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“Deadpool 2” a lot of fun

The first “Deadpool” film broke the mold on what a successful superhero movie could be. You didn’t need a stand-up, morally righteous caped crusader who fought for the right thing. You could have a trash-talking, fourth wall-breaking, crude protagonist in an R-rated, violent film. And it can make money. Lots of money.

So for a sequel, it’s important to make something the audience is familiar with while trying to keep its originality. “Deadpool 2” is mostly successful at this venture, still delivering a fun movie that falls into some common traps of the superhero genre.

Directed by David Leitch, “Deadpool 2” continues the story of Wade Wilson aka Deadpool (Ryan Reynolds). After a traumatic event in the film’s opening sequence, Wade goes on a mission to find his purpose, discovering a teenager named Firefist (Julian Dennison) who is being hunted by a time-traveling mutant badass, Cable (Josh Brolin). Determined to save the youngster, Deadpool creates a team including the super-lucky Domino (Zazie Beetz) to hilarious effect.

The character of Deadpool remains as crude and as funny as ever, with quips, dirty gags and violent killings galore. It’s not as ingenious as its predecessor because we’re not shocked by the vulgarity and blood as we were the first time. It gives the film a general sense of been-there, done-that to an extent, but it is entertaining nonetheless.

The plots for Deadpool films are generally secondary and that is the case here again. The viewer doesn’t much care if Deadpool succeeds in his mission to save Firefist. We’re here to see gags and action and laugh. It’s almost a shame that the plot is not totally outlandish as this might serve the character better. Perhaps a recently-formed X-Force team that goes on a killing mission against the gangs of New York leading to mass slaughter or Deadpool being cloned and going to battle against himself. There are plenty of off-the-wall premises that could really push the envelope into weirdness and absurdity.

As such, “Deadpool 2” suffers somewhat because he is now one of the big franchises he so successfully parodied. There’s a disconnect between trying to make fun of the Avengers, the X-Men and the DC Universe while at the same time also being on the same tier as them. New characters are introduced such as Cable and Juggernaut, Universe-building with X-Force comes to fruition and there will inevitably be more merchandise, more spinoffs, more movies. The original “Deadpool” worked so well because it bucked trends. “Deadpool 2” wades back into them somewhat.

“Deadpool 2” is still a fun time for fans of the character however, and it has an engaging story that feels bigger than the first film. Seeing Cable and Deadpool together onscreen at last is a treat, and there are plenty of funny moments and engaging action sequences. For those with a taste for the genre, it satisfies the craving.

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‘Deadpool’ proves not all superhero films have to be the same

With superhero films flooding the marketplace, it was only a matter of time before someone made the anti-superhero film, a movie that takes all the signature tropes of the genre, presents them to the audience and then, almost literally, takes a steaming dump on them. That movie is “Deadpool.”

Wade Wilson (Ryan Reynolds) is a smart-mouthed mercenary who falls in love with a stripper named Vanessa (Morena Baccarin). When he is diagnosed with terminal cancer, he volunteers for an experimental procedure run by a madman, Ajax (Ed Skrein). The procedure mutates his appearance, cures his cancer and gives him instant healing ability, but Ajax intends to use Wade as a slave. He escapes, but is horribly disfigured. This pushes him to don a mask and become the “superhero” Deadpool.

Much like Robert Downey Jr. as Iron Man and Hugh Jackman as Wolverine, it is hard to picture anyone else other than Ryan Reynolds as the titular character. He inhabits the role of the snarky, wise-cracking hero with ease, simply becoming the character that fans have envisioned for years.

The violence is extreme, the language and innuendo filthy, and there are so many inside jokes about the genre that some might go right over the casual moviegoers head, but it all works because of the lighthearted tone and the charismatic lead. It is a near-perfect blend of Hollywood glamour meets counter-culture, a big-screen extravaganza that appeals to the disillusioned outsider in all of us. While it is not ground-breaking or terribly original in terms of plot, it is a lot of fun and serves as a welcome breath of fresh air in comparison to the more droll and serious fare of superhero films (*cough* Batman v Superman *cough*).

Are the X-Men the new preeminent superhero franchise?

Ever since the proliferation of the superhero genre, sequel-making and universe-building have overtaken movie studios. As rights are sold and potential franchises rise and fall, from the dust, three central pillars have emerged as the tentpoles of the superhero movement: Disney’s Marvel’s Cinematic Universe (Iron Man, Captain America, Thor), Warner Bros. DC Extended Universe (Batman, Superman, Wonder Woman) and Fox’s X-Men (Wolverine, Deadpool, Magneto- they also technically have the Fantastic Four, but no one likes them). There could also still be a case made for Sony, who have the rights to Spider-Man, but they have signed a deal with Marvel, and Spider-Man is now essentially part of the MCU.

It has been widely assumed for years that the MCU was the best that superhero films had to offer. Marvel stuck to a strong formula, building up their heroes in individual films before releasing team features. They utilized strong wit, relatable characters and easy-to-digest narratives to build their brand and it has worked, delivering billions of dollars in sales and strong critical response.

Meanwhile, the DCEU is still trying to get itself together. Attempting to differentiate itself from its Marvel cousin, their films are darker, more intense and full of characters right from the get-go. Unfortunately, audience and critical response has been more tepid. By trying to appeal to so many people while being different, the films are a mess of half-ideas, rushed plotlines and shallow characters. They feel more like board room projections, broken down into audience demographics, rather than singular visions made by committed storytellers, especially in comparison to Christopher Nolan’s preceding Dark Knight trilogy.

And in the background, Fox’s X-Men, one of the first franchises to start the superhero extravaganza, has lingered. Never the biggest in terms of box office, the critical and commercial response has ranged from great (X2: X-Men United (2003)) to terrible (X-Men Origins: Wolverine (2009)). And yet in the past few years, the landscape has started to change, and it’s worth proposing a new thought: Are the X-Men now the best superhero franchise out there?

Diehard MCU fans would likely guffaw at such a notion, but something is starting to seep into the MCU that wasn’t there before: blandness. While the quality of the films has not deteriorated, innovation has not been present either. “Doctor Strange” was far too similar to “Iron Man.” “Captain America: Civil War” was equally similar to being an Avengers film, which are also growing more and more alike. And the lack of stakes is starting to decrease the interest in the characters. Marvel is never going to kill Tony Stark or Steve Rogers. So putting them in more and more dangerous adventures is not really keeping us emotionally involved. It’s becoming more and more a case of been-there, done-that, and it’s starting to seem that while Marvel continues to excel at making decent movies, they are just making the same movie over and over again.

Meanwhile, Fox’s X-Men have been changing the formula towards what the DCEU was presumably trying to do: darker and edgier. But where the DCEU failed by trying to appeal to the same demographics, the X-Men have decided to ignore the “traditional” superhero audience. Here, they may have discovered something very interesting; while other studios continue to view the superhero audience as kids and parents, the kids who grew up watching the original “X-Men” (2000) and “Spider-Man” (2002) have actually grown up. They have stayed fans of superherodom, but being in their twenties and thirties, their palettes have evolved and mature films with mature themes are no longer a detractor for them. As one of those kids, I have witnessed the effects myself.

What started with “X-Men: First Class” in 2011, which featured spy drama and Nazi hunting continued with “The Wolverine” in 2013, which was set in a non-Western locale and bared the weight of the nuclear bombing of Nagasaki. And 2014’s “X-Men: Days of Future Past” delivered a thoroughly satisfying sci-fi rumination on genocide and transformational hope. But what really blew up the formula was last year’s “Deadpool.” Here was a hard R-rated flick complete with cursing, violence and sexuality. And not only did critics love it, audiences made it the highest grossing R-rated movie of all-time. This was definitive proof that superhero movies did not need to be “fun-for-the-whole-family” type of affairs; they could be badass, violent, mature films as well.

Sure, “X-Men: Apocalypse” was a bit of a disappointment following such a run of success, but a fall every now and then is inevitable. Just this year, the X-Men have dialed up the ante even more, delivering another massive, mature success with “Logan”, a film that carries more visceral emotion than any superhero film ever made. It is violent, it is dour, and yet it is a beautiful story harkening back to the Western, a true innovation for the genre.

And appearing alongside “Logan” is the equally surprising TV series “Legion.” The first TV show based on the X-Men since the various animated series back in the 1990s and early 2000s, “Legion” is confusing, disturbing and wonderfully strange. The viewer has no real idea of what is real, what is fake, who is a friend or enemy, even what is happening at any given moment. There’s never been a TV show like it. It seems to belong more in the real of student surrealist exploration and yet here it is, presented on basic cable, with millions of dollars backing it and a second season already confirmed. Marvel’s TV series, “Agents of S.H.E.L.D.”, on the other hand is a far inferior, kind of bland experience.

And down the pipeline, the X-Men are looking at a second Deadpool film, an X-Force film, another live-action TV show and a rumored X-Men film with the younger cast featuring Dark Phoenix, a bizarre, cataclysmic character given poor treatment in “X-Men 3.” With confirmation that future X-Men projects will stray away from the Xavier-Magneto relationship and with castmembers Hugh Jackman, Patrick Stewart and presumably Jennifer Lawrence, James McAvoy and Michael Fassbender calling it quits, the X-Men are literally transforming in front of our eyes. It is very exciting to see the franchise adapt towards something new, something interesting, something beyond just the standard “family-adventure” type of affair.

So have the X-Men become the preeminent superhero franchise today? That is up for debate. The MCU continues to be the biggest box office draw, and the DCEU may somehow pull themselves up and deliver on the promise of the Justice League (I’m not holding my breath on that one though).

But when it comes to the MCU versus X-Men, you really have to ask yourself; is it better to settle for standard fare that hits just enough of the right notes or is the occasional risk that sometimes falters, but really tries to be more than its genre, more deserving of your love?