You Talkin’ To Me? – Marvel’s Genre-Breaking Anti-Hero

Despite pretty widespread positive reviews of Tim Miller’s latest addition to the Marvel franchise, namely Deadpool, there have been equal detractors arguing something to the tune of: “it’s not as smart as it thinks it is”. While perhaps true, this shouldn’t stop you seeing this hilarious, cool, fun and surprisingly, at times, touching, stellar entry on a long list of superhero films.

Ryan Reynolds play Wade Wilson, an ex-mercenary diagnosed with a plethora of cancers that forces him to sign up to a fairly shady rehabilitation programme that will cure him and give him mutant powers – the catch being (don’t worry, no spoilers) that he is horribly disfigured and sets out on a revenge mission. From the off Deadpool draws attention to itself as a film, curtly breaking the fourth wall much like Deadpool’s knowledge of the comic medium in which he is originally displayed. These allusions range from in your face to some more subtle glances that reward the alert audience member.

“Surprise, this is a different kind of superhero story.”

Hence, the big draw of this film – it’s actually funny. Deadpool takes the opportunity to blend the superhero genre with its obvious comedic elements head-on and, while the “willy-humour” may be slightly trying towards the end, there are genuine laughs to be had, including Python-esque sequences and sharp dialogue reminiscent of perhaps some of your favourite TV shows. Here then, it must be noted that Deadpool is a film for its own brand of titular character – a.k.a. man-children; but if this means you then you definitely shouldn’t miss out (it will have you in stitches more than once).

Ultimately, despite the attempts to poke fun at the superhero genre (which includes references to both the X-men and their constituent actors) it’s possible that references both within the genre and to the “real” world sometimes get muddled – luckily this question is lost in the welcome pace of the film, and the comedic value they offer.

The real problem, amidst Kick Ass-style action sequences is that, at some point, Deadpool is inevitably a victim of its own structure: there has to be the classic showdown at the end; the cameo; the rescue-the-heroine sequence. Which, when you’ve previously drawn attention to it does sometimes fall flat (such as Ed Skrein’s fairly 2d, though potentially no fault of his own, and slightly too geezer-ish “villain”) and makes the Deadpool motto of do-the-opposite-to-what-the-genre-dictates sometimes predictable. Lastly, Reynolds is absolutely perfect for the role, balancing the witticisms with surprising “real acting” outbursts that serve to make this film more than just a gimmick.

With hints at sequel it remains to be seen where this latest release will effect any change in the glossy Marvel formula; or whether it’s simply enough to have it as a stand alone foil.

Deadpool is in cinemas now.

#Marvel #Films #TimMiller #Comics #Valentines #EdSkrein #Deadpool #RyanReynolds