Steel Notes Magazine November 2016 - Page 29 Steel Notes Magazine Nothing that transpires in “Deadpool” is all that unique yet how the story is told sets it apart from the norm. Deadpool resembles a cross between Spider-Man and Ant-Man yet, you know, more profane and full of nasty quips. There are too many jokes and his motormouth skills (Merc with Mouth) and rapid-fire zingers are like quotation marks that fill the screen and make you laugh in spite of yourself. When Deadpool’s legs and hands are broken by a solid hulk of an X-Man named Colossus, Deadpool’s only reaction is to make reference to “127 Hours.” Most superheroes may not care if the supervillain dies but this character is one of the few who doesn’t seem to care too much about himself – of course, that is the joke because cutting off one appendage or breaking a bone only leads to regeneration. Armed with two katanas and several firearms, Deadpool leaves a bloody trail wherever he goes. Though a lot of the hyperviolence can get repetitious, Reynolds’ bravura performance and litany of curses keep the movie afloat. When Deadpool isn’t joking around or killing people, he jumps around like a wired-on-espressoand-cocaine jack rabbit – the guy cannot sit still for long even when caressing an elderly blind roommate with his slowly regenerating hand. He is one of the few that doesn’t just do a doubletake, he does a quadruple take. “Deadpool” lampoons everything about the movie you are watching – it is like having Deadpool sitting next to you and commenting on the action he is performing on the screen and out of it, a hyperactive 3D black comedy of epic superhero proportions. It is the meta of all metas, the first truly postmodernist superhero movie that tells you, “hey, stop taking these movies so seriously comic-book nerds!” Yet despite its goofiness and self-reflectiveness, Reynolds and Baccarin lend the movie and their characters a touch of humanity and some gravitas and they have unbreakable chemistry. One can’t help but feel remorse for Wade when he discovers he has cancer or when he is tortured to such a grueling degree. This is a superhero movie for people who love and/or hate superhero movies, smoothly directed by an overpaid tool, that is debuting director Tim Miller. As for Reynolds, it is a solid corrective to his bland “Green Lantern.” Steel Notes Magazine 29