Deadpool 2

Deadpool 2 is a comedy first and then a superhero movie second. Now that we’ve established that, let’s proceed. The latest installment within the X-Men universe is a difficult feature to criticize because the issues that kept me from wholeheartedly embracing this film would actually be considered the strengths by its adherents. In other words, take my measured critique with a grain of salt. I don’t speak for card-carrying members.  I gave the original a marginal pass because I enjoyed it in parts. I found its meta-awareness to be humorous. I hadn’t ever seen a superhero production quite like it. It was so completely self-aware, the point of view was rather novel. Obviously, with a sequel, a lot of what made the introduction of his personality fresh and witty is gone. In its place, is more of the same. Deadpool really doubles down this time on the self-referential style. I’ll admit this pastiche of stuff still made me chuckle, but what was once unique and innovative has now become smug and tiresome.

Deadpool 2 offers more of the same meta-humor that made its predecessor a huge hit. In that sense, it delivers lots of gags, but creatively it offers nothing new.  It’s a mildly diverting collection of tributes to entertainment loosely connected by a meaningless plot. The story, such as it is, is set in motion when Deadpool (Ryan Reynolds) a.k.a Wade Wilson is spending the evening with girlfriend Vanessa (Morena Baccarin). She is killed when a criminal breaks into their home. This occurs as they are celebrating their anniversary and it’s one of the few moments I think the screenwriters actually want you to react with an emotion other than glee. However, in a film that is constantly cracking wise, that’s a problem. It’s just so cavalier about everything, it’s difficult to care.

The screenplay (by Rhett Reese, Paul Wernick, and Ryan Reynolds) keeps feelings at bay. Since Deadpool’s regenerative qualities make it impossible for him to die, the stakes are never very high. Deadpool is so distraught he attempts to commit suicide but is put back together by Colossus (Stefan Kapicic). Then Deadpool does a lot of stuff. He reunites with Negasonic Teenage Warhead (Brianna Hildebrand) from the first episode. He rescues a 14-year-old boy named Russell Collins, aka Firefist from an abusive orphanage. Firefist is portrayed by the wonderful Julian Dennison from Hunt for the Wilderpeople. A mutant from the future named Cable (Josh Brolin) later materializes to destroy Firefist. Deadpool assembles a team called X-Force to aid in protecting the boy.  They include a charismatic Zazie Beetz as Domino and comedian Rob Delaney as the hilarious Peter. The superficial developments are an excuse to make more allusions to contemporary tastes.  The mood is so glib and affected. Woe unto the audience member that even dares to feel something, anything, for these people.

Nothing is sincere. Even the soundtrack of Deadpool can only appreciate music in a post-modern ironic way.  “Ashes” is a newly recorded ballad by Celine Dion. It sounds like the anthemic wannabe theme from a James Bond flick. It’s genuinely sung well although in this context it sounds cheesy. “All Out of Love” (Air Supply), “9 to 5” (Dolly Parton), “If I Could Turn Back Time” (Cher) and many other tunes appear as pop cultural appropriation. They underscore scenes where their incongruous appearance is the actual joke.

Every mention of another property, whether it be a song, a movie, a TV show or something else, is presented as humor. For example, numerous actors show up in cameos. Look fast when the identity of Vanisher, an invisible mutant, is revealed. But what is the joke exactly? Introducing something familiar out of context is an imitation of wit.  This is simply an opportunity to exclaim “Hey! I know that thing!” Sharknado, My Little Pony,Fox & Friends, Basic Instinct, Say Anything, DC vs. Marvel, the list of targets is extensive. I did laugh. There are some legitimately intelligent observations that have some thought behind them. When our hero Wade notes the melodic similarity between “Papa Can You Hear Me?” from Yentl and “Do You Want to Build a Snowman?” from Frozen, it’s a definite moment of insight. Those are few and far between, however. Most of the A-ha moments are merely playing musical ditties like “Take on Me” in the background.

5-17-18