Deadpool & Wolverine is a peculiar addition to the Marvel cinematic universe, prompting some critics to question whether it can even be classified as a film. Is it an extended comedic skit reminiscent of Saturday Night Live, albeit stretched over two hours? Or perhaps a satirical commentary on the superhero genre itself? It could even be viewed as a buddy movie featuring two middle-aged men in tight costumes who should know better. The truth is, Shawn Levy’s film embodies all these elements and more, yet it feels somewhat insubstantial.
The Marvel films have always had a certain throwaway quality, but this particular installment feels almost ephemeral. Strip away the superhero antics, the drug and sex humor, the frenetic fourth-wall-breaking, and the seemingly endless cameos, and what remains is surprisingly little. Future audiences looking back at this film in 2045 might wonder how Ryan Reynolds and his team managed to deliver something so light to Marvel’s president, Kevin Feige. Nevertheless, it’s an undeniably entertaining ride that is likely to rake in significant box office revenue, which Disney desperately needs right now.
Whether this film qualifies as a movie or art may not even be the crux of the matter. The real question is whether Deadpool & Wolverine can rescue Marvel from its current critical downturn. Is our hero truly “Marvel Jesus”? And do we even want him to be if this is the direction the next decade of films is headed?
What exactly is this bizarre creation that Marvel has unleashed upon us? One way to describe Levy’s film is as a series of impressive set pieces loosely tied together by a flimsy plot. From the outset, Deadpool’s audacious takedown of a group of Time Variance Authority agents, using pieces of the deceased Fox-verse Wolverine’s adamantium skeleton, sets the tone. The film is heavy on visuals and shock value, but critics have raised eyebrows at the jokes about gay sex, suggesting they may be nothing more than cynical queerbaiting. Traditional Marvel elements like universe-building and coherent storytelling seem to be absent.
Even Wolverine’s character arc mirrors that of 2017’s Logan, where the emotionally scarred mutant reflects on a life filled with loss after his fellow X-Men meet their demise. The film’s approach—mocking everything and taking nothing seriously—mirrors the tone established in Deadpool’s previous outings, so it’s hardly surprising that the MCU adopts a similar vibe.
As for the cameos, some critics argue that they are executed with more finesse than those in Doctor Strange in the Multiverse of Madness. However, the appearance of Channing Tatum as Gambit left many puzzled. Was his performance intentionally bad for comedic effect, or did he genuinely need a better dialect coach? The booming IMAX sound system made it difficult to decipher his lines, which was disappointing for fans of the character.
While the film showcases clever filmmaking, such as the reveal of Chris Evans’s character in a surprising twist, it also indulges in hyper-violent humor, killing off characters in gruesome ways. The brief return of Jennifer Garner’s Elektra and Wesley Snipes’s Blade felt unnecessary, though the introduction of Dafne Keen’s X-23 appears to be a more permanent addition to the MCU. Are fans still expected to get excited about these inter-universal antics when they seem to be part of a larger joke?
It’s hard to ignore the impression that Levy and Reynolds took inspiration from the Loki series, using it as a springboard to satirize Marvel’s multiverse phase. Emma Corrin shines as Professor X’s evil twin, though her introduction raises questions, especially since Charles Xavier hasn’t been properly introduced into the main Marvel universe yet. The multiple Deadpool variants provide some amusement, and who could resist Dogpool, featuring Blake Lively as Lady Deadpool?
Hugh Jackman’s Wolverine makes a return, reminding audiences of his status as one of the finest comic book characters, despite the ups and downs of his filmography. Deadpool & Wolverine avoids the cliché of killing him off again for emotional impact, which is a refreshing change. However, the existence of this version of Wolverine in the MCU complicates the potential return of other X-Men characters. Will we need to bring in Professor X, Cyclops, and others from alternate universes? The possibilities could lead to a convoluted narrative.
Is the Marvel Cinematic Universe forever altered, or is it merely a bit more profane? The film hints that Deadpool’s irreverent humor may not mesh well with the more serious tones of other Marvel films. Captain America, for instance, would never fit into an R-rated movie filled with crude jokes and drug references. Will Deadpool have to tone down his antics when he eventually joins the Avengers? Levy’s film suggests that this may not be feasible, as the tonal differences are stark. Reynolds himself stated, “Deadpool & Wolverine isn’t a commercial for another movie; it’s just not part of the DNA.” After watching the film, many might agree that this separation is for the best.
As audiences digest the chaotic blend of humor, violence, and meta-commentary, the question remains: can Deadpool & Wolverine be the savior Marvel needs, or is it merely a symptom of a larger issue within the franchise? The film’s success at the box office may provide some answers, but for now, it stands as a testament to the unpredictable nature of superhero cinema.
Source: Evening Standard, The Telegraph, GlobeNewswire
