Fever Magazine March 2016 | Page 7

DEADPOOL ACTION PACKED& R RATED This Deadpool is different (and more like the comics) — talkative, quick-witted (if knob gags can be classed as wit) and with a fondness for breaking the fourth wall. The film’s set in the same universe as the X-Men franchise, but has an anarchic spirit that sticks a middle finger up to Bryan Singer’s oh-so-serious sensibilities. And smirks to itself as it does so. The film starts with Wade Wilson already having chosen his super-name, in costume and midway through a scrap on a freeway. That’s interspersed with flashbacks showing him pre-disfiguring mutation, falling in love, being diagnosed with terminal cancer, through to being tortured by Ed Skrein’s main antagonist Ajax (named after the cleaning product). It’s a smart structure, one that neatly sidesteps the major issue with origin stories: the suited-up main attraction being absent for the first hour. In this case, because you don’t have time to dwell on it as it’s playing out before you, it also disguises how slight the main mission is (a fight, a kidnapping, a rescue attempt, roll credits). But Deadpool is a perfect example of a character who doesn’t need world-threatening danger to foil. MAKING OF THE MOVIE This may be “Deadpool’s” most radical element and an important reminder that there are only so many times filmmakers can lay waste to major cities before it starts feeling stale. After “Deadpool” racked up $135 million this weekend, Reynolds has the kind of franchise role that will allow him to have his pick of top scripts and projects. Fox, the studio behind the picture, has already begun working on a sequel. Reynolds may owe his second chance in part to his personal charm. Industry executives have always praised his willingness to campaign for the movies he makes, finding him to be an affable trooper. When his movies faltered, there wasn’t the sense of schadenfreude there was when, say, Shia LaBeouf decided to napalm his public image by taking the party to Walgreens and heckling the cast of Broadway’s “Cabaret.” It also is a credit to his drive. After playing the character in 2009’s