Going into something like Deadpool & Wolverine, it’s difficult to not have a certain expectation as to how it will both stand on its own accord and play as part of the Marvel Cinematic Universe’s Phase Five, which, so far, has been a considerably mixed bag; Ant-Man and the Wasp: Quantumania and The Marvels both largely failing with audiences, whilst Guardians of the Galaxy Vol. 3 earned a more rapturous send-off.
As to be expected through the fourth-wall breaking, profane motor-mouth of Ryan Reynolds‘ Deadpool, the “rough patch” that has been the MCU of late is referenced throughout this threequel’s 127 minutes, as is general ribbing of Disney acquiring an R-rated property from Fox, certain character iterations that (perhaps) didn’t get the franchise love they deserve, and personal life quips relating to both Reynolds and co-star Hugh Jackman; to say Reynolds shouts out much love to his wife, Blake Lively, is an understatement.
The wink-wink self-awareness of Deadpool drives much of Deadpool & Wolverine‘s humour, with the five-person-strong-written script wasting no time in setting up the former’s position as “Marvel Jesus”; Reynolds, director Shawn Levy (Free Guy), Rhett Reese (Zombieland), Paul Wernick (Ghosted) and Zeb Wells (She-Hulk: Attorney at Law) all clearly indulging their fanboy mentality with much of the character’s self-imposed importance. Ironically though, it’s when the film doesn’t swing so obviously to the camera that it proves a far funnier affair, with a lot of seeming Reynolds ad-libs earning deeper appreciation; that is if you can catch the dialogue over the hearty laughs that much of the film will illicit from receptive crowds.
Reynolds is all-too aware the power he has over the comic book community when he’s vacuum-sealed into the red suit (cue crotch and ass appreciation shots), and he wholeheartedly commits to the shtick of the character’s foul mouth and penchant for bloody violence throughout; the opening credits alone fill enough of a blood quota. And given that it’s the 3rd Deadpool outing, the 4th Wolverine feature (10th, if you want to get technical), and the 34th film in the MCU, it’s to no one’s surprise that this film has zero interest in catering to the uninitiated.
The Avengers are heavily referenced throughout as we learn that Deadpool wants to join the super-hero collective, stressing that he needs them to fill some kind of life-long purpose. He’s rejected by the first of many enjoyable extended cameo performers and resigns himself to a life of selling family-friendly vehicles, but it isn’t long before the Time Variance Authority come knocking to sucker him in for a mission that can potentially save his world.
Deadpool’s mission isn’t really anything we haven’t heard before, but it does allow Matthew Macfadyen to absolutely devour his role as the TVA agent, Mr Paradox, overseeing the project, which, naturally, brings a heft of multi-verses into play. This MacGuffin ultimately means Levy, Reynolds and co. can service the fan base with delicious cameos that range from alternate character casting, returning favourites, and, in the case of Jackman’s Wolverine, differing iterations that stretch from 007-esque temperaments to the more vertically-challenged.
On the mention of Jackman, as much as Reynolds showboats, his Wolverine provides a lot of the film’s forward momentum. It’s always an absolute treat seeing the actor don the metal claws again and viscerally rip through whatever’s in his path, but here there’s an anger to his delivery that extends beyond merely being perturbed by Deadpool. The emotionality conjured in Logan isn’t replicated, but Jackman’s realisation of how his Wolverine fits into this particular universe manages the film a certain resonance that’s welcome beyond the majority of the comedic carnage it adheres to.
Next to Reynolds and Jackman, the other ace Deadpool & Wolverine has up its sleeve is in the form of Emma Corrin as Cassandra Nova, the twin sister to X-Men’s perennial father figure Professor Charles Xavier (played by both James McAvoy and Patrick Stewart across the X-Men film franchise). Villains are so often underutilised or underwhelming within the MCU (Josh Brolin as Thanos, you’re cool), so it stands out even more so when their immorality is well-balanced with both a serviceable script and a performer that can truly sink their teeth into it. Corrin is gorgeously unpredictable, playful in their roguery, but not without psychological weight, and the genuine chokehold they’re capable of holding over the characters makes them more than a formidable opponent in a franchise that so rarely commits to the stakes it teases.
As enjoyable as Deadpool & Wolverine is, whether or not it’ll hold weight on repeat viewings remains to be seen. So much of this film’s initial impact is in its shocking joke delivery and cameo reveals. Take some of that amazement away and, whilst by no means a poor movie, the standard MCU practice is apparent. That being said, applause must be extended to Disney for allowing Reynolds to indulge in the character’s irreligious mentality, as this film truly wouldn’t work if it wasn’t allowed to truly let the man cook across both his vocabulary and violent state of mind.
Undeniably crowd pleasing for the right audience, Deadpool & Wolverine caters to its fanbase and, in that regard, emerges truly victorious. If we have future stories involving either character remains to be seen – there’s certainly enough jokes at Jackman’s expense at returning – but, hopefully, seeing such an adult-skewed comic book property exist under the Disney banner gives the House of Mouse the courage to let other stories indulge in more mature surroundings; something that the opposing DC brand has had a much easier time experimenting with, product quality aside.
THREE AND A HALF STARS (OUT OF FIVE)
Deadpool & Wolverine is screening in Australian theatres from July 25th, 2024.
