DEADPOOL & WOLVERINE – The Red Right Hand Movie Reviews [Matthew Stogdon]

Starring
Ryan Reynolds
Hugh Jackman
Matthew Macfadyen
Emma Corrin

Further to all the multiverse hijinks of the MCU to date, Wade Wilson/Deadpool [Reynolds] discovers that without an anchor being – an individual of extreme significance – his reality will essentially delete itself over the course of the next ten thousand years. But thanks to an overly ambitious bureaucrat at the TVA (Time Variance Authority), Mr Paradox [Macfadyen], this deletion process is being sped up. Unable to countenance the end of his world and the handful of people he truly cares about, Deadpool sets out to find a new replacement anchor being; namely, a Wolverine [Jackman] from another reality. But in the process, he finds the very worst Wolverine in existence.

Before going into this film, my expectation-curbing pre-viewing opinion was that this release is going to be an anomaly. Not only is it the sole MCU film scheduled this year, it’s a Fox/MCU vestigial hybrid with a big gimmick at its centre and therefore not indicative of “business as usual” for Marvel. While all of this very much held true, Deadpool & Wolverine still managed to surprise me. Not only with its obscene amounts of on-the-nose cameos, but for how wholly impassioned it felt at times. Yes, this is an entirely indulgent meta footnote that will require so much ‘additional reading’ to fully appreciate, but it’s also a genuinely fun, raucous experience that has significant heart. Which many likely weren’t expecting.

If you’re somehow unaware, Deadpool is a unique figure in the comic world, in that he is a fourth-wall breaking, crass, self-serving, infantile joke. And every attempt to deviate from that essentially falters or feels sterile. Yes, the humour is grating and sophomoric but that’s absolutely the point. And in the hands of a few skilled writers, there have been certain examples where that immaturity can be channeled into legitimately engaging storytelling. The best juxtaposition being the attempt in 2009’s X-Men Origins: Wolverine and 2016’s Deadpool; the former of which being a heavily lampooned misstep, and the latter being a critical and commercial giant. And, frankly, this third solo outing is likely going to be the most beloved and revered of Deadpool’s appearances. Not only for the shock and spectacle, but for the solid writing and character growth.

In the same way that 2016’s Deadpool was only the success it was because Reynolds is able to masterfully bring this character to life; this movie would not exist if it weren’t for the trust placed in two specific actors and their deep affection for the characters they portray. To put it bluntly, Reynolds and Jackman understand the assignment. More than that, they understand the audience they’re talking to. They know what is expected, they know what people want to see and they have zero qualms in giving it to them. People want to see the MCU’s failings and Disney’s presence lambasted, they want iconic action sequences, humour that will disgust and delight, callbacks and references to deep-cut lore, and a sense that these characters (and the time invested into following their exploits) matter. Yes, it’s absolutely a shallow manipulative move, but it’s so perfectly executed.

The real surprise, however, isn’t that Reynolds and Jackman are good as Deadpool and Wolverine respectively (we’ve had plenty of prime examples of that over the years), it’s the fact that they are given the space to actually act. Critically and analytically speaking, the biggest “what the fuck” moment isn’t the bombastic, bloody action or the applause-prompting cameos, it’s that there are authentic moments peppered throughout that afford both Reynolds and Jackman the opportunity to explore some human complexity. Sure, we see that in spades in Logan, which is why it’s so revered. But to see it maintained and given the room it needs to breathe in this release, is something I wasn’t really prepared for. And that’s both a testament to Reynolds’ control over the character and the support and subtle maturity of Shawn Levy; something we get glimmers of in previous releases like Real Steel and Free Guy.

The whole film has been crafted as a monumental send off and celebration as much as a standalone jaunt. It is a pause to take a breath and acknowledge the impact and achievements of the Fox-Marvel run of superhero films that spanned two decades. Yes, with derision and mockery, but also a sense of love and fondness that goes beyond simple nostalgia. A funereal toast, raising a glass to fallen heroes and prospects that could never be. And, depending on how you interact with and understand corporate IP, this will likely trigger one of two responses. The first being magnificent elation for the foundations set by an entirely different studio, or alternatively, a cynical lip-curl at the string of in-jokes and industry dick-measuring by the victor. And, subsequently, depending on your viewpoint, that will largely colour the rest of your viewing experience and overall enjoyment: a fantastic finale or soulless exploitation.

Which takes us to the film’s central flaw. Releases like Doctor Strange In The Multiverse Of Madness promised us cameos and alternate realities that would change our view of this shared universe, but ultimately these appearances felt gimmicky and disposable. The same could be said (or I certainly said it) for Spider-Man: No Way Home. Which proved to be a phenomenally entertaining release but critically and structurally fell apart somewhat thanks to its slavish devotion to fanservice. The difference here, is the eponymous character. Spider-Man can’t help but take itself seriously. Deadpool, on the other hand, doesn’t seem to understand the word egregious. Instead, every joke, reference and pushing of the envelope is keenly designed to rile and amaze in equal measure. It knows exactly what it is and what it’s doing.

To circle back to my opening pre-viewing expectations, anyone trying to divine what this release means for the MCU going forward is undertaking a fool’s errand. This movie is more about looking backward than forward. And while that could be considered detrimental or excessive, it offers a moment to simply revel in this silly playground that cinema has brought to life for so many adults. It’s not trying to legitimise its actions or proof what’s to come, it simply sits in the toy box and plays. And thanks to an earnest sense of child-like joy (and a heavy helping of teenage edgelordery) it achieves that remarkably well. Unless Deadpool and Reynolds annoy the hell out of you, in which case, this will feel like an exhausting profusion of low-bar slush.

Release Date:
26 July 2024

The Scene To Look Out For:
**spoilers within**
A prime example of this movie’s strengths can be found in one scene. Driving a car through the woods, Wolverine learns that Deadpool’s agreement to undo the disastrous effects on his world is based on an assumption, rather than an assurance. This leads Wolverine to slam on the brakes and lay into Deadpool. It’s something we’ve seen a lot of: brutal violence and sweary put-downs. But this feels different. Lashing out, Wolverine genuinely cuts Deadpool with hurtful truths. And, finally breaking the silence, Wade solemnly explains, “I’m gonna fight you now.” And the pair go at it in the car with hilarious results. And, yes, we see plenty of this throughout the entire film but this hits different. The screaming monologue from Jackman, the way Reynolds conveys this emotional injury, it honestly takes you aback and reminds you how capable these individuals are, regardless of if they’re in a straight dramatic piece, or clad in colourful spandex.

Notable Characters:
While confined to the Void, Deadpool and Wolverine find themselves brought before its overseer: Cassandra Nova [Corrin]. Nova is a fairly recent addition to the comic book world (as much as a 21st century debut can be considered recent) and is Charles Xavier’s twin sister. Lacking her twin’s compassion and moral drive, she is incredibly powerful and dangerous and cruel. And Corrin does a wonderful job embodying this. Their performance avoids being over-the-top, opting for sinister with a delightfully bitter streak running through them. The problem stems from the movie going back-and-forth between how much of an antagonist Nova actually is. And the more you pull on that thread, the weaker the entire film actually becomes. But that’s less about performance, and more the insane amount of plot juggling the narrative is laboured with.

Highlighted Quote:
“I pray every day that fire finds your body and finishes the job God didn’t have the nuts to do.”

In A Few Words:
“A film with one intention and one target audience, with the sole objective of delivering maximum effort to appease and enchant them.”

Total Score: 4/5

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