I have been on a bit of hiatus from seeing films in the theater, but what always seems to bring me back is even the faintest hint of good action comedy or the glimmer of a return of some legacy. In Deadpool & Wolverine, you get the promise of both in a single package. But I waited so long because I was still apprehensive. It bothered me more as time went on because it was so well received, as of now I believe it’s the highest grossing “R” rated film of all time. The public largely isn’t a good barometer of whether anything is good or not, certainly not the amount of money it brings in, and definitely not the collective critical conscience. Word of mouth from trusted sources. People you love to disagree with. When both of those sources agree you simply have to take a look. I brought one of those people I disagree with, my father. A man who claims to hate the profane, but indulges in all sorts of films with deeply profane language, especially ones starring cops or detectives. Still he has always had a love for the X-Men, for Wolverine, and the chance to see him in the iconic 90’s suit was enough of a draw despite his lack of interest in Deadpool. He sat through all the violence, all the gore, all the dirty innuendo, the implied buttsex, and the 4th wall nods to the camera. He was the balance to my indulgence, and as I glanced over at him, I saw in his stoic stare, fingers resting on his temples like he had a headache, just how much it bothered him to see the swearing and the gore, and I knew in that moment that we might have a home-run on our hand.

Out of the gate, I’ll go ahead and assure you that the spoilers for the film will be marked at the very end of the article, and the initial review will simply go over the main points and my thoughts on the film in general. All I can think about right now is how I wish I was clever enough to write a review in a voice that broke the 4th wall, if there is even such a thing. 

I am not sure if it’s worth explaining the plot of the film, because it feels as though by design that it hangs around in the background, simply a vehicle for the jokes. Going into most action comedies, the driving force is usually the plot with the attached jokes along the way. With a franchise like Deadpool, forced to merge his well thought out and narrow franchise with Marvel, limited as it was by the copyright protections and constricted access to characters outside the Fox owned universe, you would be wise to be concerned that this wouldn’t be handled well. Even though both previous Deadpool films should have proved this creative team is a well oiled machine, I was still surprised by how well they merged their ideas into the Disney Marvel conglomerate. This film is constructed upside down, with the jokes being the engine and the plot being the fuel. Comic moments are designed in which the plot flows through them to create the momentum instead of the plot having appropriate jokes to follow the action. When the comic moments collide with the plot, you get these uniquely Deadpool action moments, with his masked smirk, potty mouth, and penchant for splitting bodies apart starting at the taint. It’s quite an elegant display of talent that you don’t see too often. If I had to make one thing clear, this action comedy redesign is the shining crown on Deadpool’s tight ass.

To satiate the curious, let me pour out the fuel for you, though common sense would tell you not to huff fumes, but it’s your funeral. Wade Wilson is having another downer moment. In a desire to prove to himself that Deadpool is an important cog in the new Marvel Cinematic Universe he has found his way into, he tries to join the big leagues at Marvel headquarters. When he doesn’t make the cut, he gets depressed and the love of his life, Venessa, decides he needs to grow before their relationship can continue and moves out. Deadpool is then recruited by an interdimensional agency that keeps the multiverse from unraveling, which he is genuinely excited about. Only, the agency decided that Deadpool is the only thing left in his home universe that can be useful and relay to him they plan to destroy it prematurely. They plan to destroy it because the central character from his universe, Logan, perished heroically in a completely unchangeable Fox story cannon. Realizing the now dead Wolverine is the center of his home universe, Deadpool sets out across the multiverse to find the perfect Wolverine to replace his own so he can thwart the multiverse administrator villains and stop the destruction of his universe. Unfortunately, the only one he can find is a Wolverine that failed to live up to the legend of any other Wolverine’s from any other universe. This exhaustive story presentation is brought to you by the people who overthink Deadpool.

Brilliantly, this setup appears to be born out of conversations with a possibly real Disney boardroom. Disney appears to have told Ryan Reynolds and the Deadpool team that when James Mangold, director of Logan, closed the door on the X-Men universe when he put Logan out to pasture, and that all the other characters and creative choices across the Fox cannon were now worthless. Except for him. Ryan and Deadpool radiate star power, and Hugh Jackman had already confirmed he was done playing  the Wolverine. This transformation of real world conversations into compelling meta-narrative is the part that feels genius. Not only did they write a narrative to fit the world in which they were writing Deadpool, they found a way to make that an entertaining bedrock of their film. And then they flipped it one more time, made this narrative the background story, the fuel as it were, of the film instead of the engine. They made the comic moments the focus, the action the result, and their creative purpose the driving point. Like Deadpool on screen, the creative team wants to matter and maybe the only way for anyone to believe in them is for them to prove that all that creative work at Fox has more value than the Disney executives can possibly imagine. As a result, they spoke the one language any executive knows, that language translated to now 1 billion dollars in ticket sales. Creative work again saved by the power of capitalism. (I hope that hits with the irony intended. I am not in the Deadpool creative team.)

Ryan Reynolds and Hugh Jackman are still sublime as their alter egos. They define these characters for an entire generation. As such, it should go without saying that they are incredible in their roles this time as well. In fact, every actor in this film hits pitch perfect notes on every joke, every line, every stroke. I’d list out the various actors, and their strengths, but some of them feel like spoilers and as a man of my word, I cannot betray your trust. My only personal complaint is the amount of blood and gore in this movie would make a Mortal Kombat fan blush. It was by a wide margin the only thing in the film I thought should be toned down. It was consistently distracting in almost every one of the action scenes to the point that I couldn’t even be sure of what was happening, especially when they really got things going. It made me wish for an “R” rated, light cut of the film. All the language, half the gore. The take away from this should be that the only bad thing about this film was how distracting the gore was. Imagine this horse I just beat to death is an example of how distracting the gore in Ryan & Hugh: BFF4Life was as a whole. Damn, that is a great turn of phrase and critique. Good job me.

I can’t lie to you though. Or maybe I just won’t lie to you. I left the film after this meta-narrative thinking that, while the film was great, it came with a lot of baggage. The fire to this fuel is mostly lit by knowing not just the catalog at Marvel, not just Fox, but the careers of the actors, the artists in the soundtrack, and a never ending myriad of collective popular culture knowledge as well. I can still remember sitting down in the year 2000 to see the first X-Men film in the Fox franchise. It was quaint by today’s standards, and while fan service could be found in the film, it wasn’t created to specifically cater to the demands of fans or their knowledge. Its primary focus was to tell the classic X-Men story. Lucky for us, Fox attacked it with a kind of fever no one really expected at the time. Not quite as unique as Tim Burton’s Batman, and not quite as earnest as Sam Raimi’s Spider-Man, but it was grounded without being gritty. It was real. Just before that, Batman & Robin and its 60’s hokey aesthetic had basically closed the door on superhero films for a while, or that was how it seemed. But a slow build was happening adjacent to this with R rated features like Blade, a gorey mess that kept the hinges of that door oiled. Fast forward almost 25ish years and Deadpool & Wolverine turned all these creative successes (and failures) into their showcase for the executives at Marvel. In doing so, they had to throw everything in the entire backlog at us, for us and everyone who worked on those films. They asked fans to light the fire, but in doing so, they ended up having to make a film that relies on people in the future being cultural anthropologists, lighting their own torches as they dive deeper into the dank caves of our popular culture past. I think films should have some amount of presence in the present, but at this point, we are basically asking people in the future to understand an entire lifetime to truly capture the thrust of the film. 

And this time tunnel goes both ways. If you are my father’s age, a boomer disconnected with the now, there are a series of synapses that don’t fire. He may know a lot about X-Men, the Marvel Cinematic Universe, the history of mutants, all sorts of nerd culture, but I could see him lost in about every other word out of Ryan’s mouth. He may have been alive, he just wasn’t participating in pop culture beyond his 30’s. He just can’t connect to it. I fear that may be how people perceive this film in the future, and in fact this whole MCU. The MCU as a franchise is an overwhelming excess that rarely touches brilliance across its entire catalog. It’s not like it is a new cinematic language either, but rather a recreation of what makes serial comics like those under the Marvel and DC banner so uninviting to newcomers. What I love about films of the past is that they may capture the moment, but not at the cost of the story and not at the cost of the future. It’s helpful to know what was happening around the time of films like The Godfather or Apocalypse Now, but the films don’t misfire because of your lack of historical awareness. When Iron Man came out, it was alone. It set a tone for itself and it was completely free to do so. Future generations would better grasp the whole of the film with knowledge of the Iraq, Iran, and Afghanistan wars of its era, but the film doesn’t rely on this knowledge for its story and thus will have a stronger legacy.

That being said, even if it is stuck in the present, all cylinders are firing on this film, even if it’s only because I know how the car works. I think it can still run without it, just like starting a car is a simple turn of the key or press of a button, I don’t need to understand how the engine works, but it helps. Ryan and Hugh have completely brought to life Deadpool and Wolverine as they were always intended to be, you’d think they were born to play the roles. I think that here and now, we can call this film a complete creative success, and that is truly set in stone, but I am subtracting a few points in my own cannon simply because I believe films should also preserve their point within the runtime of that single film’s arc. They should be able to stand on their own, speaking the human condition without the baggage of complete cultural knowledge. A great film is both universal and timeless. But I can still love a good film. And maybe that’s enough. It’s clear that the success of this creative endeavor is shared by the entire team, from the director, the actors, the writers, the camera operators, all the way down to the lowly grips. Maybe that will be clear to new people watching this film in 50 years. Maybe that will ring true across all the baggage, across all the jokes, across all of time. A collective creative success.

****SPOILERS****

The greatest spoiler is that I won’t burden you with any spoilers at all! No, no, I jest. But with a kernel of truth. This film has a never ending slew of celebrity cameos, all playing a few one off jokes, but ultimately, they aren’t really worth talking about in a review because they have very little consequence. The Marvel Universe usually has cameos for the purpose of creating branching paths, but that doesn’t really happen in Deadpool. Not really. It’s like an Easter egg hunt where there are hundreds of eggs of all different sizes and colors and it’s hard to really tell them apart or make any one of them more important than the other.

So let me share my favorite eggs with you. I really enjoyed the post credit sequence, making the final case for the creative passion that went into Fox’s cinematic universe over the years. I really enjoyed seeing Wesley Snipes’ Blade turn the corner and make possibly his last appearance as Blade, with all the original swagger. The riff on Gambit’s accent was fun, and Channing Tattum really hit the mark, but still made you wonder if Gambit really ever stood a chance on the big screen. And finally, seeing most of the original X-Men and X-Men First Class series villains. I think the biggest loss was not seeing Nighcrawler or Mystique. But you can only do so much, and the film acknowledges that. So there we go. Remember to plug yourself like daddy Deadpool likes and thanks for reading!