Deadpool

Rating: 8/10 (20 February 2016)

Vulgar, hip-centric, and purposely anti-hero comic book Marvel outing gives Ryan Reynolds exactly the kind of "super hero" (using that term rather reluctantly) part his career has been pining for. While this could very well be an ideal villain if tweaked, Deadpool seems to be a perfect alternative to the kiddie-family friendly Marvel summer fare so popular every year.
He's feisty, insulting, cocky, abrasive, relentlessly chatty, honest-to-no-fault, keen to jump into danger at any moment (particularly with "mutant powers"), opportunistic (if he can get his revenge, no one will stand in his way), and unafraid of any consequences of any of his actions. He was "in the war" (special forces) so his killing/fighting talents have reason. He's not an "altogether bad guy" as he is willing to risk it all to save his "potential baby's mama", but not before cracking wise and pulverizing heavies that follow behind this mutant that is impervious to pain (he can't feel "anything") named Ajax (Ed Skrein). Ajax was head of an underground "let's change hopeless human bums in need of help into mutant superheroes" project that had this suit with a faux sense of offering support to the downtrodden luring unfortunates into a warehouse that features a staff who seem content to pump them full of mutant goo and torture the change into effect! Ajax's suit convinces Cancer-stricken Wade (Reynolds) to give the mutant underground project a chance, and it leaves himwell, worse for wear. An oxygen deprivation tank encourages the mutant change on Wade which uglies his entire body. Going the Elephant Man route provides Wade with a modicum of sympathy, but I guess his mouth could hinder that somewhat.
Let's just say that this film unleashes some pent-up frustration that comes with trying to offer a product to a wide audience, within a PG-13 rating. What many might perceive to be a niche Marvel character audience, Deadpool seems to be the answer to a certain demographic's prayers. There's a freeing feeling you can see in this film, with all the swearing, sex-obsessed dialogue, decapitated heads, direct-to-camera-fourth-wall-breaking, 80s music (Chicago and Wham! make appearances!), playful jabs at the X-Men (metallic muscle Colossus & firebrand Negasonic Teenage Warhead lend some help to Deadpool by film's end), Stan Lee's cameo in a strip club (!), and going for a completely off-the-wall back-and-forward origin story. Reynolds' energy and sheer exuberance (he is having so much fun and seems to be totally turned loose from the chains that bound him in "Green Lantern") give the film a buzz it sustains all the way through. Thankfully, he's never a buzzkill. Ajax is your basic cold-blooded villain who looks like someone Jason Statham is trying to outrun/outlast in a Transporter movie, with Gina Carano as his intense and mighty lieutenant (she gives Colossus quite a run for his money!). This is all about Reynolds and his blunt-force-object honesty and sense of humor. The quips are exhaustive, there's no shortage of Marvel vehicular carnage and explosions, epic encounters between fighting heroes and villains are here and accounted for, and even the friends treat each other rather harshly (Wade and his bartender buddy, Weasel (TJ Miller) share an exchange which doesn't politely hold back how Deadpool's new looks are a detriment to him; and a blind, black lady living in the slums who provides him a place to stay shares the oddest of friendships with Wade). This film's big box office has proved that Marvel could make a R-rated superhero film and it be successful. Look for the next film to be even more graphic, explicit, and against type. Deadpool's resistance towards the X-Men philosophy and how he corresponds with Colossus and the teenage firestarter were my personal favorite parts. Reynolds found his winner. Almost pulls out all the stops including quite the inspired opening credits which gleefully ribs the stereotypes of the comic book movie.