“You’re probably thinking “This is a superhero movie, but that guy in the suit just turned that other guy into a f**king kebab.” Surprise, this is a different kind of superhero story.”
Wade Wilson (Ryan Reynolds) is a former Special Forces operative who now works as a mercenary. His world comes crashing down when the evil Ajax (Ed Skrein) tortures, disfigures and transforms him into Deadpool. The rogue experiment leaves Deadpool with accelerated healing powers and a twisted sense of humor. With help from mutant allies Negasonic Teenage Warhead (Brianna Hildebrand) and Colossus (Stefan Kapicic), Deadpool uses his new skills to hunt down the man who nearly destroyed his life.
Deadpool has been a long time coming. Years of campaigning, manipulation, leaks, and finally we have a film so contentiously faithful to it’s source material that it brazenly goes where no comic book film has ever dared to go before. That is to say, this film is a relentless onslaught of perfectly captured snark, mixed with just the right amount of sincerity, blended vigilantly with massive amounts of gratuitous violence. From the opening credits, Deadpool unapologetically sneers at itself in a surrealy self aware manner, that in any other film would have been sad and gimmicky, but in this film, it’s absolutely hilarious. We get a panoramic view of chaos as the opening moniker rolls throughout a 3D freeze framed mess of bodies and steal all while a riff of “Angels In The Morning” boasts proudly, serenading the audience with sound waves of terrific irony. The opening of the movie, is the precursor of what is to come, which is a non stop laugh-a-thon, complete with some of the raunchiest, most violent, and boisterously enjoyable ass kicking we have ever seen on screen. Director Tim Miller peppers the audience with a barrage of pop culture references, quick witted wise-assed dialogue, and a delightfully flippant attitude, unparalleled by any.
Deadpool does all it can to undercut all that have paved the way to it’s existence. Mired in irony, and knee deep in satire, this is the most subversive comic book film to have ever graced the screen. It’s hard to imagine a superhero movie with a hard R-rating, but Deadpool is not your typical superhero, and he makes sure to fill you in on this little nugget of fact directly and indirectly. Miller and company do not just try to be different, because to be merely different would be too tame for the likes of a character such as this. Instead they decide to dive bomb the foundation of the superhero genre, and then defecate on the ashes while whistling a happy tune. With cheerful disdain, Deadpool reigns down self referential blows, meant to appease both genre fans, and those who have grown weary of the assembly line of generic tales about the gifted and heroic. What is so surprising, is that marketing a Valentine’s weekend release is perhaps much more fitting than most could have possibly imagined. Deadpool has a heart, it’s a smoker’s heart, with broken vessels that’s been stabbed and rolled in dirt, but it’s a large and filthy heart none the less. At the center of the mayhem, this is in fact a love story, and somehow finds a way to be one of the most endearing, and natural love stories this genre has ever seen.
This is without question an origin story, but is done in such a refreshingly original way, that it does not fit the mold of the traditional origin story. Perhaps the references to the larger universe are to thank for that, but the genius storytelling, which unfolds by way of non linear flashback narrative, fully equipped with fourth wall breaking monologues, is the more likely culprit. The anti-hero montra somehow makes Deadpool more likeable, despite being absolutely callous and despicable. What will endear him to viewers the most, and what makes this film as utterly entertaining as it is, is the fact that he is not bound by morality, made even more entertaining when juxtaposed to Colossus, who is a steel beam boy-scout. Nope Deadpool revels in his lack of scruples, and is content resigning to a life of maiming, killing, torturing, and berating his opposition, good or bad as they may be.
One of the central elements to Deadpool as a character, is the ability to break the fourth wall, which is to directly address the audience. Not only does this occur consistently, but the screenwriters were clever enough to allow the character to be aware that he is in his own movie, by cracking wise about the universe in which he resides. They go so far as to have him scoff at the idea of being dragged to see the great Professor X by saying “Which one, Stewart or McAvoy?” Perhaps the best of the in-joke riffs are the ones directly pointing at Wolverine himself. Numerous jabs are thrown at Jackman and Wolverine alike, riddled with sarcasm, as Reynolds nods to his former brief stint as the title character in the much maligned Wolverine Origins. They even manage to slip a few Ryan Reynolds gags in there for some added meta humor, further embracing the absolute absurdity of the material. The non stop slew of innuendo is extraordinarily impressive, somehow Reynolds is able to turn any and every phrase into a timely dick joke.
While Deadpool is miles away from subtle, and it’s screenwriters aimed to go as far off the deep end as humanly possible, Tim Miller, and his deft touch, keeps the mood light and fun throughout. This is a feat that should not go unrecognized, because we are watching a film that literally reduces horrifying deaths to punchlines, and goes out of it’s way to be overtly offensive. Miller is able to elevate the films sophomoric at times humor, and make sure that it never weighs heavy on the audience. It’s no easy task to get people to laugh uncontrollably at death tolls and body counts, but Miller and company find a way to make it work, and the result is a devastatingly comedic parody, relentlessly mocking it’s own universe. The creative team, does well to make the title character come off as childishly naughty and immature, instead of the complete sociopath he essentially is. It just never feels too heavy, and doesn’t even come close to dark. When you boil it down though, this is a story about a desperate man knocking on death’s door, that is able to cure his initial ailment, but becomes horribly disfigured in the process, and now fears the woman he loves will abandon him as a result. It’s some pretty dark stuff, but when you spend so much time stuffing the story with sexual innuendo and snarky satire, it somehow stays light as a feather throughout. All credit due to Tim Miller and the writing tandem of Rhett Reese and Paul Wernick, Who together produce the best version of Deadpool we could have possibly imagined.
One thing is an absolute certainty, Ryan Reynolds was born to play this character. He has had so many misses in this genre, it’s high time someone let this animal loose on a role that’s perfectly suited to his skill as an actor. With turns as Green Lantern, and as a Vampire Slayer, and yes even as a version of Deadpool that would see his mouth sewn shut, Reynolds has had tough luck when it comes to comic book movies, but no more. He oozes charisma in every scene, and his smart mouth and quick wit keep him one step ahead of everyone else. He is the quintessential Deadpool, and has adorned himself to this character the same way Jackman has to Wolverine, and it only took him one movie to do it. There will never be another Deadpool like Reynolds and he is now synonymous with this character. The rest if the cast is impeccably placed into their roles. TJ Miller is an incredible Weasel and his banter with Reynolds would rival any seasoned comedy duo. Morena Baccarin is devilishly depraved as the love interest and the sizzling chemistry between her and Reynolds melts the screen. Ed Skrein gives us the classic mustache twirling villain that the Marvel universe is so apt to provide, but he carries a bravado, and sense of arrogant coolness, that his lack of depth goes completely unnoticed, and he poses a legitimate threat throughout the film to our protagonist. Even Gina Carano is well suited to her role as Angel Dust. They keep her dialogue to a minimum allowing her to utilize her best assets, with her physicality. The entire ensemble is steeped in chemistry and radiates uncopeable amounts of awesome.
Deadpool laughs at the classic adage “speak softly and carry a big stick.” In fact, Deadpool would have likely told Roosevelt to sit on his big stick. This is an unflinchingly depraved version of a superhero film. It’s Kickass on steroids, and is miles ahead of the competition. There is no doubt this is the single funniest superhero movie ever created. The onslaught of jokes is so frantic, that this will garner repeat viewings just to be able to catch all of the gags. You will spend so much time laughing that you will most certainly miss two or three jokes that were rifled out while you were barrelled over. This is a super powered super mutant that spits at conventional genre hits and fans it’s own flames. This film doesn’t just change the game, it lights it on fire then pours gasoline on the fire, and when the fire gets big enough, Deadpool pees on the fire and winks at the audience. This is the single most fun piece of cinema to hit theaters in the last decade. It is likely to be the funniest film of the year. For those entering theaters looking for a solid comedy, skip Zoolander 2 and go see this. Deadpool is hilarious and grotesque, and is smart enough to know when it should be which. The action is masterfully choreographed, the characters are brilliantly cast, the jokes and furiously funny, and the story is solid as Deadpool claims his manhood to be. This is the perfect Deadpool film, there is simply nothing like it, and, as ballsy as this might be to claim, Deadpool is the best true comic book movie ever made.
5/5 EPIC BRO!!!!