Deadpool 2: Still gleefully gory

Deadpool 2 (2018) • View trailer 
Three stars. Rated R, for relentless violence, profanity, gore, sexual candor, tasteless humor and rather bizarre nudity
By Derrick Bang

If it’s true the world is going straight to hell, this film series is pushing us into the abyss.

Having been made an X-Men trainee by the metal-skinned Colossus, Deadpool (Ryan
Reynolds, left) attempts diplomatic persuasion in order to defuse a volatile crisis
involving a rogue mutant. Needless to say, that won't work...

The character of Wade Wilson, known as Deadpool while concealed beneath red and black Spandex, occupies a tasteless subdivision of the Marvel Comics universe. His insolence and appetite for blood-drenched vigilante justice set him apart from superheroes who obey a higher moral calling, and his mutant talent — accelerated regeneration, like a lizard that can re-grow its tail — encourages all manner of gross-out melees.

To its credit (?), the companion film series quite faithfully replicates the vulgar tone, rude banter and hyper-violent carnage. If anything, Deadpool 2 is even more deplorably disgusting than its 2016 predecessor, which — no doubt — will delight the fans who’ve pushed that first film to a ludicrously high IMDB rating of 8.0. 

To paraphrase H.L. Mencken, nobody ever went broke underestimating the taste of the movie-going public.

Needless to say, these films can’t — shouldn’t — be taken seriously. They must be approached vicariously, enjoyed (endured?) as examples of the sick and/or dark-dark-dark humor typical of Pulp Fiction, Bad Santa and both Kick-Ass entries.

All of which is a long-winded way of saying caveat emptor. If your idea of a good time doesn’t include watching our anti-hero groan and crack wise after literally getting ripped in two, bloody entrails dangling from both halves, better go for some other option at the multiplex.

This film picks up more or less where the first one left off, with the hideously scarred Wade (Ryan Reynolds) having settled into his role as masked mercenary and executioner of grotesquely vile criminal dons, drug kingpins, human traffickers and, well, you get the idea. Alas, that sort of behavior cuts both ways, and Wade gets hit where he lives. Literally.

Thanks to a quasi-alliance established with a few members of the X-Men, Wade is rescued from his subsequent funk by the imposing, metal-skinned Colossus (voiced by Stefan Kapicic), who — with ill-advised optimism — makes Deadpool a trainee member of the team. Their first mission: to quell a crisis at a home for wayward mutant orphans, where a distressed teenage pyrotic named Russell (Julian Dennison) is carrying out his own scorched-earth policy.

Deadpool: Gleefully revolting

Deadpool (2016) • View trailer 
Three stars. Rated R, for strong violence, gore, relentless profanity, sexual content and graphic nudity
By Derrick Bang • Originally published in The Davis Enterprise, 2.12.16

This is a flick for folks who felt the Kick-Ass movies weren’t violent enough.

And those who believe that Melissa McCarthy and Amy Schumer could be more potty-mouthed, if they worked harder at it.

Much to the disgust of companions Negasonic Teenage Warhead (Brianna Hildebrand)
and Colossus, and moments before facing dozens of gun-toting thugs, Deadpool (Ryan
Reynolds) addresses his audience directly, to discuss precisely how silly everything
has been, up to this moment.

Which is to say, Deadpool is outrageously smutty, profane and gory: about as far from the usually family-friendly Marvel Universe movies as could be imagined. It’s another of those merrily anarchic Hollywood projects that makes ultra-conservatives fret about the end of Western Civilization as we know it.

It’s also rather funny at times, in a tasteless, dark-humor sort of way. But only at times; the shtick wears thin rapidly. Not even Ryan Reynolds can hold our interest with 108 minutes of nonstop mugging and smart-assery. Although — give him credit — he makes a game effort.

The character has an odd history in Marvel’s comic book world, having been introduced in the early 1990s as a villain in various X-Men titles. He gradually morphed into an amoral antihero with a back-story as an unscrupulous mercenary for hire, eventually granted the mutant power of accelerated healing at the cellular level.

Meaning, he can’t be killed in the usual sense. Bullets perforating his body, a knife to the head ... no problem. Hack off a limb, and it regenerates, like a lizard’s tail.

You can imagine what today’s unrestrained special effects wizards can make of that gimmick ... and director Tim Miller — a CGI/VFX designer/producer making his feature directorial debut here — is just the guy to orchestrate the requisite mayhem.

But messy invulnerability isn’t Deadpool’s primary characteristic; he’s best known for his refusal to acknowledge his role as a member of the tightly plotted Marvel Universe. Deadpool knows that he’s a comic book character; he frequently breaks the fourth wall and addresses the readers, or indulges in arguments with the writers who concoct his word balloons.

In that sense, Deadpool is a smug and sassy, 21st century update of Marvel's equally cynical 1970s icon, Howard the Duck. Deadpool also upsets the “regular” Marvel superheroes, who can’t be their usual, carefully scripted selves with this loose cannon shredding the pages.

I’m also reminded of Jasper Fforde’s marvelously whimsical novels, with heroine Thursday Next as a “literary detective” who can jump into classic books, interact with their characters, and even change the endings of stories we know and love. Except that, well, Deadpool is a lot nastier. And more callous. And unapologetically juvenile.

And ... you get the idea.