Is black humor a racist disposition, Mr. Deadpool?
Irascible, Wade Wilson and his, sulfuric one hundred percent, alter ego “Dead,” landed in the domestic and overseas cinemas at the hands of 20th Century Fox in early 2016 and were a freshly deadpan breath of life for superhero genre; Tim Miller debuted as a filmmaker with a feature film sparing nobody, in which irreverence, spoof- and self-parody too,- meta-cinematographic language and an immeasurable wit between the minimal cast made up a high-powered origin/romance film that opens new territories for Marvel Studios in a more or less similar way as “Guardians” by James Gunn or “Black Panther” by Ryan Coogler did, while simultaneously carrying the lacerated hope of many fans in its hands, who begged, from DC’s “Watchmen” by Zack Snyder, for a rated-R adaptation of Marvel Comics, they got it. No big or small idea is safe at Hollywood mecca, no breakout hit between critics and audience is immune to put a new franchise over it, this was no exception. Nonetheless, this was what his lead and main promoter, Ryan Reynolds, was looking for all this time and due to his character is open and has the capacity for a fairly-coherent franchise, the return of the Merc with a mouth took two years to be a reality. It’s finally here, going head first with the quasi-excellent event “Infinity War,” released less than a month ago. There’s enough material to be considered as an unusual follow-up, from its laconic and unambitious title “Deadpool 2,” it’s understood that everyone knows who he is, to the preservation of the production low-budget, They’re trivial attributes on the surface, but actually allow to observe the huge appreciation and respect on the part of its creators for a high-opportunity work in which there’s more violence, causticity, special characters and Hollywood-indie entertainment, while it forgets on its full-of-jokes storytelling the brilliantly unique and innovative touches that made the first movie a vicious, laughing-out-loud must-watch.
I’m not sure if Deadpool would fit into Marvel Studios’ new rising canon in relation to the recent billionaire contract between companies, hence the aggressive and abrasive superhero shines out in a simple, direct plot. The screenplay is written by Rhett Reese, Paul Wernick – two screenwriters from the first installment – and Reynolds himself, the story decides to develop itself within the limits fixed by the previously selected genres, resting, as could not be otherwise, on the scarred shoulders of the red-and-black hero. Nonetheless, this is a far-seeing second film, which allows nearly fifteen additional characters to be included in a split second, opting for a quintet/sextet – is Dopinder, the taxi driver and faithful squire, on the team? – that lays the groundwork for what will be their standalone film – cough, new franchise, cough,- X-Force. The exposition of the daring group is irregular because they don’t present in their own movie, a fact that caused the writers to compact the materials organically without deflecting from the plot focus; having said that, watching them working on the screen isn’t as magnetic and special as one would expect, but they produce enough charm to sympathize with each of them. The incorruptible morale of Colossus, voiced by Stefan Kapicic, and the commendable CGI effort bring a strong and fantastic counterpoint to our hero because they compose a ridiculously genuine bromance; Zazie Beetz’s Domino doesn’t reach Valkyrie’s empowered female impact, but defends its lucky storyline by means of a sincere and distant acting development that falls apart trying to fill the impression she couldn’t cause – it’s respectful not include in the final footage the sequence led by her stunt double, Joi “SJ” Harris, after the tragedy that took place on 14 August last year; – Taika Waititi’s big Kiwi revelation, who portrays Russell, is one of the characters who gains an important background and dramatic development, which helps him become a vital handle to the general plot by means of a plausible, emotional and, to tell the truth, quite realistic performance; as a mutant, Firefist is the spirited new youth incorporation in the clan, it’d be interesting to see how it would develop his storyline in a story in which he and his burning hands become part of a team; Nathan Summers’ time travels are truly wasted – save the epic and meta-narrative post-credits scene – for large-scale situations, they’re never used as an instrument in storytelling, are simply an input/output mechanism for a half-human, half-machine-and-armament hero; in the same way, its introduction is tremendously indecisive and ineffective, with a flat and out-of-place edition delivering short, insubstantial glimpses about the next member of the gang. However, ever-fierce Josh Brolin endows Cable, the most long-awaited new character by the fanatics, with virility and overwhelming visual portent, his scenes expel physical and mental strength, not excluding a subtle emergence of comedy through his unwavering and austere personality; And last but not least: Deadpool. The actor from “Green Lantern -” I’m sorry, I had to do it – found what Hugh Jackman and Tom Cruise found in Wolverine and Ethan Hunt respectively: the role by which he’ll be recognized for the rest of his career. The naturalness, dynamism, vigor and passion impregned by the Canadian interpreter are really a cracker, the irreverence and comicalness of this fella, who had been pursuing these movies since his failed incorporation in “X-Men Origins: Wolverine”, reveal how much hard work he did, every line coming from his mouth, adorned with his characteristic gestures that aren’t hidden under the suit, is cruel, dramatic and hilarious; it’s incredible the power his performance has to know how to handle the rhythm throughout the film and the exact moment of each parodic insertion leaning on a brutal script. No doubt, this highly-anticipated sequel never loses sight of its raison d’être, providing an authentic, entertaining story, which is open to receive the incessant jokes coming from the screenplay. Ryan Reynolds is killing it as Deadpool.
The narrative gets a surreal tone at the hands of an unexpected and very well executed move starring by Morena Baccarin’s Vanessa. Every film is an independent imitation of reality, a fiction, but the budget of the first film made the story was much more adhered to the argumentative environment of TV series such as “Daredevil” or “Agents of S.H.I.E.L.D.” that Marvel’s worldwide and space mega-events, however, the sequel deals with some sort of out-of-body journey – in heaven? – that although they allow development in a dynamic and very different way in the face of the previous film, sometimes they hurt the tone and pace of the movie seriously, losing the focus among so many narrative tools the writers stuff in the plot.
It’s increasingly obvious the writing of the screenplay was more complicated than you thought, as shaping the hilarious dialogues for the anti-hero demands inventiveness from more than one brain. Reese, Wernick, and Reynolds stick thousands, thousands, thousands of references, not just as the usual easter-eggs game. Pop-culture is key, the endless mentions on screen through one-liners are sickeningly amusing thanks to our strange time. No-one and nothing can get away from the vicious signs: literature (Pericles), music (dubstep), singers (Cher and Justin Bieber), actors (Jackman and, oh!, Reynolds), of course film (“Star Wars,” DC, Marvel, 007’s “Spectre,” “John Wick” and a long etcetera), and even the movie conception itself, laughing at the writing process, the production companies, its screenwriters and director through an unforgettable meta-cinematographic language. Such was the impact that I began to hyperventilate, picking references that maybe were never deliberately introduced by the screenwriters (“Spy” by Paul Feig or “Inception” by Nolan). Hands down, the film with more explicitly-implanted-in-the-script pop-culture references I have ever seen.
It’s sad to admit, but fourth wall breaking decreases in impact and number. It’s an understandable decision because this time our hero isn’t alone, but the movie should find ways and new narrative incursions which replace the role that played this brilliant technique. However, the few are short and don’t get the importance they deserve, yes, we still have his peculiar voice-over monologues maneuvering anachronistically the story and mocking even the smallest detail, but they never bridge the gap of those long and hilarious soliloquies and conversations he held with the audience as a narrative mechanism with tremendous effectiveness.
It’d be demoralizing to say that, after the titanic and classical work put into “Infinity War” with regard to the creation, treatment, and exposition of its villains, Marvel has taken a step back, sorry, somehow it did. All right, Ed Skrein’s Ajax isn’t the best Marvel villain of all time, but it’s neither the worst because he gives it a proper development and time enough on screen to make the viewer understand who the bad guy in the movie is, however, on this occasion, there is no a delimited antagonist. Obviously, most viewers buy a ticket to see their favorite hero do and undo, but it’s important to know if whoever gets such punches- curse words in this case -has managed to involve with the audience and the story, here, none of that happened of course. Villain’s role changes so many times that, in the end, the course of events seems disoriented; firstly, Cable would become a pain in the neck for the antihero according to the script, however, thanks to a shrewd plot twist, Mr. Nathan gives up his seat to two more characters, a yo-yo move that doesn’t favor and ends up giving the perception there is no real villain, perhaps, the only baddie is Deadpool.
What can you say? It’s Deadpool through and through. Though I am a big comic book fan, Deadpool was never a character which I grew attached too. He was always just the “edgy” comic relief that I appreciated for it’s existence and thought it was good that he captured a beloved fanbase which can latch onto his lude and dark humor, I just never found myself as one of them. However, I did THOROUGHLY enjoy the first movie for it’s comedy which I chuckled at for the most part, and for it’s faithfulness to the character. I think I can say, as a huge comic book fan, this one is even better. The jokes didn’t always land as much as I wanted too, but I put that more on my personal humor tastes changing rather than the movie itself failing in that regard. What makes this one better, is the embrace of it’s material and the inclusion of a nice roster of comic book characters even if some had very little screen time. One large mutant in particular filled me with so much joy at his appearance. Cable was a relatable CHARACTER and helped balance out Deadpool’s witty banter pretty well. The story about Deadpool saving the kid is okay, but I never felt myself too sympathetic to the child. Either way, Deadpool is a great movie not only for Deadpool fans, but for comic fans in general especially if you have an affinity for the X-Men.
“Deadpool 2” by David Leitch unimpeachably dynamizes only some of the features which made the first movie so freestanding, unusually special and extravagant while neglecting aspects of cardinal importance as a good approach to the characters, a stunning visual section and a deep, conscious development and treatment to a powerful villain. But don’t worry, you’ll get more vicious action, trenchant jokes and one-liners, visual gags, a new volatile group of heroes, many, many references of all kinds and an experience that does not disappoint, but what’s a Wade Wilson/Ryan Reynolds who gets his long-awaited sequel where the only thing that matters is the surface? By the way, did I leave the stove on?