A series of film reviews and opinion pieces from a film student and all round movie lover! Happy reading!
Directed By: Tim Miller
Produced By: Simon Kinberg, Ryan Reynolds, Lauren Shuler Donner
Written By: Rhett Reese, Paul Wernick
Starring: Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J. Miller
Running Time: 108 Minutes
The time has finally arrived for Mr. Reynolds. He can rest easy knowing he has done right by not only the property in question, but the fans who still have a lingering sour taste in their mouths (that aren’t sewn shut mind you).
In this, his second cinematic outing as Deadpool, ‘The merc with the mouth’, Ryan Reynolds and director Tim Miller (credited as an overpaid asshat) join forces to reincarnate Wade Wilson in all his goofy, violent, self-referential glory, producing a refreshingly unique experience whilst conventionalising itself enough to squeeze into the PG-13 universe of its associates.
Deadpool is a raucous affair with enough blood splatter, profanity, violence, sex and uncouthness to distract us from the fact that 2016 has seven more major comic book pictures to come, most of which will undoubtedly prove to be as formulaic and predictable as the next.
Reynolds plays Wade Wilson, a wisecracking freelance mercenary who has been diagnosed with terminal cancer. As a way of not only saving his own life but protecting his one true love Vanessa (Morena Baccarin), Wilson subjects himself to a mysterious experiment which does in fact cure his cancer and grants him mutant-like powers. The catch is that the experiment leaves him horrifically disfigured and scarred.
His mission is one of revenge and redemption for his mistreatment that left him looking like Freddy Kruger fornicated a topographical map of Utah. What ensues is a thrilling abundance of meta-humour, inspired derivations of comedic classics and lots and lots of enveloping silliness.
All of this could not work in the slightest if not for the tremendous script. Not just a series of quippy one-liners for the sake of a cheap laugh, it’s obvious that they writers have delved deep into what exactly makes Deadpool an interesting and unique character and written the screenplay accordingly.
There’s a certain style that balances something affronting and offensive with other qualities that are engaging and even endearing at times; this after all a love story, and the writers execute the delicate mixture flawlessly .
The maturer elements of the film have been pushed to their limits. The the overly meta aspects of the film (through fourth wall breaks, narration, time shifts and overall self-awareness) allow the humour to come from all sorts of angles and dimensions, most of the time possessing an aggressively edgy flair.
References to Ryan Reynolds’ career choices, fellow X-Men properties and the audience themselves as well as other pop-culture nods as unexpected as Wham! and Alien 3 make up a mere portion of the overall barrage of relentless chuckles.
There are points where amid the constant stream of one-liners, the humour really connects and induces universal hysterics, whilst other gags fall rather flat. Most of the time one will find themselves chuckling away, sometimes uproariously, so much so that by the time you calm down, three jokes have come and gone.
Where Deadpool shines brightest is with the character interaction. Dynamics between Mr. Pool and the likes of his cab driver Dopinder (Karan Soni), mutants such as Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand) provide the brunt of the laughs through the second half of the picture, whilst the back-and-forth conversing between Wilson and Weasel (T.J. Miller) are beautifully deadpan and blunt.
The only regret here is that there wasn’t more of Miller. His character input was not only highly amusing, but often necessary for harnessing that perfect balance of gratuitously shocking humour, Reynolds’ sarcasm, fourth wall breaking and various other zanily intense gags.
Wilson’s relationship with Vanessa is believable and potent, yet as far as achieving that un-cliched, sappy and polarising love story is concerned, it wasn’t anything out of the ordinary. It’s belieavble, and the direction taken is solid enough, yet apart form a scene that taps into similar elements of The Elephant Man, there didn’t appear to be anything stupendously new to that aspect of the story.
Lastly, the product itself was under pressure when being compared to its viral marketing campaign. Through a series of promos, TV spots, interviews, posters, billboards and even P.S.A’s, Deadpool has demonstrated the sheer might and magnitude of advertising, making the otherwise unknown character a household name within a matter of seconds.
Coming to the picture itself, it’s sad to say that although the humour is at times gut-bustlingly golden, there was never a moment that was funnier than the advertising campaign. With a green lit sequel however, who knows where the promoters will take it from here!
It’s been a long time coming, but Deadpool has well and truly cemented itself amongst the superhero elite. A refreshing take on a unique property that lives amid the sardine can that is the superhero cinematic realm, Deadpool ventures off into areas others simply cannot. Regrettably not as humorous as the stellar marketing campaign, it seems the whole isn’t as great as the sum of its parts.
Nevertheless, Deadpool is worth your time if you’re after some intense laughs, unsettling violence and some ball-busting, action-packed mayhem!