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While it’s not easy to perceive that producing/filming comedy-centric films is a hard feat in itself, considering this specific strain of films either hit-or-miss at the box-office, it’s not uncommon either to fathom comedy’s attempt in establishing franchises that try to compete with cinema’s elite in action and superheroes. Indeed, from the vast array of acclaimed British comedy film franchises, such as the Carry On and Monty Python, that tend to be the staple, to the more ‘universally’ accepted comedies like the Scary Movie or The Hangover productions that grossed in profit, it’s interesting to fathom the evolution of comedy films since cinema’s inception and how enveloped it’s become to many other film genre’s. This is specifically noticeable in Ryan Reynolds’ efforts as Deadpool in the films of the same name that, although has an obvious superhero outlook, it’s main aim is to please it’s audience members with laughter; whether it’s a subtly humorous one-liner or quip that sarcastically jabs-at tropes and cliche’s. In being a continuation from the record-breaking R-rated 2016 film that distinguished itself from the norm of super-heroism, David Leitch’s Deadpool 2 see’s the return of Wade Wilson in all his well-known comical glory. Yet, with a brand new venture that boldly has a more emotional emphasis than the preceding story, does this much anticipated sequel perfect an established formula that already worked in the first place?…

After successfully working as an all-joking mercenary for the past two years since re-uniting with Vanessa, foul-mouthed and wisecracking Wade Wilson, A.K.A Deadpool, meets Russell, an angry teenage mutant who viciously loathe’s the orphanage he resides in. However, when Russell soon realises that he’s a target for Cable – a time-travelling cybernetic solider from the future – Deadpool recognises that he’ll need some help saving the young mutant from such an opposing enemy. With the likes of Colossus, Negasonic Teenage Warhead, Dopinder and Weasel returning to the fray along with newcomer Domino and a plethora of other characters, Deadpool must form a team to protect this mutant boy and learn the important values of family, friendship and…being an X-Man?!…😮

Where the majority of superhero films retain a premise that is wholly family-friendly, occasional tinged with broad motifs that breakaway from formulaic norm that superhero films have come to embody, the first Deadpool went bold and self-referential, and ultimately revelled in the possibilities of having both strong violence and language. Indeed, it is this audacious stylistic-choice that paid-off handsomely and the main reason why Deadpool became the second highest grossing R-rated feature in US history after The Passion of the Christ was because of its amalgamation of outlandish meta-movie quipping and the emotional aspects to the story. Indeed, while the first film, directed by Tim Miller, may have been seen as a film that was a just a predictably full-length feature meme that consistently addresses the audience directly with jokes relating to Reynolds, Hugh Jackman and everything that surrounded Fox’s X-Men franchise of films, it was a comedy entry that was ultimately savvy enough to understand that there’s more to the character of Deadpool than just quips and dismemberment. It upholded a genuine emotional reliability in the form of Wade and Vanessa’s romantic crux that the film in general, never truly felt one-dimensional and inherently subverted the formula by applying something new to the cinema scene; snappy, self-aware, fourth-wall breaking lines that no other ‘superhero’ film in recent memory would even dare to attempt to exhibit. As a result of this, we’ve come to acknowledge that Deadpool is an anti-superhero who sets his own rules, where no one is inoculated against his peculiar brand of wit, and all of this comes back into fruition in this sequel…mostly. From a few hilariously gory fight scenes, more specifically including a scene with Deadpool’s ‘X-Force’ that was genuinely perfect to perceive, to another Bond-movie parody title sequence that does the job in making you enthralled of what’s about to happen, David Leitch’s interpretive continuation, more or less, retains much of what audiences loved about the first entry, the comedy (as highlighted). Yet, if there’s one palpable stigma to ponder over whilst watching this anticipated sequel for those who adored the first film, is its frantic meandering of sustaining an established custom that needn’t be tampered with in the first place. With jokes either not hitting their mark as it should or some quips going overboard with a particular scenario that are constantly in your face, it’s feasible to notice just how Deadpool 2 doesn’t quite live-up to its predecessor and audience expectations, which is to be expected somewhat. This is largely down to the premise of this sequel largely focusing on the emotional beats, rather than the comical stylistic choices that this now-beloved franchise was admired for. Evidently, it falls down a contextual rabbit-hole that’s synonymous with lacklustre sequels that down uphold the first-films cinematic majesty. It’s occasional perspective changes within the first-act as well costs the film to have any linear story-telling that is desperately needed.

Aside the obvious negligence in regards to the films balancing of the emotional diversions with the standard-issue lunacy, and how this juggle of tones ultimately showcases sequences that can be a little jarring to fathom, what’s pleasing to see and serves as a silver-lining for Deadpool 2 is the well-written characterisation and how each of the performers on-screen devote themselves to their respective role. Again, as much as it is brave to re-introduce and see a profoundly eccentric and comical character go through an emotional turmoil throughout the films two-hour entirety, Deadpool is sincerely a delight to see on the big-screen once again and it’s as if he’s never really gone since his cinematic inception in 2016. As to be expected, Ryan Reynolds seamlessly dons the ever-crazed hero and never once makes a foot wrong in regards to delivering a specific joke; whether it’s a one-line jab at DC universe’s cinematic franchise or subtly mocking the personalities or traits of some of the newcomers. Speaking of which, the inclusion of specific X-Men comic characters in the forms of Cable, Domino and a certain other (of which I won’t name!) are refreshing to perceive and provide comedic nuances of their own, meaning that Deadpool isn’t the only one to make a funny remark. Out of the new characters that appear however, the standout here is clearly is Zazie Beetz’s Domino whose enjoyable charismatic, either coercing with the likes of Deadpool or presenting her ‘luck’ power in ways that are creative. Much of the same can be said in regard’s to Josh Brolin’s Cable who naturally contrasts well with Wade’s sense of humour. If there’s one gripe to be had with this rather Gears of War-esque future-soldier however, it’s the painstaking lack of depth that’s missing to his character. While there is a clear exposition clarified when Cable explains why he time-jumped to the past, it would have sufficed more if there was room to see Brolin’s character interact in his own time-line; which in turn would have given more emotional interchangeability with the aforesaid individual. This shallow character contextualisation is moderately followed onto the likes of Colossus and Negasonic Teenage Warhead who, although both respectively had their shining moments in the preceding venture, don’t warrant enough screen-time to leave a lasting impact.

Considering the enormity that the previous film rightly gained and received over $700 million in total at the box office, one would assume that Deadpool 2, directed by David Leitch who is known for his work on the stylistic John Wick franchise, would invest its dividend in action-sequences that are bolder and brasher than the last, and that seems to be the case. Not to disregard the infamous high-way sequence that was cleverly put-together in the first-outing, but it’s evident right from the first few minutes of this sequel that earnings of the previous film were concentrated on the various conflicts that are depicted this time round. From another car-chase sequence which hysterically opens with Deadpool’s ‘X-Force’ paragliding to their destination to a prison break-out scene that exploits in using exploding set-pieces, the action provided was always assured, yet it does have a few flaws. One of the main ones being the implementation of CG. The cartoonish excess in which computer-generated effects is sometimes gratifying, but even with a big CGI fight scene is prefaced with Reynolds saying. “big CGI fight scene coming up”, what is depicted speaks for itself and doesn’t add anything significant to the image; which is a shame considering Leitch’s recent filmic background.  

Such criticisms stated in this review for David Leitch’s Deadpool 2 won’t necessarily bother its core audience, yet these implications are to be noted considering how jarring the experience can be in certain little moments. To say I was fully-disappointment with this sequel would be wrong to state, considering that the film in question does uphold moments of hilarity that are unforgettable and features X-Men references that a fan, like myself, can revel in. Yet, it can’t be ignored how Deadpool’s re-emergence to the big-screen does bring-up causes to ponder over, such as the surprising emotional premise that saturates many of the fourth-wall quips and meanders an established formula that now needs to be tweaked again. The naughty man-child of the X-Men universe does, in refreshing ways, provide something different to the super-heroic table. However, it wouldn’t surprise me if audiences, who enjoyed the first film, would find themselves a tad conflicted of this sequel. For sure, with the way the aforementioned film concludes, it’ll be interesting to see where Deadpool will head cinematically and what will become of the X-Men franchise as a whole…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review in the form of David Leitch’s Deadpool 2 and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either the review or the film itself, you’re more than welcome to post your thoughts down in the comments section. For next week, I’ll be taking a look at Ron Howard’s Solo: A Star Wars Story and see how it fairs against other past Star Wars titles. Once again, thank you for taking the time the read my latest Blog Post and I hope you’re all having a nice week! Adieu! 😁😎💥🔫⚔

★★★☆☆ – Alex Rabbitte