Directed by Tim Miller
Starring Ryan Reynolds, Ed Skrein, Morena Baccarin, Brianna Hildebrand & Stefan Kapicic
Film review by Chris Olson
The faint of heart should shut their easily offended ears now, shit’s about to get dirty in this film review for the most foul-mouthed superhero film around. The comic genre just had its nipples tweaked and received a tramp stamp from Ryan Reynolds and crew, who deliver a contender for the funniest film of the year.
Wade Wilson (AKA Deadpool, AKA Reynolds) is a talented mercenary who receives a giant kick in the balls when he finds out he has an aggressive cancer eating away several parts of his body. In the hopes of preventing his death, and the subsequent tragedy for his naughty-but-nice GF Vanessa (Morena Baccarin), Wade opts into a rather shady clinical trial which promises to cure his illness by provoking the possible mutant genes in his DNA - through a smorgasbord of torture methods. Realising the evil nature of these dudes, led by a psychotic guy named Francis or “Ajax” (Ed Skrein), and being turned into a less-than-attractive version of Ryan Reynolds, or an avocado’s love child, Wade manages to escape as a self-regenerating vigilante with a serious lust for vengeance.
From the outset, Deadpool is a movie which leaves no ass un-kicked when it comes to dishing out the insults, even the opening credits refer to the players as “Hot Chick” or “Comic Relief” instead of any actors names. The comedy is like wang-whipping everybody in the face, without the nasty smell, and daring you not to laugh. Reynolds delivers jokes aplenty when it comes to sending up the superhero genre, but being completely self-aware at the same time - the fourth wall breaking is a hugely enjoyable addition, never overused but perfectly sticking a red middle finger at all the inevitable haters. With a 15 rating, the film already sets itself apart from the usual Marvel movies, serving up an array of foul language, gratuitous violence and some sex gags which would make Christian Grey blush.
This level of subversive comedy and cock-and-balls attitude could only be justified when the writing is strong enough, and luckily for the Deadpool movie it has a highly commendable script that is simply hilarious. It is witty, smart, fearless (especially when jokingly referencing Hugh Jackman, Marvel, or even Reynolds himself). What is beautiful about the jokes is that they are delivered as a two-step nut-punch; just when you think the laugh has been delivered another lands breaking another rib.
The plot is a little thin, suffering from “origin story” shackles that it never fully emancipates itself from. The first hour of the movie is like a “previously...on Deadpool” montage, but not one that is laborious, it just seems a little too content to stay in the small arena of Wade’s transformation and revenge. That being said, Deadpool is a largely unknown character in this seemingly endless Marvel Cinematic Universe, so a chunk of exposition now could be saving audiences a lot of time later.
Given the level of exposure this movie had in the run up to the release, it is with great pleasure that we can report the best gags are not in the trailer - those moments actually fall pretty flat with an audience overly familiar with the marketing material. Instead, the film has so many fantastic moments that as long as you have a wicked sense of humour you will have more fun than should be legal in public.
Reynolds is on top form, baring heart and soul (and ass and abs) into his performance, revelling in the naughtiness which this character is permitted. It is a world away from The Green Lantern (2011), and the Deadpool suit fits Reynolds like a glow - literally and figuratively. The supporting cast are a motley crew of ne’erdowells and Baccarin is seemingly up for a laugh, delivering a fantastic complement to Wade’s jaw-dropping profanity.
Only watch this film is you crave more adult fun from your superhero movies, it is not for young viewers. Or the easily offended. Or the clergy. Or anyone unwilling to laugh at pornographic doodles and lines of dialogue like “If that leg is Thanksgiving and that leg is Christmas, can I see you between the holidays?”.