“Deadpool” makes a prime movie for people to see

James Macias, Reporter


If there was ever a phenomenon more universally idolized by fans than Deadpool, I am not aware of it. “The merc with a mouth,” as he is known to many of his associates, seems fresh yet strangely familiar.

He certainly comes off as completely unique and original, mostly because of his disposition.

Yet upon looking a little deeper, one finds that what is really appealing about this character is that he is literally built from recycled bits of characters that we already love.

This technique is actually a common recipe for success with these kinds of characters.

He has the same powers as Wolverine, his costume is reminiscent of Spiderman’s, and he is just this side of the Joker’s personality. The masterstroke was giving him the Punisher’s lethal skill-set and more toys than The Batman.

Now that we are all on the same page, let’s talk premiere. The Maya16 Cinemas was kind enough to screen it for us and we thank them.

Deadpool begins about halfway into the story.

Forgive me for saying that even though this particular plot device is over-used and over-rated, it worked well in this case.

The Marvel Studios logo, with the progressing comic book pages, gives way to a very complex “The Matrix/Fight Club-inspired” sequence in which a moment frozen in time is examined from every angle. Time advances only slightly as the camera slowly explores every minute detail of an elaborately developing ambush/ fight scene /freeway pile-up of truly epic proportions.

It is visually spectacular and intellectually fascinating with a couple of truly hilarious gags thrown in like the proverbial cherry on top.

We are then informed that some explanation is required and a series of flashbacks begin. The movie continues in like fashion as it introduces the cast of characters and sets up for its story arch. Said arch does not take long to get moving. The edgeborn wit of nearly every single character was clever and well intertwined.

This dynamic develops rather nicely into a mix of very intellectual sarcasm and almost Vaudevillian slapstick, making the arrival of Colossus (X-Men), with his total lack of humor and Boy Scout disposition, seem like a joke in and of itself.

Not to mention his literally explosive, petite, emo, teenage sidekick.

Seriously, I’m not going to mention her.

Every moment, She-Who-Shall-Not-Be-Named spent on screen was literally painful. In a movie trying so very hard to be edgy and in-your-face, there really is no place for such a tired, clichéd character.

With that one blindingly dull exception, the rest of the movie is incredibly fast-paced, funny, and compelling.

From the profoundly satisfying experience of watching the climactic final showdown take place in the wreckage of the flying aircraft carrier that The Avengers crashed in their latest film, through the subtle undertones between Deadpool and his roommate/prisoner Blind Al, to the underlying love story that drives the plot, this film is unquestionably the best one I’ve seen so far this year. Perhaps the most enjoyable aspect of this movie was Stan Lee’s signature cameo appearance (a Marvel movie tradition). He appears as a DJ in a strip club and delivers some very amusing dialogue.

One detail that seemed out of place was the subtle (and not so subtle) cheap shots taken by Ryan Reynolds (Deadpool) and others at the amusing fact that Reynolds has somewhat recently starred as another well known superhero: The Green Lantern.

Personally, I could have done without those particular gags. They only served to remind me that I was watching a movie. I know that Deadpool is known for “breaking the fourth wall”, or talking directly to the audience.  In fact, I happen to enjoy it when Deadpool does that, but when Ryan Reynolds winks at me and makes a Green Lantern reference, I remember that he’s just an actor, that this is just a movie, and that really sucks.