Deadpool

Amidst a cliché plot, Deadpool works best when it breaks the fourth wall and pokes fun at not only its own studio and its past mistakes, but also at the whole trend of superhero franchises in general. The movie may not exceed expectations per se, but it does meet them with its combination of  bloody beatdowns, obscene self-aware humor, and stylistic Tarantino-esque action.

Directed by newbie Tim Miller, from a long-gestating script by Zombieland writers Rhett Reese and Paul Wernick, Deadpool tells the story of ex-Special Forces operative Wade Wilson (portrayed by born-to-play-this-role Ryan Reynolds) who, just when life was getting good after falling in love with equally disturbed prostitute-with-a-heart-of-gold Vanessa (Morena Baccarin), gets diagnosed with terminal cancer. Desperate for a cure, he agrees to be part of some shady scientific experiments that promise to treat him, giving him a fighting chance to live another day for his precious lady love (awww, sweet). Unfortunately, the procedures aren’t all what they seem and he ends up tortured and horribly, horribly disfigured. Now with healing abilities and a mind even more manic as ever, he starts going after the man responsible for his terrible transformation, the sadistic Ajax (ex-Daario Naharis, Ed Skrein)— who manages to piss off Deadpool even more when he kidnaps Vanessa.

Deadpool is part origin story, part revenge/romance flick, and all hilarious.  From its unique opening credits, the film already sets it straight that its strength will be its self-awareness. This is a movie that will start and finish with it lambasting its own franchise connections, belittling its own lead star’s Hollywood failings, and satirizing the superhero genre in general. It succeeds in this goal and, as a matter of fact, it is all very entertaining. When the hilarity subsides though, one would realize that though Deadpool shines in making fun of conventions, everything is all surface-level; it does this only through its jokes. Ironically, it itself falls for the same clichés plot-wise. The movie, like its lead character, is concealing its imperfections through a mask of style, humor, and vulgarity.

A huge part of what too makes the film is the sheer likability of its protagonists. Ryan Reynolds as I mentioned was born to play the role of Deadpool. It is so evident that their personalities are so aligned that it wouldn’t be hard to believe that in the real world Deadpool is playing Ryan Reynolds and not the other way around. He exudes manic charisma that creates chemistry with all the characters he shares the screen with. His romance with Vanessa actually feels sweet even amidst the inclusion of…uhmm…sexual deviancies. T.J. Miller as bartender/sidekick Weasel is also a welcome addition to the film, as some of the best jokes come from his sharp-witted ad libs. The movie’s mix of side characters, though individually might feel weak and seem like generic placeholders, actually paint a bigger, colorful picture of who Deadpool as a character is. They surround him and create moments for him to shine. An exception to this though would be the film’s villains.I don’t know what it is about superhero films nowadays, but the majority of them have lackluster villains. Deadpool is no exception. Already having a formulaic plot, Deadpool’s story lacking a bite is made even more evident due to its weak villains. Yes, we know this is another story of the “good” guy saving the girl — it’s already cliché. What the film could have done differently is flesh out the villains, Ajax and his lieutenant, Angel Dust (Gina Carano), made them more engaging. I wouldn’t point my fingers at the actors for this misstep, not that there was anything wrong with their performances, it’s just that they weren’t given much to do. Ed Skrein’s Ajax does not even remotely feel like a villain that could hold the weight of a film. At best, he feels like the muscle of an even bigger opponent, the (bad example) Minion to someone’s Gru. This gives his villainous operation less threat and him a mere placeholder for prey Deadpool, as a predator, could hunt. We get that the conflict is personal, we just don’t feel it.
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Even with my ramblings, it’s far to call Deadpool a failure, quite the opposite actually. It hits all its marks in terms of entertainment. It is still way, way above superhero films like Green Lantern or Thor: The Dark World. It occupies a space alongside Ant-Man, just a level under truly great films like The Dark Knight, Captain America: The Winter Soldier, and X-Men: Days of Future Past. This is possibly the hardest R-rated superhero comedy you’ll ever see (not that there’s much competition in that sub-genre) and it’s hard to imagine someone not enjoying how the writers did not hold back with the film’s obscenities. But for me, the best way to describe Deadpool is that it is like watching a comedian who is, yes, very entertaining — crass, offensive, good for a night of chuckles — but with jokes superficial. A comedian whose gags are based on jabs at physical appearances and pop culture references, yet lacking the biting insight and commentary to make things truly memorable.