Released: 25th July 2024 (UK and US)
Length: 128 Minutes
Certificate: 15
Director: Shawn Levy
Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin and Matthew Macfadyen
In a cinematic landscape dominated by superheroes, Deadpool has offered a welcome reprieve since 2016. The series has delivered an endless stream of laughs to older audiences while making fun of just about every cliché in the book. Deadpool and Wolverine is billed as one of the biggest blockbusters of the summer, but fans new and old will feel let down by this latest entry.
Some time after Deadpool 2, Wade Wilson (Ryan Reynolds) has used Cable’s time machine to reach an alternative world where his closest friends are alive and well. He is soon dragged into the Time Variance Authority, a multidimensional corporate office led by the arrogant Mr Paradox (Matthew McFadyen). The events of Logan have resulted in a breakdown of Wade’s timeline and after yanking an alternative version of Wolverine (once again played by Hugh Jackman) out of exile, the two are banished to the Void. The unlikely duo must find a way back to the TVA and stop the destruction of their timelines. Deadpool’s brand of self-referential humour is applied to the world of corporate movie franchises and the multiverse; it does so with a lacklustre and inconsequential plot that leans into fan service above all else. Most of the runtime is taken up by a trek through The Void, a bumbling misadventure that lacks the energy of previous outings. Many components feel disconnected as Deadpool and Wolverine tries to mix in comedy and some more dramatic moments with little rhyme or reason. The result is a story that fails to make the most of its comedic elements.
Ryan Reynolds is at his usual best and this time he plays multiple versions of himself for some extra humour. There’s no doubt that he fully embraces the role and all the wacky moments that come with it. Unfortunately, everyone around him falls short; Hugh Jackman’s return is standard-fare; aside from the classic yellow outfit, this version of Wolverine is very grouchy for most of the narrative. When the film tries to inject some heart, it falls flat and this also applies to the other cast members. Without giving anything away, there are many returning faces from multiple productions (both in and out of the Marvel Cinematic Universe) that didn’t succeed in the eyes of critics and audiences. These are the abandoned cinematic properties who are sent to the barren wasteland. It’s a shame that these cast members have no opportunity to make their presence felt; all of them feel heavily neutered in their performances and don’t add much to the film. New faces like the villainous Cassandra Nova (Emma Corrin) are also underwhelming throughout; more than anything else, it feels like the writing has been stretched thin. Compounding this shallow approach is the larger amount of dialogue; the Merc with the Mouth has always had a lot to say, but this time around his conversations get in the way and often bring the story to a halt. With the first two films delivering a great flow to the comedy, this is a major step backwards.
Deadpool and Wolverine still offers a distinctive look, though the aesthetics have also deteriorated as a result of the wider plot. The Void is a rather bland and uninteresting environment, though this seems intentional given the film’s take on soulless company scheming. D&W goes all in with the licensed music this time around, beginning with *NSYNC and ending with Madonna’s Like A Prayer; both result in some highly entertaining fight scenes that match the rhythm of the tracks. The sequences are edited very well with precise camera movements that cut at just the right moments. The large budget also shows through some flashy effects, especially in the climax.
As a quirky experiment that fails to pay off, Deadpool and Wolverine is rather disappointing. If you take it as a standalone parody of corporate franchise fatigue then some of the laughs will land. When compared to the first two films, this one feels quite hollow and plodding, becoming a victim of the very thing it satirises. Fans who have followed the series and the wider genre for years will get some enjoyment, but this release will quickly blend in with other sub-par titles.
Rating: 2.5/5 Stars (Mediocre)
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