Deadpool is a film in conflict with itself.
The story of this movie’s greenlighting process is well-known at this point but it is a huge part of this film’s meta-narrative and internal struggle; Deadpool has both the freedom and burden of being the first studio superhero film developed due to popular internet demand. The film is pulled between two sets of demands: the need for this (ostensibly) niche product to make a demonstrable profit, and to please the hordes of fans who clamored for the Deadpool flick after leaked test footage from Comic-Con went viral.
So what’s the ruckus about? Different people will give you different answers, but at the end of the day it all boils down to the one thing about Deadpool (a.k.a. mercenary Wade Wilson) that makes him different from any other mainstream comic book character: he knows he’s a fictional character. This notion has tremendous dramatic power; unlike any other hero, Deadpool has the unique ability to elevate or completely derail any scene he is in at any time. By the character’s very nature, anything involving Deadpool is going to be deeply meta and the potential is limitless. Deadpool is also filthy and violent. He’s a member of the X-Men family of Marvel superheroes, and therefore falls under the purview of 20th Century Fox who eventually proved game enough to fund an R-rated film of this character, as is befitting his violent and crude nature.
In trying to please both the suits and the fans, Deadpool talks a big game while resting on the standard superstructure of pretty much every other Marvel Comics-related movie of the last decade. All the pieces are there, from the team-up with a few minor characters, to the plucky-but-still-imperiled heroine, to the bit at the end when stuff blows up. The film presents a recognizably standard superhero origin story, a little more graphic than what we’re used to seeing in this kind of movie but not particularly distinctive. Deadpool, both visually and aurally, fits neatly into the shiny Marvel aesthetic.
As a direct link between the reader and the story Deadpool has always served as an audience surrogate, making the MST3K-style jokes you’d crack with your buddies. The film’s running commentary is often very funny, but masks the fact that underneath the lewd exterior, Deadpool isn’t actually all that subversive. Everything you’d expect to see in a superhero film is here, and nothing I saw on screen actually surprised me. T. J. Miller is good, but feels a bit misplaced as comic relief to a character that’s already a clown. Morena Baccarin is delightful as Wade’s love interest (a new addition for the film not present in the comics), but by the middle of the third act is tied up by the villain like superhero love interests are so often wont to do.
Deadpool hits the ground running with a thoroughly clever title sequence skewering comic-movie tropes and barrels gleefully through an expanded version of the highway action setpiece from the original test footage, but begins to sputter during the flashback sequences detailing Wade Wilson’s metamorphosis. Once the film is solidly and the third act and things need to get resolved, the film loses some steam and ends on a bit of a weak note (although the post-credits stinger, some pure fan-candy, perks everyone up on the way out the door). Maybe I was expecting too much, but what I was hoping would be a new kind of superhero movie really was just a naughty version of what I’m already used to seeing, and this sort of thing no longer feels filling.
This isn’t to say the film is bad, because as far as comic book movies go Deadpool is pretty solid. It chugs right along and I never once thought about checking my watch. Ryan Reynolds has found the role that will define him. The jokes comes fast and furious, and just enough of them land. Some of the inside-baseball quips (at one point Reynolds quips about fondling Wolverine’s balls while affecting an Australian accent, the writers are credited in the opening titles as “The Real Heroes here,” etc.) are pretty refreshing.
I really did like Deadpool, and the fault may lie more with me wanting it to be an art film. I’ve seen it twice and both times the audience gobbled it up. It’s crushed all opening-weekend records for an R-rated film, and that’s without 3-D. All’s I’m saying is, Deadpool is good but let’s not get carried away.