“Deadpool” Review

When Marvel started their true wave of success with the release of “Iron Man” in 2008, they have been the driving force for everything that relates to superhero films. While “The Dark Knight” stands as the best superhero movie of all time (no if’s, and’s, or but’s about it), Marvel has seen more consistent success than their rivals at DC Comics when it comes to the silver screen. As the years have gone on, and the number of superhero films released has reached near obnoxious levels, I have grown exponentially bored with the superhero genre. Every since watching “The Dark Knight” no superhero has ever been the same for me, but despite that, I have grown tired of the same old formula repeated over and over. The industry recognizes this potential stagnation, however, which is why we have seen an increase in crossover films, such as “The Avengers” along with “Captain America: Civil War,” “Batman V Superman,” and “Suicide Squad” all being released later this year. “Guardians of the Galaxy” tried to take the superhero concept and make it more comedic but still gave me the same bland feeling that I’ve felt the past few times I’ve left the theater after a superhero film. Now, along comes “Deadpool.” Could this film potentially be the savior to all the issues I’ve been having with the superhero genre recently?

If you haven’t heard anything about “Deadpool,” essentially it is meant to be a “college student after his parents have just left” type of superhero film in terms of profanity and humor. Obscene violence that would make Tarantino proud outlines a spew of obnoxiously crude jokes that often revolve around human genitalia or graphic sexual actions. This film was made with the intent of being the complete opposite of “family-friendly,” achieving that status and then some. “Deadpool” spends the entire film reminding us that he is not a superhero, but rather someone who is on a vengeance mission that will in no way benefit anybody but himself. There’s no denying that it deserves the R-rating that it strived above and beyond to garner, but does it succeed in being a good movie? Quite frankly, no it doesn’t.

While I have come to realize that I have a rather different sense of humor from most Americans, possible due to my exposure to excessive classic British humor as a child, I still find some American comedies to be very funny. “Deadpool” does not fall into this category. For all the jokes it made, I would say that I laughed at about three of them, and they were shameful laughs. The humor is in no way intelligent, but is plain immature and gratuitously absurd. The story is childishly simple, which isn’t necessarily a bad thing, but I would’ve liked a little more than an hour and forty minutes worth of story about this admittedly interesting character. The violence is refreshingly different at times from the standard PG-13 bloodless battles we have become so accustomed to; however, even the violence is not enough to make this film worthwhile. If all I want is violence, I can go watch any Tarantino film or “Watchmen” if I want to see a superhero film with blood and gore.

What annoys me about this movie the most, though, is the irony surrounding the entire film. “Deadpool” desperately wants to be a movie that doesn’t care, but tries so hard to come across that way that it almost seems unnecessary. Nothing about the film feels natural or flows with any evenness. Everything feels forced and painful at times, which ultimately ruins the carefree attitude it so wants to portray to everyone watching the film. This film will do well at the box office and will be enjoyed by many late teen to early adult aged demographics, but it fails to change my mind that the superhero genre is anything worth my time, and just adds to my belief that the superhero brand of cinema is a dying breed.


Deadpool (2016): 1.5/4 stars


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