The merc with the mouth joins the Marvel Cinematic Universe and brings along some friends in Shawn Levy’s Deadpool & Wolverine.

Disney’s acquisition of Fox and, with it, the roster of Marvel characters owned by that studio has raised the eyebrows of those concerned about corporations having a monopoly on our entertainment. That is a debate worth having at another time but the purchase also raised questions about what would happen with the characters once owned and adapted by 20th Century Fox. Deadpool & Wolverine takes those questions and has fun with them as only the red-suited merc can by directly tackling them and mocking them to ludicrous degrees.

Deadpool’s first foray into the MCU came about because it was wisely decided that there was no need to mess with a formula that had worked so well. Deadpool and its sequel stood out for being violent and foul-mouthed entries into the superhero genre. The first movie getting made at all was a minor miracle and it wore its gratitude on its sleeve while the second movie used a bigger budget to expand its wacky world and lampoon the franchise expansionism being attempted by its contemporaries. Deadpool & Wolverine is a film that belongs to the era in which it was made. It’s a relic of a film series -and universe- brought to an end by the corporation that created it being swallowed by another and explores what it means to be a popular property in a new corporate landscape with the word “reboot” being liberally deployed.

The plot leans into the notion of Deadpool as a character and series being in limbo between a defunct universe and the upcoming reboot. Wade Wilson aka Deadpool (Ryan Reynolds) is living a safe and boring life working as a used car salesman until an unexpected visit from the Time Variance Authority (TVA) propels him into a multiversal adventure directly as the fate of his entire universe hangs in the balance. Early on, the film suggests that Wade may have a place in the Marvel Cinematic Universe but it comes at the cost of everyone he cares about who aren’t welcome in the shared universe. It’s a sacrifice he’s unwilling to make so he makes a mockery of the offer by recruiting a version of Logan aka Wolverine (Hugh Jackman) to save his universe and everyone he cares about living in it.

It’s a clever meta plot that builds itself on there being merit to the series of films that Wade and his supporting cast loosely belong to and that they shouldn’t be so casually cast aside in favour of what Disney wants to do with the characters. Hugh Jackman’s Wolverine being identified as an anchor literally holding the universe together and his departure causing it to unravel is an excellent commentary on the reliance of the character in the X-Men film series. The corporate overlords don’t think the universe can survive without him so they plan to bring it to an end once they can no longer rely on the main draw to keep the franchise going.

This factors into the narrative nicely as Wade assumes he simply has to recruit a Wolverine from another universe to replace the one who met his end in Logan to ensure the continued existence of the reality he calls home. This being Wade, he forcibly recruits a version of Wolverine multiversally derided for spectacularly failing his universe. This version enters the film drowning his sorrows in a bar that doesn’t want his custom and is reluctantly drawn into Wade’s thinly sketched-out plan.

What follows can best be described as a love letter to the Fox era of Marvel movies. Cameos are in abundance with most of them best experienced for the first time with no prior knowledge of what’s coming. Some are better than others but the surprises are worth the price of admission. It’s rare for the winks and nods to previous properties to weigh down the film. They are introduced, a comment is made and they take their place doing whatever is required of them for the plot. For the most part, they could be replaced by new characters to fill the same function and the film wouldn’t change so most of them aren’t necessary as such but the film isn’t so enamoured with its access to a massive toybox that it derails the narrative to deliver an onslaught of fanservice. Those in the know will be ticked and those who aren’t won’t have their experience tainted by being expected to know where a given character previously appeared.

The film excels with its title characters. Ryan Reynolds remains pitch-perfect as Wade Wilson. His line delivery, comic timing and physicality are just as good, if not better, than it was in previous movies and he’s served well with a sharp script full of witty vulgar dialogue to throw at the audience. He also takes brilliantly to serious emotional material that allows Reynolds to show his range and tug on the heartstrings of those willing to invest in the unconventional hero who consistently fails to consider the consequences of his actions. His heart is usually in the right place and there’s an endearing innocence to his lack of awareness of the carnage he both causes and invites.

Hugh Jackman once again proves that he’s the best there is at what he does in the role of Logan aka Wolverine. He plays the character as being more ferocious and animalistic than ever before. The more mature rating certainly agrees with him as he’s able to deliver a version of the character only alluded to in prior instalments. The backstory of fatally failing everyone he cared about because he was too cool to admit he cared about them makes for engaging tragic underpinning and it’s used to great effect to inform his actions throughout the film. Jackman’s unhinged performance where he is always on the edge of snapping and frequently does is constantly captivating and the care that went into bringing the character back after the perfect sendoff in Logan makes his presence here worthwhile.

Together they are a force of nature with excellent chemistry that never fails to carry the film. Their relationship is often antagonistic with circumstance being the only thing that keeps them together most of the time and they come to blows, swords bullets and claws more than once. Their fights are immensely entertaining and make full use of the enhanced healing ability both characters have; in one instance they fight until they’re too exhausted to continue. Unsurprisingly, their connection grows as the film progresses and each emotional beat feels earned. Framing them as two misfits shunned from existence by forces beyond their control gives them a defined obstacle to overcome and delivers an underlying message that there is a place for everyone no matter how hopeless they may seem. It’s inspiring in an unconventional sort of way and plays out authentically.

The rest of the action is competent but rarely spectacular. There is an impressive single-take sequence that stands out but the violence and brutality often takes precedence over craft and choreography. Some of the sequences can be difficult to follow with too many characters involved to be truly coherent though it does stand out from other Marvel movies by spacing out the set pieces and relying on characterisation to propel the narrative.

Deadpool & Wolverine falters slightly in its villains though it makes a valiant attempt to present antagonists that will stick in the mind of the viewer. Emma Corrin’s Cassandra Nova is creepy and threatening as the ruler of her domain asserting dominance over other lost souls. Corrin’s performance is gleeful, almost like an even more twisted Willie Wonka taking joy in the suffering of others. Her ability to get inside the head -not as much of a metaphor as you might think- of her victims is a violation in more sense than one and she takes delight in exploring the mental anguish of others. She is let down by falling into comic book movie villain mode in the third act but her brand of mania is inviting and the lunacy of her comic book origin story is both preserved and used to poignant effect. Matthew Macfadyen’s Mr. Paradox is deliciously smarmy if ill-defined and is let down by disappearing from the film for long stretches. He stands out when present but ultimately fades into the background when weighed against the other elements at play.

Ultimately, Deadpool & Wolverine more than succeeds at what it sets out to achieve and does so with an unflinching confidence that never fails to be infectious. Comedy is highly subjective but there’s enough variety to the humour to have a chance of containing something for everyone. It’s sharp slick, stylish, boasts two excellent leading performances and makes for a fitting tribute to the Fox era of Marvel movies.

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Verdict

A sharp, slick and stylish superhero romp with excellent leading performances, an impressive meta-narrative and a strong sense of fun that acts as a loving tribute to the Fox era of Marvel movies.

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