When a visit to an orphanage lands both Deadpool (Ryan Reynolds) and antsy mutant teenager Russell Collins (Julian Dennison) in a mutant jail, things look as though they could not get any worse. However, the arrival of a time traveling mutant (Josh Brolin) looking to kill Deadpool’s child cellmate (who commits a deadly act in the future) may just be the chance that reunites Deadpool with his wife.
Deadpool represents a breath of fresh air from the cookie cutter nature of superhero movies. It’s self-referential in jokes and crass gags make it stand out against the series of mass produced movies that don’t seem too dissimilar from one another. If people were to take off their rose-tinted spectacles they’d notice that the recently celebrated Blank Panther follows the exact same formula. This isn’t indented to bash the series of movies, I tend to enjoy them, but there must be a point where its popularity eventually dies out.
That said this could be potentially be an issue to befall Deadpool even if its self- referential meta humour is still set on full steam ahead. It’s possible the series’ meta humour will become tired and this will seriously cause the movie to wane terribly. This is because the film’s plot to drive the movie forward is very weak. In the film there are nods to weak, convenient and contrived writing, but the film’s biggest plot point is straight from the barrel of weak, convenient and predictable writing.
Clearly, however, judging by the rapturous reception, Deadpool’s comic shtick isn’t showing any signs of waning. Much of this is powered by Ryan Reynolds effortless likeability in the role as he nails every comic opportunity handed to him. The film is powered by Reynolds, and a few of the supporting characters have their moments (even if the talents of Eddie Marsan and Brianna Hildebrand are wasted), but it does somewhat illuminate the weaker aspects of the film as the film would suffer greatly without Reynolds’ charm.