Deadpool and Wolverine

Review Deadpool and the Wolverine directed by Shawn Levy with Ryan Reynolds, Hugh Jackman, Emma Corinne, Morena Baccarin, Matthew Macfadyen

Finally, the much-hyped Slaughter and Wolverine movie reunion is coming to screens (about the title: o Deadpool and Wolverine One Slaughter and Wolverine) and he had already faced three challenges before the screening began.

Three challenges

The first challenge: The good feelings the two previous movies left about the character were very clear about the path they had to follow to differentiate themselves from all the superhero fables at the time of their release.

The second challenge: The ominous and gigantic shadow of expectations created among the audience is, in part, the massive advertising presence and the free speculation and shameless inventions poured into social networks and all kinds of web pages to gain visits and feed the devouring monster that is the Internet.

A third challenge: Enter another multifaceted story, one of the film's parodic dialogues passionately conveys a strong point, although whatever it criticizes, it may seem inappropriate, but not to forget that it is us. A mercenary with a mouth, in a frenzied universe of carnage.

The film emerges well from the first challenge in its presentation sequence and opening credits, an action moment that is closest and most faithful to the visual feel of the two previous films. In general, it maintains that tone for the first half of the film until the introduction of Cassandra Nova, which along with its location and context promises more than the script ultimately delivers.

Faced with the second challenge, this reunion of Mazak and Wolverine is not responsible for all the character redemption fantasies that have spread among the audience, but by entering the cameo game, it is no doubt responsible to excite them once again. To a certain extent, you can never satisfy everything that the viewer expects to see according to the movie he has put together in his head.

From the third challenge, this third Massacre film has come out well, surpassing the weaker film Doctor Strange in the diversity of madness. Some of its winks are funny, though there's a certain tendency to overuse and overuse them, and encounters with lost characters lack the tango comedy hook we've come to expect from the previous two assassination films (remember the sequence Recruit Assembly Deadpool 2) did not reach the level of Spiderman has no way to get home.

Blink and the perils of narrative

Overall, the film is promising. It entertains and favors a certain homage to the Marvel superhero productions created by 20th Century Fox. In the cartoons, since first succeeding in the comics, the keys to overexploitation that mark the path of the two main characters, through self-parody, are in favor of reflection, summarizing very well and intelligently. , and later in cinema as well.

Both thus become a good metaphor for the over-exploitation of rights that has dominated American cinema in recent years. The nature of Massacre's character and his constant exercises in breaking the fourth wall allow this, while proposing a strange position that immerses the viewer in the plot as an exception to the transition from homogenization to heterogeneity.

However, falling into the constant wink-wink formula risks derailing the plot altogether or turning it into just another story in a puzzle of cameos and curious appearances, micro-jokes. Fun, but they don't create a solid plot by themselves.

Perhaps an important part of this problem is that it repeats itself with alarming frequency in multi-franchise films, and in the multi-franchise formula – just ask Taika Waititi's Thor, although it's great. Thor Ragnarok And Thor is love and thunder-, in scripts written and rewritten by many screenwriters.

In the case of this meeting of Slaughter and Wolverine, the film looks like it was written from notes of humorous and funny moments collected in conversations between the creators of the film. Linking Hugh Jackman movie.

Disruptive Wolverine and the second act

This leads me to point out another outstanding feature of the film: the incorporation of Wolverine at the end disrupts the usual tone and rhythm of assassination films, and the meeting of the two characters is mired in repeated verbal conflict between the two. The car sequence repeats something we said before, to give an example) that does not progress or develop throughout the entire film, jumps directly to its third act and is the result of the dimension of the development of the relationship between the two characters, without it in the second act.

In general, the entire film seems to jump from the prologue and the first act to the third act, condemning the second act without action, suggested or sketched out but not developed, highlighting the potential of the environment around Cassandra by wasting it. Another interesting and understated case is the character Daphne Keen, who deserves more development and has enough energy to revive the story at a key moment in its evolution, but is just as underdeveloped as the other cameos that accompany her. , in my opinion a serious mistake.

The sequence they give to put it just above a mere cameo is flat and repeats something already proposed. Logan.

In short: The movie has good intentions that don't always achieve results. It distances itself from the more hooligan and frenzied tone of previous Massacre movies to leave some room for Wolverine. But beyond the montage sequence is a summary of the many arcs of Hugh Jackman's character, in which he maintains the tone. Deadpool 1 And Deadpool 2 As a tribute to the comic and the joke, it fails to take center stage in the insane universe of Wolverine's carnage, becoming a cameo of sorts throughout the entire movie.

Miguel Juan Bayan

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