In 2009, the Marvel Comics character Deadpool (played even then by Ryan Reynolds) made his big screen debut in X-Men Origins: Wolverine. It was less than impressive, if we’re being nice. Between that film and the new one in theaters, leading man Reynolds also donned the guise of another superhero – the Green Lantern. The results again were less than impressive.
Based on those two outings, I must admit, that I was not one of those comic book fans psyched out of my mind for Deadpool. The trailers were cheeky and fun, but trailers have lied before. I am glad to report, however, that Deadpool is a good time at the movies and easily one of the most fun superhero outings in a while.
One of the best assets that this film has is that it is both intelligently crafted and yet acts like it could care less. The plot is simple enough. In a world shared with the X-Men, mercenary Wade Wilson/Deadpool is diagnosed with terminal cancer. He seeks treatment and is turned into a mutant who can heal himself (with the exception of his skin condition) and has improved strength.
He desperately tries to reconnect with his girlfriend, played by the feisty Morena Baccarin. But, when an old nemesis from his past resurfaces, it’s time for the mercenary with a mouth to become a real superhero. Deadpool plays fast and loose with realism – at times its antihero can’t help but freeze the plot and break the fourth wall, but will then return to the action at hand and dispatch some cruel and graphic violence.
Reynolds is using every piece of charm that he has in his possession as an actor. He is a smart mouth of the highest order and a physical threat as well. Director Tim Miller has done an incredible job with a budget of only $50 million dollars. That may sound like a lot of money, but consider that Disney’s recent fair – Avengers: Age of Ultron – was made for $250 million.
Then consider that Deadpool is much more fun and far more memorable and actually looks like it could’ve cost double its own budget. Deadpool is also one of the best-scripted comedies in years. The daring script by Rhett Reese and Paul Wernick both honors its pulp roots and makes mockery of them at the same time.
What I love most about this script is that very little of it feels improvised. Often in comedies, you can tell that the actors decided to throw the script out the window and just decided to improv. The result, for my money, is often a loose mess of very little timing. Not here. Every gag feels strategic and well-paced.
Sure, some bits with T.J. Miller as Deadpool’s buddy are clearly improvised, but they come off more like actual friends bantering and know when to wrap themselves up. While Christopher Nolan (The Dark Knight Trilogy) still holds the record, in my book, for best resurrection of a comic book character, but Miller, Reynolds and Reese and Wernick have done a great job taking a character many thought would never see a proper film role.
P.S. I guess it should be mentioned – though the R rating should be enough – that Deadpool, despite its comic book roots, is not for children. It was about half-way through the film when a bit of full-frontal nudity occurred that a woman finally escorted her children out of the theater. Had I been a parent, I think I would’ve known to make that exit by the end of the opening credits.
Brian Laughran
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