Deadpool characterized itself as a “romance” movie. Deadpool 2—probably my overall favorite superhero film—characterized itself as a movie about family. In contrast to its predecessors, Deadpool and Wolverine decidedly feels like a “superhero” movie, with all the spectacle, action, and expanding cast of characters which that implies.
It’s been a bit since I last reviewed a new film because, frankly, not much hooks my eye and drags me into the cinema. I usually wait until movies are available on the small screen, at which point there doesn’t feel much point in writing a review. Having seen both prior Deadpool films while in theaters, rounding them out with Deadpool and Wolverine was sufficient motivation.
Definitely worth it.
Disclaimer: The next chunk of this review is spoiler-lite. I describe a few basic plot elements, and try to avoid anything you won’t see in the opening of the film. It also may include spoilers for related Marvel films, like Logan or prior Deadpool films.
Deadpool’s timeline is fading because its “anchor being” has died. When a multiverse authority seeks to prune his universe, Deadpool seeks out a replacement. Set adjacent to Logan (2017) but not exactly a sequel, Deadpool and Wolverine is both metaphorically and literally written around beating a dead corpse. Since Logan was the anchor being for Deadpool’s universe, he seeks out a Wolverine from elsewhere in the multiverse to replace his own.
There’s a good reason this film is not titled “Deadpool 3.” Both title characters play a significant role in the story’s plot and in its emotional resonance. The latter is why prior Deadpool films have had such staying power in my memory. They’re funny, sure, and action-packed with plenty of gore and sex. But Deadpool 2 truly is a film about family—about found family, about trying to move on after tragedy. It just also has someone get ripped bodily in half. Robustly personal stories structure each of those films. As a result they’re less generic and more impactful. Deadpool and Wolverine retains this through exploring the inner motives and experiences of both protagonists.
Unlike the prior installments, Deadpool and Wolverine absolutely is about saving the world. The stakes are set as high as any “mainstream” Marvel film, in contrast with the prior Deadpool films. This is why it really feels like a superhero movie.
I loved Deadpool and Wolverine because it interwove this melodramatic plot with strong emotional investment and payoff. Hugh Jackman’s stupendous performance in Logan returns once again in Deadpool and Wolverine. This time, his acting supports the film with ample gravitas. Ryan Reynolds’ remains as engagingly mouthy as in the previous films, but his style is more comic than dramatic. This fits well with the character and the film as a whole. Deadpool and Wolverine is not “carried” by a single actor, single character. It’s truly a medley of both characters and stories.
And in a way, this might be the “Deadpool-est” and “Wolverine-est” of any film featuring these characters. Even Logan, with its violence and dramatic tension, presents an old and tired version of the iconic X-men superhero. In contrast Deadpool and Wolverine shows him as a warrior in his prime. Haunted, yes, but as fully unstoppable and dangerous as any comic fan could wish. Likewise Deadpool may be at his zaniest, to the point that he practically lives in the fourth wall.
This could grow tiresome, but Wolverine’s presence provides Deadpool’s meta-narrative the necessary grounding. While the worn-out “Marvel formula” of staggered tension and quips is present, the film’s focus on tangible consequences provides the narrative with purpose. It’s not a film reliant upon humor and spectacle alone.
That said, there’s quite a lot of spectacle. Deadpool and Wolverine ought to be rated R for “red” considering the amount of bloodshed. This intersects with the most fan service I’ve ever seen in a superhero film. Deadpool’s meta antics help, here, in that including characters from past films becomes a loving parody rather than a tedious attempt to exploit nostalgia. It’s analogous to how Tenacious D in the Pick of Destiny both lampoons and adores metal music. That said, the parody is of fan reactions and fan service—the characters themselves, I thought, were treated respectfully.
There’s a number of fights throughout the film, including between Deadpool and Wolverine themselves. Overall I do feel there was a bit too much slow-mo used (even if largely satirical), and that the choreography was “good” rather than “great.” In particular, I enjoyed the larger action sequences but they did suffer a bit from the Marvel syndrome of “look at the unexplained shiny powers.” The sequences focused more narrowly on the protagonists were stronger, and none of the action was “bad.” If re-watched, I suspect I’d find that good cinematography is helping adequate choreography.
As a final note, the main villain is deliciously fucked up. Unsure of how much of her primary “thing” has pervaded trailers or conversation about the film, I’ll pass over it in silence. Her dynamic presence and unsettling powers are another counterweight to the overall comic tone.
Taken as a whole, Deadpool and Wolverine is a fantastic bit of cinema. It doesn’t dethrone Deadpool 2 or Logan as my favorite films with its titular characters, but it admirably lives up to their legacy. Rather than re-making past work, it uses a deft blend of emotion and spectacle to, honestly, show how superhero movies should be made. Superhero movies don’t require this level of gore (although it definitely fits Deadpool’s tone), but they would benefit from greater balancing of eye-popping stakes and melodramatic action with more intimate character writing.
It’s pretty much exactly the violent and crude extravaganza advertised by the title, with enough substance to avoid boring or numbing the viewer. If you like hyperviolent action flicks (like Tarantino’s films or Boondock Saints) and want a superhero movie in that style without the “grimdark” of similar premises, Deadpool and Wolverine is worth your time.
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