X-Farce

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Deadpool 2 is directed by David Leitch and, without identifying him until the closing credits (beyond a pretty funny “Directed by One of the Dicks who killed the Dog in John Wick” at the tail of a an amusing Bond credits gag complete with overqualified self-serious theme song by Celine Dion), you could instantly tell that this was a product of one of the best action filmmakers of the 21st Century.

Almost immediately, we jump into a montage of complex and extravagant combat sequences involving our titular invulnerable red-jumpsuit-donning Merc with a Mouth’s (Ryan Reynolds) growing business as an assassin (apparently only for bad people like human traffickers and drug kingpins). Each in a very distinct color palette like the cold blue pool-surrounded spa and green reflective high-rise bars with frenetic energy that matches the character’s interminable speech, topped off by the very best setpiece in the whole film: a single shot following a man fleeing from the carnage in a beeline while we watch Deadpool wreak havoc and slaughter everybody in the background, jumping around, shooting and slicing indiscriminately, ignoring a man on fire, and stealing a chainsaw until the man escapes into a panic room.

Now, I am not joking when I say that’s the best sequence in Deadpool 2, which sounds unpromising considering it’s only the first five minutes of a two hour movie. And that’s why I am happy to say even then, Deadpool 2 is pretty entertaining and a significant upgrade from its mostly annoying predecessor. I mean sure, it still has the handicap of being a platform for Reynolds (credited as co-writer alongside the returning Rhett Reese & Paul Wernick and I wonder how much of that is the Spinal Tap rule of “he ad-libbed so much he may as well be credited”) to deliver unimpressive pop-culture-based quips, make heavy efforts at vulgarity, or call unsubtle attention to the superhero clichés being mocked, thereby dampening the hell out of any true bite in the attempted superhero parodying.

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It’s also a pretty dense movie considering the punchline is just “lol, don’t all superhero movies do this stuff?”. It kicks off with the attempt by Reynolds and company to explore Wade Wilson’s (Deadpool’s true identity) exploration of grief and emptiness (catalyzed by an already pretty infamous story decision) and this is constantly undercut by Reynolds’ dedication to playing class clown under the mask, which IS the point of the character but demands a balance Reynolds is barely capable of providing. It’s improved by the subject of Deadpool’s first “X-Men” mission provided by his persistent recruiter of steel Piotr “Colossus” Rasputin (Stefan Kapičić for voice and face capture with Andre Tricoteux standing in on set for the CG character), the young distrustful Russell “Firefist” Collins played with magnificent effect by Julian Dennison. Dennison’s approach to the character is not all that different from his already charming turn as the contentious delinquent Ricky Baker in Hunt for the Wilderpeople, a character that had a good amount of pent-up trauma informing his behavior and decisions.

Dennison turns that familiar territory into a sense of nervy hurt from the second we watch him surrounded by cops threatening desperately to kill anyone who approaches him, later on revealing a confused lonely desire for a friend that leads to unleashing one of the film’s surprise antagonists. It’s pretty hard to feel like there’s a more convincingly human performance in the whole movie, even while he’s calling Negasonic Teenage Warhead (Brianna Hildebrand) “Justin Bieber” or joking about sneaking pens into the steely foreboding mutant prison The Icebox via his butt. It works because both his desire to appear hardened and his genuinely pain-fueled rage come from the exact same place.

So yes, Dennison is one of Deadpool 2‘s best secret weapons, but I haven’t even finished discussing yet another layer of this overglutted screenplay. For the unsmiling cyborg Cable (Josh Brolin) comes from the future with his own vendetta against Russell, intent on killing the boy before Russell can set aflame to the venal fundamentalist headmaster (Eddie Marsan) that abused him and thus be locked on the path that ends with Cable’s family being massacred*. So Looper except Deadpool and Cable are coming from wildly different tones. Deadpool’s depression and newfound deathwish leads him eventually towards an epiphany that he can save Russell’s soul and move him towards a better path, leading to him being right in the crosshairs of Cable’s artillery requiring the recruitment of a special team of fellow mutants named X-Force.

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So there is a lot going on and Leitch moves through that material like one runs on a shallow lake: trying to rush as fast as one can, but having to push really hard to move one’s feet. That said, a good amount of the character work is pretty well-earned even despite the sloppiness with which they’re set up thanks to an intelligent cast: I’d daresay that Brolin might not be inventing the wheel here, but he’s a lot more interesting than his other big superhero tentpole of the summer. Brolin sells contrivances with sobriety just on the line between outrageous and self-aware so that Cable’s decisions later in the film feel like an evolution that mirrors Russell’s without killing the fun. Morena Baccarin takes a thankless treatment of her character (apparently also self-aware, though certain criticisms of her writing have caused the writers to shamelessly play stupid in interviews – SPOILERS for that link by the way) and turns it into the moral center to Deadpool’s arc, probably doing much more to make me feel for Deadpool’s sadness than Reynolds himself. So Leitch and company’s labored flopping in these plot tangents aren’t for naught: there is a sense of emotional satisfaction at the third act that I can’t recall feeling in a comic book film for a long time and I wasn’t expecting that for a screenplay mostly making me go “oh man, another joke or introduced character”.

I must admit to its credit these jokes got me laughing more often than the first Deadpool, whether a frankly mean-spirited punchline to the X-Force team’s motley of cameos (both of X-Men characters and screen personalities like the always welcome Terry Crews) or a physical gag involving cocaine or really any moment in which Zazie Beetz as Domino has to defend the existence of her superpower, which is being continuously lucky. I feel there’s more misses than hits because Reynolds’ motormouth is firing on all cylinders and T.J. Miller is present, but every once in a while even Reynolds scores a chuckle (Miller never does).

And once again, these are pretty exciting action setpieces on various levels. Leitch brings with him his dream team from 87Eleven Action Design: cinematographer Jonathan Sela and editor Elísabet Ronaldsdóttir (the latter working with Dirk Westervelt and Craig Alpert though I assume they worked more on comedy or dramatic moments), all three of which know how to work together to give power to every piece of the constructed action and find room for cool money shots. In one scene, we get to watch Deadpool start with nothing but a brick and every face smash crunches on that soundtrack because Cable refuses to give him a gun, ending with the duo casually blasting the faces off their enemies with shotguns simultaneously. This is intercut with a fistfight of two CGI characters that gets momentum just by Sela’s camera movements, as if he’s being yanked around by those giants. Or even a slow-motion rube goldberg machine indicating the truth behind Domino’s abilities as she effortlessly action jumps her way through explosions and wrecks onto a moving van.

It’s certainly the messiest and least Leitch’s so-far three movies, but when you’re following up on Atomic Blonde, you have more than enough room to still deliver an enjoyable and charming enough piece of summer popcorn movie levity. That Deadpool 2 is able to accomplish that coming from such obnoxious material only proves my consistent faith in Leitch and his crew, Dennison, and Beetz. They were the reasons I rushed to the theater on opening night and the result was still a pleasant surprise.

*We do get to see Russell’s evil future self and I am very sorry to say that he is not played by Taika Waititi, which would immediately make this the best movie ever made.

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