Dan Grote: Guys, I’m biased. You know
that. Of the 119 posts I’ve written for the Matt Signal since February 2014,
nearly 38 percent have been about Deadpool. This is a fan’s review.
That said,
this movie nails it. Is it the best comic book movie ever? No. Is it the best
Marvel movie? Also no. Is it the best possible filmic representation of my
favorite character? Yes.
Ryan
Reynolds, director Tim Miller and screenwriters Rhett Reese and Paul Wernick
gave us a Wade Wilson who was funny, filthy, F’d up, violent and as much a
thorn in the side of his enemies as his allies, all key ingredients in a
Deadpool stew. If this movie were created purely as fan service, then sir or
madam, I have been serviced.
And it’s a
love story. Morena Baccarin (Gotham, Firefly) plays Vanessa as Wade’s equal
in tragic backstory and sexual depravity. Trailers appeared to give her a
little more to do than be damseled, which turns out not to be the case, but the
strength of their relationship is still the movie’s emotional linchpin.
Matt Lazorwitz: And because the love
story is important to the plot, the love story works! Since I only write about
things I like on here, I’ve never discussed how love stories in superhero
movies often feel tacked on, and lack chemistry between the leads. There are
exceptions clearly (Chris Evans and Haley Atwell as Cap and Agent Carter jump
immediately to mind), but often the standard romantic subplot in a superhero
movie leaves me cold. Here though, because it’s important and it underlines so
much of Wade’s motivation, it makes sense.
And aside from
plot elements, Reynolds and Baccarin play off each other wonderfully. As Dan
said, Baccarin plays her part as Wade’s equal, but she also is tough as nails
and has a life her own. When Wade leaves, she goes on with her life; she’s not
pining for him when he decides to come back. Morena Baccarin is becoming an actress
with a ton of comic book acting credits, between Leslie Thompkins on Gotham, the voice of GIDEON on The Flash, and voicing Talia al Ghul in
recent DC Direct-to-DVD films, but I have to say Vanessa is my favorite of her
roles in a comic book property (Firefly/Serenity
doesn’t count as a comic book property, so no angry comments).
DG: If there was one character I would
have loved to have seen more of, it was Leslie Uggams’ Blind Al. I could have
watched another five minutes of her and Wade arguing about Ikea furniture or
Wade stroking her face with his regenerating baby hand. More of her in the
sequel, please.
Deadpool
works best when someone is trying to realign him from chaotic neutral to
chaotic good. For the purposes of the film, that realigner is Colossus, a CGI
character voiced by Stefan Kapicic, inheriting the role from Daniel Cudmore.
Kapicic’s Colossus is a cartoon. His accent is ripped straight from the ’90s
animated series (I kept waiting for him to yell “Illyana, my sister!”), and his
personality is something out of a G.I.
Joe public service announcement, whether he’s encouraging his trainee,
Negasonic Teenage Warhead, to eat a healthy breakfast or lecturing Deadpool
about how killing is wrong. I’m not saying that’s a bad thing. To the contrary,
it was just another thing that kept me laughing.
ML: Negasonic Teenage Warhead is a
really deep cut, an obscure Grant Morrison character, played wonderfully by
relative newcomer Brianna Hildebrand. Her quiet, sullen, surly teenage girl
could easily have been eye-rollingly over played, but she keeps the right balance
to it, and I liked that she and Wade wound up being friendly, if not friends.
Also, it was great to see that under her Goth clothes she’s wearing an X-Men training
uniform similar to those in the comics and in X-Men: First Class; little nods to the existing continuity make me
smile.
DG: So can we all agree the final fight
scene was staged at one of the three SHIELD helicarriers that blew up at the
end of Captain America: The Winter Soldier? Obviously, nobody
involved with the movie is ever going to confirm this, but I’m pretty sure a
lot of people’s head canons are synchronized on this one.
ML: And little nods like that are part
of Deadpool. There are a lot of references to Ryan Reynolds somewhat checkered
past with superhero movies, like comments about green CG costumes and a mouthless
X-Men Origins: Wolverine Weapon XI
action figure. Also, while there is no Wolverine cameo, Deadpool makes a few
barbed references to Fox’s previous mutant cashcow. And the fourth wall is
completely shattered when Colossus says he’s bringing Wade to see Professor X,
and not only does Wade ask “Stewart or McAvoy” but makes a continuity joke.
These aren’t the jokes for every viewer, there are plenty of those, but the
writers didn’t forget to lay out their fanboy Easter eggs.
Also, from a
strictly movie making standpoint, the film had some great fight choreography.
Sure, there are the standard bullet-time shots, but Wade’s pure brutality is
spot on, and the fights are stylish. Also, credit for one of the best super
strength fights I’ve seen between Colossus and Angel Dust. And while the
soundtrack isn’t Guardians of the Galaxy’s
“Awesome Mix,” the schizophrenia of bouncing from Juice Newton’s cover of “Angel
of the Morning” to DMX’s “X Gon’ Give it to Ya” to Neil Sedaka’s “Calendar Girl”
(used in a way I bet he never imagined) to Team Headkick’s “Deadpool Rap” seems
to speak perfectly to the spirit of the character and film.
DG: The closing credits thank Rob
Liefeld and Fabian Nicieza, who co-created the character 25 years ago, but so
much of this movie’s DNA comes from writer Joe Kelly and artists like Ed
McGuinness and Walter McDaniel who worked on the early issues of Deadpool’s first
solo series. Ajax, Blind Al, Sister Margaret’s Home for Wayward Girls, Wade’s
self-loathing and aversion to/infatuation with becoming a hero, the origin of
his name and the already-dated-no-matter-how-topical cultural references are
all Kelly’s brainchildren. And while we’re doling out credit, the fourth-wall
breaking comes from Christopher Priest, the pansexual winks come from the
Internet, and Nicieza is responsible for Weasel, Vanessa and Bob. Dopinder the
cab driver is an original character.
Yes, the
post-credits scene was anticlimactic, but that was part of the movie’s
metatextual commentary. And, hey, I’m still pretty excited that we’re getting
[redacted] in the sequel.
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