If one thing’s certain about “Deadpool,” it’s that its main protagonist, without fail, understands his place in the world — yes, our world.
Indeed, this uncompromising and vulgar mutant will surely heighten his awareness of the context in which he lives — namely, an over-saturated, increasingly labyrinthine multi-billion dollar Marvel Multiverse that spans decades, studios and so many movies that most viewers can’t count.
From its inception, the “Deadpool” franchise has prided itself on being a subversive, self-aware anti-superhero superhero movie, poking fun at everything from comic books to Hollywood and its biggest champion, co-writer and star Ryan Reynolds.
So it’s no surprise, as fans have come to expect, that the long-awaited “Deadpool and Wolverine” pushes its fourth-wall-breaking self-awareness even further — even as it looks more and more earnestly like the superhero movie blueprint it likes to exploit. That tension — the fact that “Deadpool” calls out comic book movie tropes while, in fact, it is a comic book movie — is somehow improved upon in “Deadpool and Wolverine,” which leans more into its own style than the franchise’s first two films.
Perhaps that gives viewers more clarity about its target audience. After all, anyone who hates superhero movies – I’m looking at you, Scorsese – isn’t going to be won over by lazy writing, budgets for A-list cameos and a few self-deprecating jokes about “superhero landings” regularly referenced by Reynolds’ Deadpool.
But this time around, director Shawn Levy – his first Marvel film – has found a good spot. Levy has certainly been helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a worried, ultimately shirtless, Hugh Jackman as Wolverine – who has long been teased as having a complex for Deadpool.
This anticipation makes their relationship, which is filled with hate, fandom, and gay eroticism, even more fascinating. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of saving the world.
Speaking of the world, we should already be aware of a significant development of our own. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by The Walt Disney Company in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.
Perhaps not surprisingly, “Deadpool and Wolverine” takes full advantage of a vast playing field that began with Robert Downey Jr.’s “Iron Man” in 2008 and now includes more than 30 films and several television shows. That takeover is also a recurring target of Deadpool’s satire throughout the film.
Though filled with references and cameos that might seem like somewhat of an inside game to the less dedicated, “Deadpool and Wolverine” is easy enough for the casual Marvel viewer to understand, though it wouldn’t hurt to first watch “Deadpool” and Jackman’s 2017 “Logan,” which harbingers of a growing appetite for R-rated superhero violence. The Disney series “Loki” also provides helpful context, though it’s not required viewing, on the Time Variance Authority, which regulates multiverse timelines to avoid “incursions” or catastrophic collisions of universes.
One of the things that makes “Deadpool” stand out is its R rating and its extremely violent action sequences. Whether it’s because of the extra money, Levy’s direction, or a combination of the two, these scenes feel more risqué.
But “Deadpool and Wolverine” succumbs to some of the divine writing that’s often found in superhero movies. Wade Wilson’s relationship with his ex-wife Vanessa is particularly underdeveloped – though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.
The plot feels aimless as it moves towards the end. One cameo-saturated battle scene in particular is resolved in a way that leaves the audience wanting to see it even after a lot of time has been spent building tension around it. While some impressive stars appear, viewers may be disappointed by the number of MCU characters who are not included.
However, the bloody but humorous final fight scene is enough to get viewers excited for the final scene, solidifying the film’s identity as an entertaining, generally well-made summer movie.
The only MCU release of 2024, “Deadpool & Wolverine,” proves that the source material isn’t necessarily the cause of so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following the pandemic and historic Hollywood strikes, that more attention paid to filmmaking will ultimately help the final product.
“Deadpool and Wolverine,” released by Walt Disney Studios Motion Pictures, is rated R by the Motion Picture Association for violence and language, gore and sexual references throughout the film. Movie run time: 127 minutes. Two and a half stars out of four.
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