Eleven years is the length of time that Ryan Reynolds tells us he has been developing a Deadpool movie, and it’s only been roughly eight since we last saw the character implemented in the terribly-awful X-Men Origins: Wolverine.

Thankfully, this new (and R rated improved) Deadpool is far superior in quality than Origins, and guts above Reynolds last shot at doning the super suit in Green Lantern. It’s not very often that an actor can find themselves a vehicle to sort of reboot their career (I love you Ryan, but you’re last few movies have been less than entertaining). But here is a proven formula that can work. Deadpool is the epitome of a long wait for us fans that have been gesturing for a full-length movie of our favorite anti-superhero and a welcome return to Reynolds, who finally has a film that can keep up with his tenacious foul-mouth attitude.

Deadpool is juvenile, relentless, over-the-top grotesque, and seemingly stuck inside the confine of a not-so-compelling origin story. Tim Miller, who at this point has no motion picture to his credit (of any relevance), steps up in a big way, even going as far to mock himself in the opening credits where he is billed as “An Overpaid Tool.”

It’s clear from here on out the writers (Paul Wernick & Rhett Reese) have us in their grasps, and for a while never let go. And nobody goes unpunished by the hand of our red suit-wearing comrade (he wears the suit so “bad guys can’t see me bleed”). Deadpool goes as far to break the fourth wall (something done quite often) while using extremely naughty/sexual innuendos to help further explain peculiar situations.

At times, this can be a bit too much. I found myself being worn out by the consistent rat-a-tat-tat of Reynolds’ pacing, while also ingesting the action sequences, which in themselves aren’t necessarily amazing. But, when Deadpool finds’ the correct footing (and digs itself out of a midway slump), it’s a superhero movie that can set the precedent from now on – depending on box office grosses (which I don’t suspect will be an issue this time around).

With every superhero film there needs to be a backstory, so before Deadpool condoned the suit he was a mercenary named Wade Wilson. “I’m just a bad guy who goes after worse guys” he says in his many narrations to the audience.

He spends most of his days at the Wayward School for Girls beating up on stalkers or anyone else who shows up on a gold card. There he confines in his bartending pal by the name of Weasel (TJ Miller – or as the opening credits bill him “comic relief”). It’s also where he meets Vanessa (Morena Baccarin), a prostitute who finds herself caught in a trance by Wade’s smooth talking edge. The two instantly make a connection, and then proceed to have a long sexual montage celebrating everything from Thanksgiving to International Women’s Day (the latter that proves to be an interesting punchline delving into the pansexual fantasies that Deadpool faced in the comics). Of course, as Deadpool even says “life is filled with happy moments, until something bad happens,” which it does.

Wilson finds out he has been dealt the hand of terminal cancer, where in a last-ditch effort to save himself, goes into an experimental treatment facility under the control of a “British Villain” named Ajax (Ed Skrein) who promises to restore him to his full potential.

Something tells me we shouldn’t trust a man whose named after a Greek warrior or dish soap. Tragically, Ajax performs a viral stint of grueling torture schemes in order to trigger a mutation in Wade’s genome. This turns Wilson into the mind-numbing alter ego of Deadpool, complete with a face that looks like “an avocado had sex with an older avocado.” From then on, the film spirals into a no-holds-barred revenge flick that has some neatly choreographed stunt sequences that can make any of the X-Men movies blush – despite not knocking my socks off.

For a while, I had been worried about the humor that was going to be showcased in the film, mainly because I didn’t want myself becoming annoyed at the concept. Thankfully, that was never an issue. In fact, it was rather soothing to see the superhero genre get split open and become the riff of some of Deadpool’s crusade into obscurity.

We need to commend Marvel for having the balls to have some hard R rated fun while also trashing its own brand. It’s the kind of tongue-and-cheek humor where Marvel can just sit back and wag its finger at the naysayers and be like “we told you we could do it.”

Miller directs with precision and highlight his capabilities with stepping up into the big leagues when you have a budget. There are a few X-Men references that get in the picture (with many jokes at their expense), and also a “gratuitous cameo” that is just so perfect, my entire theater applauded when it happened.

There are also some fun supporting characters by the name of Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand) who are really just there to help Deadpool stay in line while helping him take on Ajax and his crew. But really they just take a back seat to Deadpool’s shenanigans.

Yes, this film is “technically” considered in the genre of “superhero” and it’s resilient humor is kind of immature. You shouldn’t be surprised if some of the younger ones might be trying to persuade you into seeing this graphic film. But I feel it’s my job to inform you of how that’s not a smart decision. Sorry, kiddos, this one is for the adults.
B