Welcome to Disney, Deadpool. Now that the big mouse is fronting the cash, the titular merc with a mouth seems to be slacking off creatively. Deadpool’s cinematic catchphrase ‘maximum effort’ seems ironic. On first watch, it looks like they tried a lot less. That said, it’s still arguably better than almost anything Marvel has produced in quite some time.
This is Deadpool’s (Ryan Reynolds’) first foray into the Marvel Cinematic Universe (MCU), and so far, it’s the only Fox Marvel property canonised into the MCU since Disney’s acquisition of Fox Studios. Luckily, it has been a success.
Reynold delivers another great performance as Deadpool with heaps of the signature fourth-wall-breaking, pop-culture references and rambunctious expletives. The film follows Deadpool on a quest to save his universe. His journey sends him into the multiverse, where he recruits Wolverine (Hugh Jackman). The pair travel across a multiverse, timeline limbo filled with outrageous action, belly-turning laughs, crazy cameos and more winks to the audience than you can imagine.
A movie like Deadpool has clear goals in mind and it succeeds well. It delivers the laughs first and foremost, with more than a few laugh-out-loud jokes. Jackman’s return as Wolverine is also a pleasant surprise. Although he never reaches the same dramatic heights as in Logan, this film allows him to flex his comedy chops, resulting in a hilarious performance.
The action also packs a punch, with the choreography making fun use of the pair of heroes’ healing factors and immortality. However, visually like the rest of the film, it’s somewhat disappointing. When compared to the previous instalment in the franchise directed by stuntman-turned-director David Leitch, it lacks much of the artistic direction, vibrant set design and overall creativity. One thinks back to the opening sequences of Deadpool 2 with its Dolly Parton to operatic yakuza katana fight set in the bathhouses in neon-lit Japan, or the incredible 007 style opening credits which whilst satirical were genuinely beautiful. Here whilst still chuckle-worthy, we get Deadpool killing some generic soldiers and dancing to a late ’90s throwback in a bland snowy CGI forest
I would assume that this is partly from being part of the MCU machine, and its attempts to homogenise its production and give it that signature MCU look. Though mostly well executed, some of the effects appear rushed. In one shot, a fully, computer-generated Wolverine bobs like an idle character in Mortal Kombat.
Although the previous Deadpool films are not renowned for their emotionally captivating storytelling, compared to this film, they are tearjerkers. I found myself not caring about any of the characters beyond their function to the plot, and none of the story beats hit emotionally. They could just have Reynolds look at the camera and say ‘Be sad now’ and it would probably have the same effect.
The film is also stuffed to the brim with cameos and Easter eggs for superhero fans, some more successful than others. Luckily, it does not come off as gratuitous as something like Star Wars, where almost every project seems to ultimately be built upon the concept of “Hey look it’s that character from that other thing you liked.”
Ultimately, I came out of the cinema having had a good time. The film succeeds where you want it to. It’s got great laughs and fun action with a serviceable plot that lets us go along for the adventure.
