Deadpool ain't dead

This film is not a typical superhero film. Sure, it has the usual fights and otherworldly powers and machismo showdowns that have become staples of the genre. But one thing is different here: Deadpool himself does not take his own film seriously. He breaks the 4th wall constantly. He mocks and ridicules other superheroes in front of the camera. He wants us to laugh with him about how ridiculous and zany movies, like his, can be.

Deadpool follows the transformation of a mercenary down on his luck into a superpowered mutant, able to regenerate limbs and heal from any wound. It is not the most exciting of powers, but Deadpool’s popularity is more in spite of his powers rather than due to them. He has a terrific sense of humor, bordering on a perverse slapstick. Deadpool cracks one-liners and mocks his opponents as he bloodies his hands smashing enemy thugs’ heads and ramming swords through their chests. But this isn’t the crazy sadomasochism of Batman’s Joker; one gets the feeling that Deadpool simply entertains himself to get through these fights – or deliberately entertains the audience. A few scenes feature him looking directly into or even moving the camera, completely aware that he is in a movie and is being watched. One joke hinges on how one of his allies does not realize the audience is watching them while Deadpool cracks an inside joke.

Ryan Reynolds steals the entire film. Always energetic and sporting well-nailed comedic timing, his jokes and witty commentary never fall flat. Similar to a Tarentino film, the audience simply get transfixed by the dark comedy and stays for the drama and action. The entire film focuses on Reynolds, so it’s spectacular that he pulls such an ambitious acting style throughout.Sometimes the jokes become more fluff than substance and break the reality of the situation the characters are in. For instance, in the middle of the final battle sequence, one of the superheroes bewilderingly texts on her phone in order for Deadpool to make a mocking jab at the untimeliness of her social media use; yet the line of armed bad guys do nothing to take advantage of this clear opening. So some parts of the film need to be taken with a grain of salt or otherwise draw attention to their campiness. Otherwise, the film paces very well as director Tim Miller effortlessly takes us on a roller coaster ride from flashbacks to the present day and back again in order to present the narrative and the exposition in an original, refreshing way.

I would comment on the performances of Morena Baccarin as Deadpool’s love interest, Ed Skrein as the “British Villain” according to the opening credits, T. J. Miller as the “comedy relief”, Gina Carano, and the other members of the supporting cast.

Ed Skrein during the shootings of Deadpool

Yet this movie is solely about Deadpool and they all play second fiddle to him – he’s the only fully fleshed character whom we as the audience sympathize with. This is usually a bad thing, but in this overly-self-aware film, its supporting cast serves more as differently-angled spotlights for the main attraction: the titular sarcastic superhero himself.