It is a marvel how 20th Century Fox, despite (or because of) its limited ownership, have recently conjured a more well-realized oeuvre, raging against its saturated but more financially successful counterpart, Disney’s Marvel Cinematic Universe. Beginning with 2011’s X-Men: First Class, the production company brought in year after year of envelope-pushing film adaptations. Without the squeaky-clean image that Disney is still trying to maintain, 20th Century Fox affords freedom in preserving the integrity of the comic book material, while still respecting cinema as a vastly different medium.
This is especially punctuated in Fox’s more recent efforts: 2017’s Logan, a mature and risky character examination which displayed an unexplored cinematic nuance that excelled across genres, where action pieces took a step back to thoroughly and mercilessly deconstruct one man’s perils.
Then you have Deadpool, which instead reveled in the extremes. While ultra-violence is nothing sort of groundbreaking for comic-book movies (see Blade, Kick-Ass), Deadpool’s refreshing strength lies more in its histrionic attitude that never cared about what the genre has already established. It has always gone rogue, benefitting from its irreverent source material.
This year’s sequel comes with no restraints. Deadpool 2 still spews profane expletives, bathes in glorious bloodshed, snarky meta-commentaries, and emerges as the most hilarious comic-book movie to date. While it somehow rests on its previous laurels, Deadpool 2 still experiments, and surprises.
While some would imagine any revenge movie to be incessantly angry, Deadpool 2 suprisingly takes the high road. It never sulks, never rages. Humor never masqueraded its emotional core, it rather paraded it. Once it does directly acknowledge its motive, especially in its last scenes through Ryan Reynolds, where all the distraction is lifted, everything stings more than expected. Reynolds further proves he was born to play the role.
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Deadpool 2 is 20th Century Fox’s latest answer to a supersaturated genre: where everything almost feels like the same movie, where one movie is merely a transition to the next, where sexuality is repressed, and gender representation frustratingly absent (no, Disney, acknowledging it after the fact does not count). Deadpool explores a serialized format, but respects each film’s narrative to stand on its own, without compromising representation, and is willing to explore deviations – a recent challenge for an industry that is swiftly becoming a glorified idiot box.
Deadpool, along with the rest of 20th Century Fox’s recent efforts, adheres to a relatable and more personal cause: it refuses to be contained by oppressive norms – whether from the genre or from a recognizable world already gone rogue. Every bit of mayhem is more than welcome.
All photos courtesy of Fox.
