Review #1,344: 'Deadpool 2' (2018)

In the years Ryan Reynolds spent trying to persuade 20th Century Fox to greenlight a Deadpool movie since the abomination that was the character's first big-screen appearance in X-Men Origins: Wolverine in 2009, nobody quite expected the reception it would eventually receive once the 'Merc with a Mouth' was finally unleashed onto unsuspecting audiences. Least of all Fox executives, who only gave it the go-ahead when footage was leaked onto the internet and fans went crazy. When 2016's Deadpool raked in over $700 million and became the highest-grossing R-rated film of all time, the suits were soon rubbing their hands together and dreaming up a sequel. Creative differences led to original director Tim Miller departing, and in stepped John Wick co-director David Leitch, with Reynolds also receiving a writing credit for the follow-up.

After a marketing campaign that was even more meta than before and teases of comic-book favourites gracing the big-screen for the first time, Deadpool 2 arrives with high expectations, not only to deliver on the comedy side, but to further subvert a genre that now seems to dominate the big release dates each year, with Marvel alone delivering three features a year. So does the sequel improve on the first? Not really. Although Deadpool 2 increases the violence, cursing and fourth-wall breaks, there's a slight whiff of corporate tampering to the final product. The Merc's first solo outfit loosely hung itself around the faintest of plots, with time jumps switching between Wade Wilson's journey from simple mercenary to cancer-ridden super anti-hero, and his quest for revenge against the man who took pleasure in torturing him over a lengthy period of time. The low-budget, guerrilla-esque approach was all part of its charm, and the role fit Reynolds' smirking sense of humour like a glove.

Deadpool 2 received a much higher budget and allowed for even more creative freedom for the writers, but in doing so has lost some of what made the original so refreshing and punkish. The story involves time-travelling cyborg Cable (John Brolin), who journeys back to our time to assassinate a young mutant (played by Julian Dennison) before he can grow up to become the monster responsible for murdering his family. Deadpool, who is still being courted by the X-Men and recovering from his own personal tragedy, takes it upon himself to protect the boy, who he feels can be saved and turned away from his fate. Along with old pals Colossus (Stefan Kapicic), Negasonic Teenage Warhead (Brianna Hildebrand), Weasel (T.J. Miller) and Blind Al (Leslie Uggams), Deadpool puts together a team he dubs 'X-Force' to help him take down such a formidable foe. Can our hero overcome this seemingly unstoppable man-machine with a gun whose power turns all the way up to 11? And more importantly, is dubstep still a thing in the future?

There is far more story to sink your teeth into this time around, and there are unexpected emotional beats for a character who is essentially a pop culture joke machine. But as it goes with most sequels, bigger rarely means better, and Deadpool 2 ends up becoming the type of film it's supposed to be making fun of. There is plenty of action but there is a weightlessness to it, which wouldn't be a problem if the director wasn't at least half responsible for the crunching physicality of John Wick. That said, Reynolds and fellow writers Rhett Reese and Paul Wernick keep the laughs coming thick and fast, whether it be Reynolds' wink-winking at the camera or the gross-out physical comedy, with Brolin proving to be the perfect straight-man to Reynolds' blabbermouth. One particularly memorable scene had me crying, despite it ultimately being a rip-off of another movie I won't mention for fear of spoilers. Movie-goers may be divided but comic enthusiasts will appreciate the service they receive, with countless Easter Eggs and in-jokes to spot, as well as the inclusion of the likes of Shatterstar (Lewis Tan), a rather goofy hero that nobody ever believed would make it onto the big screen. Reynolds can rest on his nest egg for at least another film.


Directed by: David Leitch
Starring: Ryan Reynolds, Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Stefan Kapicic, Brianna Hildebrand, Leslie Uggams, Eddie Marsan
Country: USA

Rating: ***

Tom Gillespie

Review #1,093: 'Hunt for the Wilderpeople' (2016)

Before Hunt for the Wilderpeople was even released, director Taika Waititi had been headhunted by Marvel Studios to helm what will be one of their biggest releases in 2017, Thor: Ragnarok. The talented writer, director and actor duly obliged, and will no doubt bring his unique brand of charm and laugh-out-loud humour to what has been tantalisingly described as an intergalactic road movie. His relocation to Hollywood helps bring a sense of bittersweet gravitas to Wilderpeople, almost as if he is waving goodbye to his beautiful New Zealand, smashing the opening weekend box-office in his native country in the process.

The film tells the story of Ricky Baker (Julian Dennison), an overweight orphan who dresses like the gangster rappers he frequently quotes who is placed in the care of foster parent 'Aunt' Bella (Rima Te Wiata). Bella lives in a remote cottage and welcomes the troubled child with open arms, switched on to exactly how to deal with Ricky's unique brand of rebellion. The same cannot be said for her husband Hec (Sam Neill), a grizzled frontiersman who we first meet emerging from the hills with a huge boar on his back. Hec has no time for Ricky, but when tragedy strikes, the child heads out into the wilderness to survive on his own. It doesn't take long for Hec to catch up to him, but when the huntsman is injured, the two are forced into spending a huge amount of time together, becoming wanted outlaws and local celebrities in the process.

Waititi's previous film, the cult vampire mockumentary What We Do in the Shadows, was complimented by its cast of talented comedic actors and surprisingly gory set-pieces. While Shadows was certainly a riot, it could be argued that it lacked heart. Wilderpeople certainly doesn't, and Waititi seems to have an uncanny ability to know just when to inject sentiment into a mix of memorable one-liners, bizarre supporting characters and pop culture references. A lot of this is down to the two central performances. Dennison proves to be one held of a find and the ever-reliable Neill is perfect as the grumpy foil who slowly and convincingly forms a bond with the child. Many of the laughs come from Ricky's childish naivety - when he sees the military and their sniffer dogs hunting them through the trees, he exclaims, "Ninjas! Direwolves! Child Services!"

There is also a fine performance from Rachel House as head of child services Paula, a grotesque woman who seems to have stepped out of the pages of a Roald Dahl book. Her motto is "no child left behind," but doesn't seem to grasp the meaning of the words as she takes her job far too seriously and leading the manhunt herself. While the film seems to slightly lose focus towards the Thelma and Louise-inspired climax, it never loses its heart. Adapted from Barry Crump's book Wild Pork and Watercress, Waititi's is clearly in love with the film's characters, as well as the beauty of the New Zealand wilderness. It's a near perfect combination of comedy and drama, knowing exactly the right time to switch gears. If Waititi can bring the same levels of charm and offbeat humour to his Thor movie next year, it will be one of the most intriguing movies of the year and a standout in Marvel's already-impressive track record.


Directed by: Taika Waititi
Starring: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Rhys Darby
Country: New Zealand

Rating: *****

Tom Gillespie