“Big slow-motion action sequences, no one knows if you live or die… Let’s f***ing go!” It’s been twenty-four or so years in the making and the subject of countless fan theories and speculations – and hope – but finally The Merc With the Mouth and the one they call Logan are teaming up in the same movie in the same cinematic universe. Well, almost. Indeed, such has been the anticipation and immense online chitter-chatter that the film that no one saw coming is now seen as the saviour for an ailing MCU. Marvel Jesuses unite, then, to save the day and lay to rest all that superhero fatigue talk. Hold on to your seats, everyone, you’re all about to have some warm feelings in your extremities.
You don’t need to know the plot, nor should you want to know, but in its briefest and least spoilery form here’s a bit of it: after hanging up the red suit and Katanas, Wade Wilson (Reynolds) is now living as ordinary a life as possible and trying to prove his worth as an everyman rather than the Special Forces-trained gun-for-hire/Marvel adjacent superhero. However, his escapades with Cable’s time-travel device at the end of Deadpool 2 haven’t gone unnoticed. Soon, the TVA and senior officer Mr. Paradox (Matthew Macfadyen) are on his trail and believe he may have a higher purpose. Oh, and Wolverine (Hugh Jackman) shows up. That’s it, that’s all you’re getting.
One thing to say right off the bat is the splendid marketing job pulled off by Disney, Marvel, Levy, Reynolds, and co which, similarly to Endgame in many respects, is exactly how you should promote a movie such as this. Purposely holding back much of the plot and actual depth of the story – you’ll see why when the whole film is revealed – it not only helps keep secrets but lights up the experience you’ll have watching it for the first time, making it so much more gratifying and enjoyable. You’ll be glad they have all kept their cards close to their chests this time. Even small details regarding the devilishly handsome couple atop the title card have somehow been kept under lock and key and it makes the payoffs so much grander and so much more satisfying.
Levy, fresh off his double-bill of Reynolds collabs in Free Guy and The Adam Project, perfectly suits the chaos that unfolds and his kinetic, wild yet assured direction takes everything to another level, even if it does get a little too dizzying at times. But it’s in his screenplay with Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells where the film truly soars. Nothing is off limits, from stabs at Fox, Marvel, DC, and the aforementioned state of the genre, to weighing in on countless pop culture moments, to even Jackman and Reynolds themselves and their own lives, nothing is off limits. And how they wrestle that into their story is superbly crafted with real pathos and thoughtfulness. It is overstuffed, for sure, and not everything in its “measly” two-hour runtime feels quite as sharp, not least Emma Corrin’s Cassandra Nova who feels hugely underserved in spite of their pitch-perfect bout of villainy. Then again, this wasn’t about the dastardly ones, was it?
And so what of Marvel’s new dynamic duo? Well, on one level of course, this isn’t new for either Reynolds or Jackman, who still fit the characters and the richly coloured spandex like a glove and are just as undeniably perfect as ever as each of their lone wolves: yet, there’s something magical about them being together that sparkles, unlocking new dimensions, pathos and depth that many of the other films they have graced haven’t quite been able to unlock. Both perform splendidly again, here’s as you’d imagine but just the excitement they must have felt in finally making this together brings an energy to the film and the genre as a whole that we haven’t quite seen before. They are, indeed, two sides of the same necklace. Cue a rendition of A Million Dreams.
