Is black humor a racist disposition, Mr. Deadpool?

Rating: 7/10 (23 May 2018)

I'm not sure if Deadpool would fit into Marvel Studios' new rising canon in relation to the recent billionaire contract between companies, hence the aggressive and abrasive superhero shines out in a simple, direct plot. The screenplay is written by Rhett Reese, Paul Wernick - two screenwriters from the first installment - and Reynolds himself, the story decides to develop itself within the limits fixed by the previously selected genres, resting, as could not be otherwise, on the scarred shoulders of the red-and-black hero. Nonetheless, this is a far-seeing second film, which allows nearly fifteen additional characters to be included in a split second, opting for a quintet/sextet - is Dopinder, the taxi driver and faithful squire, on the team? - that lays the groundwork for what will be their standalone film - cough, new franchise, cough,- X-Force. The exposition of the daring group is irregular because they don't present in their own movie, a fact that caused the writers to compact the materials organically without deflecting from the plot focus; having said that, watching them working on the screen isn't as magnetic and special as one would expect, but they produce enough charm to sympathize with each of them. The incorruptible morale of Colossus, voiced by Stefan Kapicic, and the commendable CGI effort bring a strong and fantastic counterpoint to our hero because they compose a ridiculously genuine bromance; Zazie Beetz's Domino doesn't reach Valkyrie's empowered female impact, but defends its lucky storyline by means of a sincere and distant acting development that falls apart trying to fill the impression she couldn't cause - it's respectful not include in the final footage the sequence led by her stunt double, Joi "SJ" Harris, after the tragedy that took place on 14 August last year; - Taika Waititi's big Kiwi revelation, who portrays Russell, is one of the characters who gains an important background and dramatic development, which helps him become a vital handle to the general plot by means of a plausible, emotional and, to tell the truth, quite realistic performance; as a mutant, Firefist is the spirited new youth incorporation in the clan, it'd be interesting to see how it would develop his storyline in a story in which he and his burning hands become part of a team; Nathan Summers' time travels are truly wasted - save the epic and meta-narrative post-credits scene - for large-scale situations, they're never used as an instrument in storytelling, are simply an input/output mechanism for a half-human, half-machine-and-armament hero; in the same way, its introduction is tremendously indecisive and ineffective, with a flat and out-of-place edition delivering short, insubstantial glimpses about the next member of the gang. However, ever-fierce Josh Brolin endows Cable, the most long-awaited new character by the fanatics, with virility and overwhelming visual portent, his scenes expel physical and mental strength, not excluding a subtle emergence of comedy through his unwavering and austere personality; And last but not least: Deadpool. The actor from "Green Lantern -" I'm sorry, I had to do it - found what Hugh Jackman and Tom Cruise found in Wolverine and Ethan Hunt respectively: the role by which he'll be recognized for the rest of his career. The naturalness, dynamism, vigor and passion impregned by the Canadian interpreter are really a cracker, the irreverence and comicalness of this fella, who had been pursuing these movies since his failed incorporation in "X-Men Origins: Wolverine", reveal how much hard work he did, every line coming from his mouth, adorned with his characteristic gestures that aren't hidden under the suit, is cruel, dramatic and hilarious; it's incredible the power his performance has to know how to handle the rhythm throughout the film and the exact moment of each parodic insertion leaning on a brutal script. No doubt, this highly-anticipated sequel never loses sight of its raison d'être, providing an authentic, entertaining story, which is open to receive the incessant jokes coming from the screenplay. Ryan Reynolds is killing it as Deadpool.
It's increasingly obvious the writing of the screenplay was more complicated than you thought, as shaping the hilarious dialogues for the anti-hero demands inventiveness from more than one brain. Reese, Wernick, and Reynolds stick thousands, thousands, thousands of references, not just as the usual easter-eggs game. Pop-culture is key, the endless mentions on screen through one-liners are sickeningly amusing thanks to our strange time. No-one and nothing can get away from the vicious signs: literature (Pericles), music (dubstep), singers (Cher and Justin Bieber), actors (Jackman and, oh!, Reynolds), of course film ("Star Wars," DC, Marvel, 007's "Spectre," "John Wick" and a long etcetera), and even the movie conception itself, laughing at the writing process, the production companies, its screenwriters and director through an unforgettable meta-cinematographic language. Such was the impact that I began to hyperventilate, picking references that maybe were never deliberately introduced by the screenwriters ("Spy" by Paul Feig or "Inception" by Nolan). Hands down, the film with more explicitly-implanted-in-the-script pop-culture references I have ever seen.
It's sad to admit, but fourth wall breaking decreases in impact and number. It's an understandable decision because this time our hero isn't alone, but the movie should find ways and new narrative incursions which replace the role that played this brilliant technique. However, the few are short and don't get the importance they deserve, yes, we still have his peculiar voice-over monologues maneuvering anachronistically the story and mocking even the smallest detail, but they never bridge the gap of those long and hilarious soliloquies and conversations he held with the audience as a narrative mechanism with tremendous effectiveness.

It'd be demoralizing to say that, after the titanic and classical work put into "Infinity War" with regard to the creation, treatment, and exposition of its villains, Marvel has taken a step back, sorry, somehow it did. All right, Ed Skrein's Ajax isn't the best Marvel villain of all time, but it's neither the worst because he gives it a proper development and time enough on screen to make the viewer understand who the bad guy in the movie is, however, on this occasion, there is no a delimited antagonist. Obviously, most viewers buy a ticket to see their favorite hero do and undo, but it's important to know if whoever gets such punches- curse words in this case -has managed to involve with the audience and the story, here, none of that happened of course. Villain's role changes so many times that, in the end, the course of events seems disoriented; firstly, Cable would become a pain in the neck for the antihero according to the script, however, thanks to a shrewd plot twist, Mr. Nathan gives up his seat to two more characters, a yo-yo move that doesn't favor and ends up giving the perception there is no real villain, perhaps, the only baddie is Deadpool.
This installment had the chance to remedy the lack of spectacle in the mise-en-scène and the exposition of the largest and most expensive set-pieces, however, even with a highly qualified stunt coordinator, you never get something really epic matching tremendous levels of violence with some kind of visual beauty. Stuntman-turned-filmmaker David Leitch is known for what "John Wick" is recognized as a cult-film today: its fierce, brutal, meticulously choreographed combats. Although it's evident an upsurge in less-artificial fighting scenes and comically bloody sequences, none of these serves to mask a lackluster visual buffet, in the last, lacking styled compositions that leave you astounded, doing no justice to the exquisite visuals and action in "JW" and "Atomic Blonde," the two previous works of the filmmaker. Jonathan Sela's cinematography handles intelligent and frankly striking angles, but he never ventures to pass the limits over and decides to settle with a couple of laudable sequences that always shine under the shadow of the well-made fights in the first flick, I find it somewhat strange, especially taking into account who its director is, not even the final sequence which draws its strengths on the always-funny performances and the unbeatable screenplay. There are similarities in a specific sequence, one that many remember from Miller's pic for the misuse of special effects, yes, the one in which Wade Wilson is kicking asses along a freeway as an opening scene, here, it's Domino who must withstand an embarrassing set-piece, it's unheard of the poorly-achieved digital effects it must endure, it seems as if the crew had forgotten to finish it and had decided to release it that way, the scenes aren't realistic at all, it looks like a 2000's video game. Tyler Bates doesn't do a sincerely rewarding feat as his "soundtrack" for the film vomits hyperactive and energetic melodies over the frames, that don't contribute anything to the visual part to excel. The only original song which can really monopolize the spotlights soon is 'Ashes ' interpreted by the queen Celine Dion.
"Deadpool 2" by David Leitch unimpeachably dynamizes only some of the features which made the first movie so freestanding, unusually special and extravagant while neglecting aspects of cardinal importance as a good approach to the characters, a stunning visual section and a deep, conscious development and treatment to a powerful villain. But don't worry, you'll get more vicious action, trenchant jokes and one-liners, visual gags, a new volatile group of heroes, many, many references of all kinds and an experience that does not disappoint, but what's a Wade Wilson/Ryan Reynolds who gets his long-awaited sequel where the only thing that matters is the surface? By the way, did I leave the stove on?