Feb, 16, 2016

By Mary Davisson

The biggest fixation of our generation is clearly the mystique of the superhero. Since the first “X-Men” movie in 2000, we have seen a non-stop escalation of abnormally talented and/or tortured individuals in tights who have dedicated themselves to saving mankind, provided they get to knock down a few buildings in the process.

Superheroes have become so prevalent that they can almost be treated as astrological signs or some other symbolic fashion statement. The genre is common enough to have inspired several serious dramatic films like “Super” and “Birdman” which use idea herodom as some existential element. Simply put, the world does not need another hero.

What the world does need is an abnormally talented and/or tortured individual who has dedicated himself to . From the moment “Deadpool” begins, we are told that he is not a hero, nor does he have any interest in becoming one. Deadpool’s only goal is to remain Deadpool, more or less.

We’ve seen this sort of smart-alecky quasi anti-hero before in the likes of “Star Lord,”” Iron Man,” and more recently with “Ant-Man,” however, they overcome their darker urges and choose to see the light while retaining their wit. Deadpool does not have that struggle. His mouth is directly linked to the true nature of his heart, and other romantic organs. That affectionate embrace coupled with antisocial behavior is truly what makes “Deadpool” the twistedly fun romp that it is.

The film was directed by Tim Miller, known only as the guy who did the introductory moments in both “The Girl with the Dragon Tattoo” and “Thor.” The film is also co-produced by, and stars, the incomparable Ryan Reynolds as Wade Wilson/Deadpool. It is a role Reynolds conquers so well that the only explanation is he must have been genetically engineered to portray the character from the very beginning.

The final product is one part “Van Wilder,” a percentage “X-Men” and a heaping pile of the bloodiest “National Lampoon”-ery you’ll ever see.

The film does have a bit of the old standard with a rather trite love story, which isn’t necessarily a flaw. The ever-perfect Morena Bacarin does a splendid job as the girlfriend-in-danger character who matches Wade Wilson’s brand of twisted zaniness.

Two of the X-Men join Deadpool: Colossus, voiced by Stefan Kapičić and Brianna Hildebrand as Negasonic Teenage Warhead. Both characters offering their straight-man moments to help highlight the Deadpool’s silliness while still doing their X-Men thing.

“Deadpool” has clearly earned the R-rating that it famously tried so hard for. Because of this, the cussing, nudity and bloody dismemberment are not as gratuitous as they seem, but very necessary to the movie’s overall vibe. What additionally makes the film a nice shot in the arm to the genre are the constant meta moments that delight more than they confuse. With constant references to Hugh Jackman and some nice jabs towards the genre, we get the anti-hero movie that has been very much needed.

The film offers a nice alternative to the mundanity of what superhero movies have become. We might not need another hero, but we sure could use a Deadpool.

5 out of 5 stars.