As a longtime fan of the edgy and irreverent Deadpool character, I can’t help but be excited about the upcoming “Deadpool & Wolverine” movie. The idea of seeing these two iconic Marvel anti-heroes clash on the big screen is a dream come true for many of us.
In the gritty world of Marvel Comics, Deadpool’s inability to die is not a source of sorrow as it would be in Greek mythology. Instead, it serves as fuel for Deadpool’s crass sense of humor. Previously, the profanely-mouthed mercenary attempted to end his own life by drinking drain cleaner and detonating himself. This spectacle earned him a middle finger gesture from Wolverine, with whom he has a longstanding feud. Both characters received their healing abilities through the Weapons-X program, but only Wolverine could evoke tears from adults. However, Deadpool’s recent antics may have changed that.
In the finale of “Deadpool & Wolverine,” you can expect plenty of laughs. However, what sets this fan-service sequel apart under the Marvel label is the emotional response elicited during its last moments. This film stands out for its shameless catering to fans, a trend that’s quite prominent in the comic book empire and even more so than the faith-based industry. Previously, such blatant appeasement might have been detrimental. But here, it offers a refreshing contrast amidst the saturation of superhero stories over the last decade and a half. With the Disney-backed Marvel Cinematic Universe appearing to exhaust its resources, this jester-like character could inject some much-needed novelty into the entire genre.
What makes Deadpool special, apart from lead actor (and co-writer) Ryan Reynolds’ sarcastic R-rated sensibility, is the way he breaks the fourth wall, offering unfiltered commentary on just about everything, including the filmmakers’ most craven creative decisions. Turn that attitude on his various parent companies, and audiences get a subversive laugh, while the bean counters earn cred by showing they’re in on the joke (as when Deadpool quips that “cocaine is the one thing Feige said is off-limits”). Mattel did it with last year’s “Barbie” movie, and now Marvel comes off looking like a good sport.
In simple terms, Deadpool’s past films have brought Fox significant box office success, surpassing those of Logan and the entire X-Men series. This is likely due to their lighthearted approach. The upcoming Deadpool & Wolverine film seems set to outdo all of them with Hugh Jackman’s return as Wolverine, despite being from a different timeline in a multiverse that some may find stale. Only Deadpool’s humor keeps this repetitive concept acceptable.
In the meantime, this film explores various themes. Initially, Deadpool discovers that an individual in a business suit (not a spandex one, but a corporate one) is eliminating worlds that deviate too much from the “preferred timeline” or the one seen in Marvel Cinematic Universe’s “Avengers” series, where death was treated more seriously. This person is named Mr. Paradox, portrayed by Matthew Macfadyen as a disturbed corporate executive. It seems Deadpool must retrieve Wolverine to save his reality from being erased.
Mr. Paradox isn’t really an evil antagonist, but rather an intriguing concept: He symbolizes what becomes of Marvel’s lesser-known and unused characters that have been introduced throughout the years. Some make brief appearances in this story, while others are mentioned in humorous references for dedicated fans. The implication is that Deadpool, who generated $1.5 billion in revenue for the studio but was left in limbo due to the Disney-Fox merger, could potentially be on the chopping block? How can a superhero secure his place in existence when faced with potential cancellation?
In a manner reminiscent of a Looney Tunes animated series, the physics of “Deadpool & Wolverine” deviate from the norms of typical comic books. Deadpool effortlessly jumps between dimensions without providing an explanation, a feat inspired by the recent Oscar-winning film “Everything Everywhere All at Once” and its exploration of multiverses. During his travels, Deadpool stumbles upon several variations of Wolverine, including one whose small stature recalls the original origin of the name “Wolverine.” Ultimately, he selects the one donning the yellow suit and black mask that has become synonymous with the character in the comic books.
“He’s often seen without a shirt, but since his divorce, he’s let himself go,” Deadpool teases, poking fun at what he calls “the least impressive Wolverine.” Despite this gruff, heavy-drinking warrior (portrayed by an still muscular Hugh Jackman), looking tougher than ever, “The Greatest Showman” didn’t change his rough exterior. Grunting through this encore, Jackman makes a perfect counterpart to Reynolds’ loquacious antics. They exchange barbs throughout, and whenever Deadpool goes too far, the claws come out, and these two unbreakable misfits turn against each other.
Shawn Levy, the director behind two previous projects with Ryan Reynolds, excels more in comedy than action. Consequently, the action sequences in his latest film aren’t as polished as David Leitch’s work on “Deadpool 2.” The visual effects are questionable, and cityscapes appear more like sets rather than authentic locations. Marvel has worked with some directors less suited for their projects in the past, such as Tim Story for “Fantastic Four” and Peyton Reed for both “Ant-Man” films. However, Levy seems to understand Reynolds’ irreverent humor. A scene involves Deadpool fighting against Wolverine’s corpse, which is more lethal than some living superheroes. This scenario raises intriguing ethical dilemmas: is a joke poking fun at Disney more offensive than the recurring image of crotches impaled by adamantium claws?
In an unexpected turn of events, Deadpool’s questionable taste doesn’t hinder the film from eliciting emotion. When Deadpool and Wolverine are banished to The Void, a desolate land governed by Cassandra Nova, a resemblance to Professor X’s twin, orphaned intellectual property is collected before being erased permanently. Amidst the discarded “Mad Max” props, the iconic 20th Century Fox logo is carelessly cast away, similar to the Statue of Liberty in “Planet of the Apes.” This is where cherished memories meet their end, making it fitting for this place to be populated with cameos of overlooked Marvel characters, even a X-Men member who never had his own film.
In the movie, Deadpool grapples with the need to make a difference despite his apparent immortality as a cancer survivor. Although he may live forever, he doesn’t want to be forgotten. The length of these superheroes’ existence is not entirely in their control, influenced by Marvel and market trends. In an original and thought-provoking manner, the film tackles this issue without becoming overbearing. It does so not only by addressing the fate of its two main characters, but also through a moving montage during the end credits. This poignant sequence serves as a fitting conclusion to Fox’s involvement in the Marvel universe.
After his return, Deadpool tells Wolverine, “They’ll make him keep doing it until he’s ninety.” While audiences and Disney might request more, this unique mutant satire shines best as a humorous tribute to what has previously been established, rather than setting the standard for future superhero films.
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2024-07-24 01:17