The works I review are occasionally high-brow but I never said I necessarily was. Thus I feel no shame in saying that I found Deadpool a worthwhile venture. This Sindo review hopefully explains why.
IT CAN seem like we live in a Marvel world these days, one where film franchises from the humongous comic-book corporation break box office records. However, last year’s The Fantastic Four and Ant-Man underperformed comparatively, hinting that not all Stan Lee touches turns to gold.
The problem may be the pompous, spandex-clad self-regard of these films. What a delight then to find an anti-superhero romp made on a comparatively tight budget of $50million that not only kicks ass but riles sensibilities and jabs a much-needed pin into the swollen ego of its genre.
Like its source comic, Deadpool is an exercise in fourth-wall sledgehammering. The wise-cracking, devil-may-care mercenary would show up to cause havoc to any Wolverine or Daredevil, all the while winking at the reader. A longtime fan favourite, efforts to give him the big-screen Marvel treatment have been stop-starting since 2000.
On board early as both star and producer, Ryan Reynolds is born to play Wade Wilson, a fast-mouthed mercenary who volunteers for a shady medical experiment he hopes will cure his cancer and ensure a long life with stunning squeeze Vanessa (Morena Baccarin). He’s left disfigured, warped and equipped with mutant healing powers.
This origins tale is gaily drip-fed to us as Deadpool seeks revenge on Ed Skrein’s sadistic scientist. What matters most to director Tim Miller are the core values of the brand – violence, sleaze and a quick-fire comedic opportunism that happily gives itself and its cast both barrels.
Low-down dirty fun.
First published in the Sunday Independent