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Released in 2016, the first film by the insane anti-hero Deadpool hit theaters bringing a different twist to superhero movies and showing the major studios and market that subgenre films could not only go one way totally opposed to those of films like those of the MCU (Marvel Cinematic Universe), bringing low-slang words, absolutely graphic violence, sexual content and a much less heroic goal (instead of saving the world, he should save his girlfriend).
The bet was straight, achieving audience and critical success, which finally gave the studio the courage to make a Wolverine film be rated-R (highest indicative rating) and generating one of last year’s most acclaimed films, Logan.
The irreverence and notion of language and industry is such that Logan’s emergence on account of the first Deadpool is one of the first notes of the anti-hero piadist (showing even a music box inspired by the latest Wolverine movie) in the beginning of this inevitable sequel, Deadpool 2
The greatest danger of continuations is when the sequence tells only one variation of the first story and abuses more of the elements that consecrated it. Although here does not correspond to the first (we have a story with different objectives and structures), definitely here we have a hallucinatory extrapolation of violence and action sequences, something very successful here because of the direction being taken over by David Leitch, who has gained prominence in this genre with films such as Atomic and John Wick (or as the credits of Deadpool 2 announce, “the guy who killed John Wick’s dog”).
Now with an opening a la James Bond, entitled to music by Céline Dion (!) and ridiculing the names of the film’s team again, this sequel begins shortly after a tragic incident that causes Wade Wilson (Reynolds) to find himself involved in an attempt to murder of the young mutant Russell (Dennison) by the sinister time traveler Cable (Brolin), which forces Deadpool to seek help and assemble a supergroup of heroes.
Again exploring one of the powers that made Deadpool so popular, that of breaking the fourth wall, here we have our protagonist in a few moments narrating in off or even talking to the camera his ramblings that seem to flirt with schizophrenia for the Remaining characters, while it sounds like a real machine gun of comic shots, where everyone and everything are amenable to the sharp and often inconvenient humor of the subject.
However, such a characteristic of the character gains even an interesting outline here, a reading that was also possible to be made in the first film, but here gains a greater sense by betting on surprisingly more dramatic moments than one would expect from a Deadpool movie. His insistence on creating jokes and turning everything into a big joke perhaps bemore consistent with a self-protection of Wade, who needs to deprive his pain and his feelings through this defense mechanism and thus get a greater comfort from the situation (hence a Chandler from Friends psychopath and lunatic).
Returning to the role the writers of the first film Rhett Reese and Paul Wernick, with the addition of Ryan Reynolds himself (which proves the giant affection of man for the character), here the trio does not disappoint with respect to the first, since, as much as they do not develop a story with a very original or enhanced premise (the previous film also did not, as it appealed to the beaten concept of damsel in distress in the third act), which has echoes of Terminator (something Deadpool himself points out when shouting John Connor in at a certain moment), they compensate with the very charged comic load.
Bringing situations that border on the cartoon (like a decapitated Deadpool that still speaks or the way Cable jumps out of an exploding truck), the script has no parsimony in ridiculing everything that passes in front of them, being conscious even of bringing criticism of the name “X-Men” for having a sexist connotation or the fact that Domino’s superpower (Beetz) was possibly created by a “lazy and pothead” writer and was not too “cinematic”, according to the protagonist.
Elevating maximum power to graphic violence, showing a Deadpool being broken in half and carried behind his back like a backpack (and subsequently the regeneration of his legs culminates in one of the film’s most absurd and sensational moments) or Deadpool Fuck Corona Shirt the hilarious landing of X-Force team parachute (entitled to an unbelievable cameo by a renowned actor), is commendable as the writers and director abuse violence for humorous purposes and this ends up not sounding completely free (although gratuity questioned by the anti-hero).

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