Title: Deadpool 2
Language: English, Cantonese, Spanish, Russian
Genre: Action, Adventure, Comedy
Director: David Leitch
Music: Tyler Bates
Cinematography: Jonathan Sela
The second installment of DEADPOOL relayed its directorial duty to David Leitch, of JOHN WICK and ATOMIC BLONDE fame, but substantively adds nothing new to its successful prequel, it is the same old reiteration of Deadpool’s exhausting regeneration power and meta-reference to the super-hero genre and its correlative characters, even the actor himself, with Reynolds brazenly blurting 4th-wall-breaking sideswipes whenever he sees fit, yes, DEADPOOL 2 does flog its novelty to death.
But a bigger problem is that almost everyone else, has to act with a straight face to counterpoise Deadpool’s facetious mockery to a man, from Josh Brolin’s time-traveling cybernetic soldier Cable, who certainly doesn’t have any funny bone left in his beefed up bod, an overtly didactic Colossus (voiced by Kapicic), who has nothing to respond toward his best chum’s bromance gestures, to the plus-size mutant teen Firefist (Dennison), painstakingly acts out a semblance of ire and contrition. Message received, they are not supposed to be funny, that is solely Deadpool’s wheelhouse, there is no the more the merrier spirit among its decision makers.
Female characters fare less meritorious this time as well, Morena Baccarin’s love interest Vanessa is “fridged” (thank you Fred Savage!) to enjoy the life of Riley in the cheap-looking heavenly afterlife, and Zazie Beetz’s Domino, a mascot among Deadpool’s ragtag, totally ancillary albeit her zesty first-impression; Negasonic Teenage Warhead (Hildebrand) is reduced to a one-liner punk-head and her Japanese girlfriend Yukio (Kutsuna), hailed as “the first openly LGBTQ relationship depicted in a Marvel film”, is lazily defined as the corny “kawaii” type.
Fortunately, there are also enough lulz hither and thither, highlights include the ill fate of most of Deadpool’s newly mustered X-Force team, with Rob Delaney stands out as Peter, for his quintessential bearing of an upstanding white male as his superpower, and Brad Pitt’s brink-and-you-will-miss-it cameo; a hilarious BASIC INSTINCT moment that might perfectly ruin that movie for me, and Deadpool’s drawn-out valediction in extremis, Cable’s noticeable impatience adds a chuckling effect. However, the action goodies are pretty much the usual blockbuster deal and FX is blatantly, not DEADPOOL’s strongest suit, but vouched by Leitch’s Promethean fighting choreography in ATOMIC BLONDE, one would naturally expect more to spice up the drippy story-line.
Finally, let’s talk about ONCE UPON A DEADPOOL, a rejigged PG-13 rating version sanitized all the gore and graphic violence, and retrofits a frame story à la THE PRINCESS BRIDE (1987), starring the same actor Fred Savage, who is forced to listen to Deadpool’s bedtime story version of the movie and makes digs while being gaffer-taped in his bed. A thinly-veiled and desperate move to cash in the gravy train of Chinese market, which denies its prequel due to its R-rating and currently grants a belated release of this family-friendly version, which, as one can imagine, is an inferior commodity can barely stand on its own feet and reeks of cupidity and cowardliness, words of advice: just steer clear of it, Chinese DEADPOOL diehards.