REVIEW: DEADPOOL (20th Century Fox; 2016)

d5fb65f0_edit_img_facebook_post_image_file_2387502_1428242400sKKuhS.fbshare.jpgTabitha Buckley, Contributor 

Deadpool finally gets an accurate representation in Tim Miller’s Deadpool.


As a comic-book character, Deadpool is a snarky, immature, loud-mouthed antihero with a love of breaking the fourth wall – and we love him that way. Wade Wilson is a similar character, but without the scarring and super-human abilities. I would argue that he is the greatest superhero ever to grace the Marvel universe because of this, but that’s just my personal preference.


Last time Deadpool walked onto our screens, however, it was a horrific disappointment that sparked outrage in the fanbase. In Gavin Hood’s X-Men Origins: Wolverine (2009), Ryan Reynolds plays a fairly accurate Wade Wilson. But when he eventually becomes Weapon XI, we see a Deadpool who has laser eyes and retractable blades built into his arms, played by Scott Adkins. The film’s biggest sin of all? Deadpool is portrayed with his mouth sewn shut, silencing and destroying the entire identity of the “Merc with a Mouth”.


Reynolds has returned to his original role of Deadpool/Wade Wilson for this Miller’s film, and brought with him the incarnation of the character that we’ve all been waiting for. Deadpool is 108 minutes of profane jokes, gratuitous violence and fourth walls broken beyond repair. The result is nothing short of a masterpiece.


The film follows Wade Wilson (Reynolds), a mercenary who protects the citizens of New York City from stalkers and other undesirables. Diagnosed with terminal cancer, Wilson is approached by a man who promises he can cure his illness. Wilson eventually decides to undergo this procedure, leaving his girlfriend (Morena Baccarin) in the dead of night for a torturous ordeal which leaves him physically and mentally scarred, but also gives him superhuman healing abilities. The remainder of the film sees Deadpool attempt to wreak revenge on his torturer, Ajax (Ed Skrein), and work up the courage to be reunited with his girlfriend. This non-linear plotline is interspersed among clips from a ridiculous fight scene between himself and Ajax (and his many henchmen).


The casting of the film cannot be faulted: in Deadpool’s last film appearance, the only aspect that received praise was Reynolds’ portrayal of Wade Wilson. Every other actor also plays their role perfectly, with no jarring performances in sight. In fact, any aspect of the film which could be seen as negative – Colossus’s (Stefan Kapičić) CGI, Negasonic Teenage Warhead’s (Brianna Hildebrand) over-the-top teenage angst – is counteracted by the fact that these issues are already called out in the opening credits. The film laughs at itself and if you call it out, it laughs at you too.


As a film, Deadpool is by no means intelligent or philosophical. It will not make you think, it will not give you a new outlook on life or affirm any sense of belief in humanity. But it’s not meant to. Deadpool is a ridiculous, self-aware film whose meta humour has the audience in stitches right from the opening credits. It’s everything a Deadpool film should be.

Published by The Gown Queen's University Belfast

The Gown has provided respected, quality and independent student journalism from Queen's University, Belfast since its 1955 foundation, by Dr. Richard Herman. Having had an illustrious line of journalists and writers for almost 70 years, that proud history is extremely important to us. The Gown is consistent in its quest to seek and develop the talents of aspiring student writers.

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