Deadpool 2 (2018)
Deadpool 2 (2018)

Genre: Superhero and Action Comedy Running Time: 1 hr. 59 min.

Release Date: May 18th, 2018 MPAA Rating: R

Director: David Leitch Actors: Ryan Reynolds, Josh Brolin, Morena Baccarin, Brianna Hildebrand, Zazie Beetz, T.J. Miller, Eddie Marsan, Shioli Kutsuna, Julian Dennison, Leslie Uggams, Stefan Kapicic, Karan Soni




early-invincible mutant Wade Wilson, a.k.a. Deadpool (Ryan Reynolds), is back to his routine of offing the worst-of-the-worst in the criminal underworld while cracking jokes and pushing the boundaries of the fourth wall. When the love of his life, Vanessa (Morena Baccarin), encounters tragedy as a result of Wilson’s work, the masked marauder’s life spirals downward in despair. Deadpool’s former allies in X-Men, Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand), strive to once again recruit and reform the wayward assassin, but their first mission ends in failure. Instead of rescuing distraught teenager Russell Collins (Julian Dennison) from the abusive Essex House and its sadistic headmaster (Eddie Marsan), both Deadpool and the young boy end up in the “Ice Box,” a heavily-fortified prison for super-human offenders. When a mysterious mercenary from the future, Cable (Josh Brolin), breaks into the Ice Box in an attempt to kill Russell, Deadpool determines to save the boy’s life at all costs.

Once again, Deadpool fights crime with sarcasm and a “Guardians of the Galaxy” soundtrack. He breaks the fourth wall to narrate, jumps around on the timeline, and makes more self-referential, self-aware humor than there are mutants on Earth. Who knew there were so many elements worthy of derision in a superhero movie? The structuring of this film is barely a film, especially as crazy credits, pop culture nods, and nonstop mockery of characters (and the actors themselves) and other productions continually take the audience out of the plot and firmly into the realm of a theater seat. “No more speaking lines for you.”

It’s all consistently funny (even more than “Thor: Ragnarok”), however, even if it’s difficult to praise it for its originality. After all, this has been done before with the first entry into the series. The rather murky ties to the X-Men pictures grow more elaborate, hoping that viewers will either be well-versed in the various chapters, or they’ll simply not care. Deadpool has always felt like a protagonist better suited for a world all his own, unburdened by the weight of the exhaustive X-Men lore. And when it comes to the primary villain, Cable, Deadpool even instructs the audience not to worry about the nemesis’ nonsensical backstory. The humor is effective, though comments on Patrick Stewart, Ryan Reynolds, and Thanos (apparently, there aren’t enough actors in Hollywood for superhero movies to refrain from doubling up on roles; surely studios could find another capable performer rather than casting the same star as multiple superheroes) in the midst of scenes occasionally feel clunky. It’s one thing to pause for a joke or an aside to the people watching; it’s another to diminish the separation between an actor and his or her fictional character.

As “Deadpool 2” picks apart the many tropes and faults of superhero entities (including the gawky landings and picture-perfect poses after leaps from high places, and the many forms of lazy writing, such as overly convenient plot devices, unsubtle foreshadowing, and deus ex machinas), it proceeds to use or follow them in its own storytelling, which is entirely hypocritical – yet somehow easier to forgive, since it’s admitting purportedly unavoidable foibles right from the start. However, the more sequels that come about from this set of characters and their attitudes, the less amusing the tactic will become. In fact, many of the types of jokes utilized here are the same as in 2016’s “Deadpool,” which some discerning fans will recognize as repetitious.

Throughout the picture’s formulaic pattern of fighting, then comedy, then more fighting, then comedy while fighting, “Deadpool 2” introduces a handful of interesting concepts – such as a prison for misbehaving mutants, a torturous “school” for suppressing (or un-learning) superpowers, and a handy collar apparatus that inexplicably cancels out superpowers. These ideas build upon the existing social conundrums of living with mutants (regularly serving as a thinly-veiled analogy for intolerance), as well as the jokes (filtering pain through the prism of humor) seen in the lighter chapters. But while the laughs are steady, the music is expertly applied, the R-rating is still refreshing for this genre, and new superhero Domino (Zazie Beetz) is as creative as Quicksilver was in his first appearance (in “X-Men: Days of Future Past”), the pacing is off just enough to make the picture feel too long for what it has to offer.

– The Massie Twins

  • 7/10

The X-Men Franchise

X-Men (2000)

X2: X-Men United (2003)

X-Men: The Last Stand (2006)

X-Men Origins: Wolverine (2009)

X-Men: First Class (2011)

The Wolverine (2013)

X-Men: Days of Future Past (2014)

Deadpool (2016)

X-Men: Apocalypse (2016)

Logan (2017)

Deadpool 2 (2018)

Dark Phoenix (2019)