Earlier this month, in a crowded, energetic, red and yellow clad theatre in Hammersmith London I received the exciting opportunity to sneak a peek of Marvel’s newest outing Deadpool and Wolverine. After a uniquely electric event, complete with famous DJ Martin Kemp (from Spandau Ballet), a Battle of the Bands (fought between Deadpool’s Bloody Katana’s and Wolverine’s Clawsome) and a not so surprise appearance from Hugh Jackman and Ryan Reynolds themselves, we were granted an early screening of the first 37 minutes (to be exact) of the explosive superhero extravaganza.
Marvel’s Deadpool and Wolverine is a never before seen collaborative pair up between the Xmen’s most beloved (and metallic) Hugh Jackman led Wolverine and the (until recently) Fox-owned Ryan Reynolds red, spandex and downright dirty merc with a mouth, Deadpool. Following on from Deadpool’s 2018 sequel, we now see the grossly comedic anti-hero exploring a more low key life, away from ‘superhero’ life. However, the calm before the storm does not last, because (as early trailers have shown us) the Time Variance Authority (TVA) is about to arrive, pulling Deadpool from his own timeline for a strict talking to about meddling with time… and subsequently orchestrating the scenario to pair up these two most notably separated antiheroes. From there the chaotic antics associated with pairing up Deadpool and Wolverine, and for that matter Ryan and Hugh, is anybody’s guess…
What the early trailers didn’t show us is the full scale to which Deadpool’s (or let’s be honest -Ryan’s) snark would be unleashed. But first a touch of history. The pair up of Deadpool and Wolverine is a particularly intriguing development in the ongoing story of the MCU and superhero movies in general. The film’s release follows a particularly controversial period of MCU business decisions, whereby viewers have complained of a continual decrease in quality (both in plot, overall direction and CGI) since Marvel’s mammoth 2019 outing Avenger’s Endgame. Whilst the Covid-19 Pandemic’s closure of cinemas certainly did not help matters, an oversaturation of MCU outings on Disney+ also led to what many have dubbed ‘Marvel fatigue’ due to the now impossible nature to catch up with so many varying projects.
Equally curious here is the sale of 20th Century Fox to Disney, which gave Marvel the opportunity to make such a film like Deadpool and Wolverine happen in the first place (given that both characters were owned by the former production company). With a long term plan to move many beloved franchises from Fox over to Marvel (including the Fantastic Four and the Xmen), it seems that audiences, producers and yes Ryan and Hugh were also positively bouncing at the opportunity to tackle a team up film.
Most notably here, pairing of Marvel and the mouthy merc means finding a way to bring Deadpool’s R rated humour into an MCU which has largely remained family-friendly. Furthermore, Hugh Jackman’s willingness to jump into the Marvel sandbox meant a longstanding joke in Deadpool’s previous two films could finally be realised. The ongoing rivalry -or rather Deadpool’s incredibly one sided dislike of Wolverine – is finally reaching the big screen, in the most saucy of manners. Furthermore, both characters have regenerative powers, so neither can die or be particularly slowed down, with fans long hoping to see such a dramatic face off on the silver screen.
This is a film (and a leading pair) that is so so so not afraid to make fun, insult, provide scathing and topical social commentary, and yes jump full frontal into the (expensive and expansive) sandbox of the MCU.
So what does this intriguing history mean for the movie itself?
Well let’s just say … Ryan Reynolds has never necessarily shied away from playing around with the fourth wall as Deadpool. In fact, Deadpool has long since smashed the fourth wall into pieces, leaving a gapping, and quite familiar hole, between fans and antihero, making for a pretty entertaining style of filmmaking which often goes unexplored in superhero films. And believe me when I say the MCU did not even attempt to build the fourth wall back up in this third film. (Slight spoilers ahead).
This new outing starts by addressing one of audiences’ biggest concerns about the return of Wolverine – the fact that he supposedly died in the heart-breaking 2017 swansong Logan. Deadpool openly addresses this fact with viewers, and even slips up on the names of his costar – I mean fellow superhero. And of course this hilarious fourth wall break leads us right into the first epic (but yes incredibly gruesome) fight scene of the film. From there on Deadpool and Wolverine (or at least the first half hour) does not stop. It races from cameo to cameo, meta fourth wall break to snarky inside joke, addressing everything from Fox’s buyout, to Marvel’s declining years, Hugh’s Aussie accent and more. This is a film (and a leading star) that is so so so not afraid to make fun, insult, provide scathing and topical social commentary and yes jump full frontal into the (expensive and expansive) sandbox of the MCU.
Luckily Marvel execs have allowed Ryan and Deadpool to go absolutely nuts, and thank goodness they have. This film is laugh- (grimace, giggle, gasp, wince)out-loud funny, and yet somehow it provides a (not so serious) commentary on the state of cinema, superheroes and the film industry. For a film written in 2022 (But I’m certain adapted over the last 2 years of filming time) the dialogue is incredibly topical. In all honesty, it feels like a stroll through film twitter itself… and this familiarity with the concerns of the fans and evolution of the industry as a whole is absolutely vital in giving Marvel the bold refresh and healthy hint of transparency it so desperately needs.
With epic fight scenes, deeply clever gags, non stop humour, hubris and hilarity and a perfectly aligned leading pair who are obviously so prepared to jump in and play, Deadpool and Wolverine certainly threatens to shake up the film (and superhero) industry.
And let’s hope it does. Considering the recent pressure Marvel (And Disney) has been under to revitalise, refresh and restructure their direction, and the general pressure on Hollywood and cinemas to regain an audience gradually put off by expensive tickets, streaming options and distracting phones, the MCU really can’t afford another loss.
If the epic, long awaited, fan favourite pairing of Deadpool and Wolverine (and more importantly for generalised audiences, the iconic leading cast of Ryan Reynolds and Hugh Jackman) can’t draw in crowds and good reviews… then nothing will.
I don’t want to say this is the last chance for Marvel… but it certainly feels like a pretty big canary in a coal mine, ready to provide its warning on the inevitable future of Marvel. Let’s – of course – hope the red and yellow clad, R-rated canary does not stop singing. And after a 30 minute experience where I left physically gasping for more and desperate for a rewatch of that speedy and epic opening act, I’m cautiously confident that the canaries (okay the metaphor has fallen apart)- The audiences will flock in singing, laughing and cheering – driven by the haughty, snarky and topical word of (the merc’s) mouth.