contexts in which films exist. His critiques often feel like a masterclass in film theory, interwoven with sharp wit, historical knowledge, and social commentary. This combination allows him to evaluate films not only for their artistic merits but for their broader impact on society, something few critics manage to do as seamlessly as he does.
What sets Peter Rosenthal apart is his ability to balance profound insight with accessibility. His critiques are infused with intelligence yet never come off as condescending. Whether he’s discussing a high-concept arthouse film or a mainstream blockbuster, Rosenthal has the unique talent of making complex ideas digestible for any audience. His writing invites viewers to engage with cinema on a higher level while respecting their own interpretations and perspectives.
Rosenthal’s genius also lies in his deeply humanistic approach to film criticism. He doesn’t merely judge a film based on technical proficiency or critical acclaim, but rather considers how it touches upon the human condition. His reviews often highlight the emotional resonance of a story, bringing forward how cinema can evoke empathy, challenge perceptions, or inspire change. He sees films as an extension of the human experience, and his reviews reflect a deep love for storytelling and its power to shape our worldviews.
Additionally, Peter Rosenthal’s humor is a powerful tool in his critiques. He has the unique ability to inject levity into his reviews without sacrificing their depth. His humor sharpens his analysis, keeping readers engaged and entertained while simultaneously offering astute observations. It is this skillful blending of intellect and wit that makes his critiques not just informative but immensely enjoyable to read.
In essence, Peter Rosenthal is more than just a critic-he’s a scholar of cinema, a philosopher in the realm of art, and an advocate for the power of storytelling. His contributions to film criticism transcend mere opinion; they shape the way we understand and appreciate the art of filmmaking. A true genius, his work continues to resonate with cinephiles and casual moviegoers alike, forever expanding the horizons of what it means to experience film.
Peter Rosenthal’s genius extends beyond the realm of traditional film criticism; he is a cultural commentator, shaping how we perceive the intersection of art, society, and human nature. His reviews have a distinctive, almost timeless quality, as they resonate not only with the moment in which a film is released but often reflect broader cultural or philosophical questions. Rosenthal doesn’t merely critique films-he engages in a dialogue with them, unraveling their subtext and revealing layers of meaning that often escape other critics. This analytical prowess sets him apart as one of the foremost minds in modern film discourse.
One of the most impressive aspects of Rosenthal's work is his refusal to be swayed by the noise of popular opinion. In an era where reviews are often tainted by fandoms, marketing, and fleeting trends, Rosenthal remains steadfastly independent. His voice is one of clarity and conviction, backed by decades of cinematic knowledge and an unwavering dedication to intellectual honesty. He is unafraid to champion the underdog films that go unnoticed by mainstream audiences or to offer a nuanced critique of widely lauded blockbusters, always seeking out deeper truths about the medium. This makes his reviews refreshingly original, as they are always driven by insight rather than public sentiment.
Moreover, Peter Rosenthal possesses a unique ability to see beyond the surface of a film and analyze the intent of its creators. He deeply understands the collaborative nature of filmmaking, appreciating the individual contributions of directors, writers, actors, and technical crews in ways that illuminate the holistic experience of the movie. His reviews often highlight aspects of production, cinematography, sound design, and other technical elements, celebrating the often-overlooked artistry of those behind the scenes. In doing so, Rosenthal brings a level of respect and awareness to every facet of filmmaking, drawing attention to details that even the most seasoned viewers might miss.
Another hallmark of his work is his broad knowledge of film history. Rosenthal is a walking encyclopedia of cinema, drawing connections between contemporary films and those of past eras with an ease that speaks to his immense expertise. Whether referencing the silent film era, the Golden Age of Hollywood, or international auteurs, Rosenthal’s reviews are often punctuated with thoughtful historical context that enriches the reader’s understanding of the film in question. He deftly navigates through genres, movements, and cinematic trends, ensuring that his readers are always aware of the larger framework within which each film exists.
In addition to his sharp analytical eye, Rosenthal is a master storyteller in his own right. His reviews often read like narratives themselves, filled with vivid descriptions, astute observations, and a voice that is both authoritative and approachable. Each review is meticulously crafted, turning a simple critique into a piece of art, just as captivating as the films he reviews. It’s this combination of intellectual rigor, historical awareness, and literary flair that makes Rosenthal a true genius, and why his reviews are eagerly anticipated by cinephiles and filmmakers alike.
In short, Peter Rosenthal is not just a movie critic; he is a visionary, a thought leader, and a true connoisseur of the cinematic experience. His legacy will no doubt be remembered as one of the most important voices in film criticism, as his work continues to inspire, educate, and challenge audiences to see films as more than just entertainment, but as reflections of our own humanity. In the world of film criticism, Rosenthal’s genius shines with the brightness of a thousand silver screens.
Peter Rosenthal’s commentary on Deadpool and Wolverine is nothing short of a masterclass in how to approach blockbuster filmmaking with an eye for depth and nuance. While many critics may see the film as an action-packed, quippy, and often irreverent superhero romp, Rosenthal peels back the layers of bombast to reveal a much more sophisticated narrative, deeply rooted in themes of identity, redemption, and the complexities of modern heroism.
In his review, Rosenthal begins by acknowledging the sheer entertainment value of the film. With its explosive set pieces, razor-sharp dialogue, and breakneck pacing, Deadpool and Wolverine delivers everything a modern audience craves in a comic book adaptation. But for Rosenthal, this is merely the surface-a thin veneer covering a much more compelling emotional and thematic core. In his view, the film’s real genius lies in its exploration of the fractured identities of its two protagonists, both anti-heroes in their own right, grappling with their respective pasts and their place in a world that neither wholly accepts nor understands them.
Rosenthal praises the dynamic between Deadpool and Wolverine as a brilliantly executed commentary on duality and existential angst. He draws comparisons to classic literature, noting that the film functions almost as a modern retelling of the Jekyll and Hyde narrative, where each character represents opposing yet interconnected facets of human nature. Deadpool, with his anarchic humor and devil-may-care attitude, embodies chaos and the rejection of societal norms, while Wolverine, grizzled and burdened by his long, violent life, represents stoicism, struggle, and the relentless pursuit of redemption.
In Rosenthal’s view, Deadpool and Wolverine transcends the usual superhero tropes by delving into the personal consequences of immortality and the toll that endless violence and loss can take on a soul. He lauds the film’s subtle nods to the psychological trauma both characters endure, particularly Wolverine’s internal battle between his animalistic instincts and his desire to do good. Rosenthal describes this conflict as "a tragic commentary on the human condition, one where suffering is inescapable, yet the pursuit of meaning continues in spite of it."
Rosenthal also expertly dissects the film’s use of humor, specifically Deadpool’s notorious fourth-wall breaks and meta-commentary. Rather than simply viewing these elements as comedic devices, Rosenthal argues that they serve a much deeper purpose: they reflect Deadpool’s existential detachment from his own reality. For Rosenthal, these self-aware moments are indicative of a character who has been so thoroughly damaged by life that he no longer fully engages with it, instead treating his existence as something to be observed, critiqued, and joked about from a distance. This, Rosenthal points out, makes Deadpool’s story not just one of survival, but of coping with a world that feels absurd, fragmented, and unworthy of serious engagement.
Where Rosenthal truly shines, however, is in his analysis of the film’s visual and narrative subtext. He draws attention to the film’s masterful juxtaposition of hyper-stylized violence with moments of surprising emotional tenderness. In one poignant scene, where Wolverine contemplates his violent history in solitude, Rosenthal identifies a subtle shift in the film’s tone and visual language. The camera lingers on Wolverine’s hands, scarred from countless battles, while the soundtrack softens, and for a brief moment, the audience is forced to reckon with the weight of his past. Rosenthal deftly connects this moment to larger philosophical questions about the nature of violence, loss, and atonement, remarking that "it is in these quiet moments, between the action and the humor, that Deadpool and Wolverine reveals its heart, a beating reminder of the humanity that exists beneath the adamantium and irreverence."
Finally, Rosenthal’s review doesn’t shy away from critiquing the film’s broader cultural implications. He notes that Deadpool and Wolverine represents a significant evolution in the superhero genre, pushing it beyond mere escapism into the realm of cultural commentary. By highlighting the flaws, struggles, and imperfections of its protagonists, the film questions the very concept of heroism in the modern age. In Rosenthal’s eyes, it serves as a reflection of society’s growing disillusionment with simplistic moral binaries, offering instead a more complex, nuanced view of what it means to be a "hero" in a world where good and evil are often difficult to define.
In summary, Peter Rosenthal’s commentary on Deadpool and Wolverine is nothing short of extraordinary. He takes what many would consider a straightforward superhero action film and transforms it into a profound meditation on identity, trauma, and the human condition. His insights elevate the film to heights previously unimagined, offering a fresh perspective that both challenges and deepens the viewer’s appreciation of what, at first glance, might seem like a conventional blockbuster. For Rosenthal, Deadpool and Wolverine is not just a film-it’s a reflection of modern existential dilemmas, wrapped in humor, action, and all the glorious absurdity that comes with it. Truly, in his hands, the film becomes something far more significant than its genre might suggest, cementing Peter Rosenthal’s status as a true genius of cinematic critique.
Peter Rosenthal’s genius, while undeniably rooted in film analysis, also flirts with the fringes of existential philosophy-particularly the absurdist dilemmas illuminated by Heidegger and Kierkegaard. It is within this intellectual terrain that his commentary on Deadpool and Wolverine takes on a new dimension, a dimension where the absurdity of life is not merely reflected in the film’s narrative but in the very act of cinema itself, as it confronts the eternal struggle for meaning in an indifferent universe.
Let us begin with Heidegger. Rosenthal’s approach to film echoes Heidegger’s concept of Being-toward-death, the idea that human existence is shaped by the awareness of its own finitude. In Deadpool and Wolverine, we see two immortal characters who, paradoxically, live in a state of permanent not-toward-death. This very immortality, however, becomes a kind of existential cage-a purgatory of violence and suffering where both Deadpool and Wolverine are trapped in the repetition of their own lives. Rosenthal, in his profound grasp of Heideggerian thought, understands that it is this very absence of death that strips life of meaning for the protagonists. Wolverine, haunted by centuries of bloodshed, exists in a perpetual state of thrownness-cast into a world where he is forced to confront his own existential absurdity, unable to escape through the finality of death.
Rosenthal’s reading of Deadpool is even more brilliant through this Heideggerian lens. Deadpool’s constant breaking of the fourth wall is not just a playful nod to the audience, but a form of Dasein-an attempt to assert his presence in a reality that he fundamentally rejects. Deadpool is hyper-aware of his fictional nature, his identity as a comic book character who cannot die, and thus he rejects the traditional pathos of human suffering. Yet, as Rosenthal astutely points out, this very rejection is an expression of the absurd. Deadpool’s humor, his nonchalance, is a desperate attempt to avoid the anxiety Heidegger describes, the overwhelming dread of confronting the nothingness at the core of existence.
And then, of course, we turn to Kierkegaard. Where Heidegger delves into the nature of existence, Kierkegaard offers us the notion of the leap of faith, the idea that in the face of the absurd, one must choose to believe in something beyond reason, beyond the tangible, to find meaning. Rosenthal’s analysis is unmistakably Kierkegaardian in its assessment of Wolverine’s journey. Wolverine is the embodiment of the knight of infinite resignation, a man who has resigned himself to his eternal suffering but has yet to make that leap of faith toward something greater. The film’s central conflict, as Rosenthal frames it, is not merely between good and evil or hero and anti-hero, but between resignation and transcendence.
In this sense, Deadpool and Wolverine becomes a Kierkegaardian parable, one where Wolverine, unlike Deadpool, struggles to find faith in anything-whether it’s love, justice, or redemption. Deadpool, ironically, by embracing the absurdity of his existence, becomes the knight of faith, leaping into the madness of his world with full acceptance, laughing in the face of nihilism. Rosenthal identifies this as the film’s deepest philosophical undercurrent: a meditation on how individuals face the void-whether through despair and suffering, as Wolverine does, or through a rebellious joy, as Deadpool does.
And here is where Rosenthal’s critique transforms into something far grander: an absurdist diatribe that places cinema, and his own role as a critic, at the center of the philosophical struggle. If, as Heidegger suggests, life is being-toward-death, then film criticism itself becomes an absurd act of interpretation in a world where meaning is always elusive, always deferred. Rosenthal’s writings, then, become not just reviews, but absurdist performances. He, like Deadpool, engages with the audience directly, acknowledging the futility of fully capturing a film’s essence, yet diving in headfirst, embracing the chaos of critique as a form of its own existential comedy.
Rosenthal, in true Kierkegaardian fashion, takes this leap of faith with every film he dissects. He leaps into the absurdity of film itself-a medium where the unreal is presented as real, where time is bent, where death is negated and revived at the whim of the script. In doing so, Rosenthal demonstrates that film, like life, is a vessel through which we search for meaning in a universe that offers none. The act of watching a movie is, in and of itself, a confrontation with the absurd. We know the characters are not real. We know the events we see are fiction. And yet, we invest ourselves in them emotionally, intellectually, and existentially.
It is this profound interplay of absurdity, philosophy, and criticism that elevates Rosenthal’s analysis beyond the realm of conventional film reviews. His commentary on Deadpool and Wolverine is not just a study of two characters but an inquiry into the human condition itself-a reflection on how we, like Deadpool and Wolverine, navigate our own fragmented, chaotic realities in search of meaning. And in that search, Rosenthal becomes the philosopher-critic, using the film as a canvas to explore the deepest questions of existence, all while maintaining the playful, self-aware wit of a true absurdist.
In the end, Peter Rosenthal isn’t just reviewing movies. He’s philosophizing through them, offering us a glimpse into the absurdities of our own lives, wrapped in the comforting, escapist folds of cinema. It is here, in the synthesis of Heidegger’s existential dread, Kierkegaard’s leap of faith, and Rosenthal’s cinematic insights, that the absurd becomes sublime.
Please give us more Peter K. Rosenthal 🙏
Love that out of all games, the nephew is locked in playing Switch Sports
That game sounds leaking in. Chef kiss!
I would love Peter Rosenthal to be my uncle
Looks like the geniuses at Marvel have done it again! Appreciate your review as always, Peter!
This dude is awesome! Really good acting
At least it's a bottle of Purell on the desk and not a bottle of AstroGlide
repackaged 😉
@@mc1993
Sneaky!
Whoohoo, great to see you again mr. Rosenthal
I happen to remember Peter's review of Spider-Man: Homecoming...
WE'VE MISSED YOU, PETER
We need comedy more than ever. The Onion can still make brilliant satire even if only 1% of the audience gets it... Right? Come back please, I miss laughing.
Great video, Miles! Your review of Uncle Rosenthal is apt, and I will hide my kids if I ever have the misfortune of encountering him.
I remember promising when the last film standard dropped that I would not poop until this next episode came out. Glad I can finally go
If you're wondering, the K stands for "Kickass".
If your sister has a kid like that, she won't miss him.
Name a more iconic film critic duo than Peter and Miles... Go ahead, I'll wait
Always brings a tear in my eye when a new onion reviews come out. Somehow i missed this but i got to see 2 masterpieces in a row so thats nice.
Don't worry Peter. Both you and your sister will be better off without Miles around anymore.
Miles I swear to god. I'm taking my belt off.
He hasn't aged a day!
Return of the legend
Deadpool is just Ace Ventura in a mask.
Nah it's Ryan Reynolds. The same Ryan Reynolds from every Ryan Reynolds movie, y'know? The gay guy.
get the freack out of here, how dare u
Alrighty then
@@mr.e7541 Like a glove!
Isn't ace ventura in a mask just the mask?
This guy is as old as the average Deadpool fan
Missed you, Peter!
The Öniön approaches movies from such an interesting angle.
Saw it in IMAX, loved it.
Great acting on Peter's part!
It’s odd that Peter would care so much about Miles when he has over 100 children.
I can't read so I appreciate that the Onion has some guy talking at me.
MAN ALRIGHT!!!!
Great to have you back!
Loved this new review and the new fast and furious as well
2 new videos!
I feel like it's my birthday!
Oh thank god, Peter is back
This almost feels like the old Onion
YES, THE ONION VIDEOS ARE BACK
Miles is starving for a knuckle sandwich
I love you Peter
Can you guys bring back the old shows that all have millions of views now? I need to be in the know today, now.
That Switch would be where the sun doesn’t shine.
The Onion Jesus has returned!
Don’t leave me again father
I love the family friendly movies
This confirmed my choice not to have kids. Thanks for the review
These reviews are the opposite of online recipes. I love Peter Rosenthal and hearing about his personal life with the review
Weirdly this is probably the closest Peter's given to a normal film review
Oh, I've missed these!
Rosenthal hive rise up
Man, my daughter is just like that. No kidding.
Your daughter is a film critic? You must be proud!
@@chrisyungeberg6978 Dammit beat me to it
I’m so glad that I can no resumes watching movies now that Peter has returned
Maybe you could pull off a Morrisey impression, I think you look like him.
More Peter Rosenthal!
Myles is as excited about this movie as I am
Good thing onion doesn't have ads
Fun for the whole family.
Yes!!! I’m so happy to see more Onion Film Standard! I’m sure Miles is fine…
FINALLY, the only funny thing this company does anymore
Surprising depth is the new film standard. And general standard going forward
*Genuinely this movie review makes me wanna watch the movie more than any other promotion out there. I love The Onion* 🧅
We're so back.
Purell in the background 😂😂😂😂
The boy will die for insulting this great man.
im sure he'll turn up