An unavoidable circumstance leads Deadpool to form the X-Force—and continue being his own inappropriate self because he can’t help it.
The Merc's Mouth drags Deadpool 2 down to mediocrity. Passable, but missable.
Zombieland has taught us two things about co-writers Rhett Reese and Paul Wernick: one, they know how to whip up a screenplay that’s got an excellent balance between emotional heft and self-aware meta-humor. Two, they’re fans of the summer blockbuster and don’t mind reveling in the tropes they indulge in (remember Life?). Whether it’s that obnoxious seriousness or their tongue-in-cheek comedic acknowledgment of clichés, the guys know how to do it—which is what makes Deadpool 2 all the more disappointing.
[…] this R-Rated movie is a whole lot safer than a lot of PG-13 risk-takers.
Sure, it’s not the worst movie to watch; in fact, I’ll go out on a limb and say that it’s breezy enough while it lasts. And if that’s just what you’re looking for, then it’s a great time out for you. For a film that was such a cultural phenomenon in the superhero zeitgeist though, it’s hard to be as pleased with a relatively mediocre follow-up. Now while it’s quite easy to dismiss how indifferent Deadpool 2 might make a chunk of the audience feel on mere grounds of it not being “new” enough anymore, I’ve got a counterpoint: it’s too safe.
You read it right; this R-Rated movie is a whole lot safer than a lot of PG-13 risk-takers. It might be suitably brash and bloody, with some severed limbs and edgy humor sprinkled around, but that doesn’t discount for just how it doesn’t do anything more than just that. Tim Miller’s direction of Deadpool’s 2016 origins had a palpable visual rhythm, but David Leitch, on the other hand, doesn’t do anything out of the ordinary—and this also includes the action set-pieces.
This Skux is on Fire!
Julian Dennison stars as Firefist in David Leitch's Deadpool 2, a 20th Century Fox, Marvel Entertainment and Kinberg Genre release.
While the stunt choreography is in itself pretty decent, it’s the choppy, almost insufferable execution that bogs them down a few notches. For Leitch, it’s quite mediocre—considering the beautiful marriage of comic-bookish visual pop and the gritty nature of your unfriendly-neighborhood-spy-thriller that was Atomic Blonde (2017), and the unreachable standard the infamous breathless quasi-one-take action set-piece set in his only nascent directorial filmography.
[…] Deadpool 2 less a film than a mere focus-group-friendly business decision.
But something tells me the problem with this film is not the writers or the director. However, like with the reactionary abominations that were Justice League (2017) and Rogue One (2016), Deadpool 2 becomes less a film than a mere focus-group-friendly business decision which will likely pay the studios dividends enough to make enough till Reynold’s self-deprecating Green Lantern potshot runs out of steam (and I suspect it’s already halfway there).
Considering the lovable motormouth of a superhero that Wade Wilson is though, it’s possible the makers would just resort to more of the kind of wink-wink-we’re-in-on-this lampshading Deadpool 2 already boasts (“That’s just lazy writing”). The studios know they’re at an advantage—they’re almost well on their way to creating a critic-proof franchise of the strangest kind, and you bet they’re going to milk it to death. You might as well just kick off your shoes and settle down comfortably because the superheroes are here to stay for a long, long time.
Deadpool 2 had potential enough to become even better than the first one—and with David Leitch onboard, the film had it all to be the messiest, action-fueled blast. Instead, a one-time watch apart, it’s only just messy, and the Merc With a Mouth grates and tires you till you submit to his ha-ha-jokes in pure indifference. You might not regret watching it on the big-screen stuffing popcorns in your face, but you’re not missing anything Tim Miller already showed you way back—and way better.