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When it comes to offensive material in movies, the line keeps getting pushed further and further out. Gross-out gags, profanity for profanity’s sake, and ultra-violence are the norm in certain genres, but the majority of the time those elements only seem to be there to cover up storytelling or filmmaking deficiencies.
Not so in Deadpool, which manages to maintain its wit and charm despite being offensive as hell. Ryan Reynolds stars as the titular anti-superhero — real name: Wade Wilson — a mercenary who’s subjected to a torturous experiment that allows him to develop supernatural healing powers, at the expense of having his entire body look like melted cheese.
The film, helmed by first-time feature director Tim Miller, jumps back and forth in time. It trails Deadpool as he tries to hunt Ajax (Ed Skrein), who inflicted much of the pain on him, while also showing earlier, happier times with girlfriend Vanessa (Morena Baccarin). Bridging both worlds is a friendship with Weasel (T.J. Miller), the bartender at the bar full of rogues which Wade/Deadpool frequents.
What is a constant throughout, though, is a stream of never-ending jokes. It starts in the title sequence, which eschews actual names for insults for everybody from Miller to Reynolds, and Wade/Deadpool carries it on, as his sense of humor and mouth have no off buttons. Not all the jokes land, but the vast majority of them do, leaving the audience bludgeoned by an avalanche of comedy.
That theme transfers over to the film’s multiple violent scenes. What Miller and his team, which includes the writers of Zombieland, understand is how to keep the balance between being too inane and too serious. It could be that Deadpool cracks wise even while carrying out his dastardly deeds, or that the bloodshed is gratuitous without being off-putting. But somehow the filmmakers found a way to appeal to a broad audience without treating us like we’re idiots.
They also provide a ton of fan service, referencing both real and movie world events. Deadpool is related to the X-Men universe, with two characters — Colossus and Negasonic Teenage Warhead — making appearances here. Jokes made at the expense of Deadpool’s ill-fated appearance in a previous X-Men film and of Reynolds’ own checkered superhero past are among the funniest in the whole movie.
The biggest reason for the film’s success is the inherent charisma of Reynolds — his good looks don't even figure into the equation. He utilizes multiple funny approaches, including “breaking the fourth wall” (i.e., talking directly to the audience), making it next to impossible to be disgusted by anything he does, even when he does distasteful things. It was Reynolds’ passion for the project that led to its finally seeing the light of day, and he appears to be relishing every second of it.
After a month and a half of stinkers, Deadpool is finally the first movie of 2016 worth paying money to see in the theaters. It’s an equal-opportunity offender, and it’s completely awesome.
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Movie Review
White supremacy has long been a stand-in for evil in movies, with the correlation easy to make with through well-known archetypes like those of Nazi Germany. Whether a film puts forth white supremacists as its main characters or supporting ones, their usefulness in a story is as people who are easy to hate and that deserve to be held to some sort of justice.
While that idea holds true in the new film, The Order, the nature of the group featured is somewhat muddled. The central figure is FBI agent Terry Husk (Jude Law), who essentially sets up a one-man task force in the Pacific Northwest to track a group known as The Order. Husk is convinced that the group, which is an offshoot of a larger white supremacist organization, is behind a series of bank robberies to fund anti-government schemes.
Husk recruits local police officer Jamie Bowen (Tye Sheridan) to help follow the group, which is led by Bob Mathews (Nicholas Hoult). The two, joined occasionally by FBI agent Joanne Carney (Jurnee Smollett), do their best to keep up with The Order’s increasingly bold crimes, which morphs from “just” bank robbery to murder.
Directed by Justin Kurzel and written by Zach Baylin, the film is at its best when it delves into the personalities of its characters. Husk’s monomaniacal nature is great for his job, but not so much for his family life. Bowen has a solid bond with his wife and kids, but his greenness in law enforcement leads to some questionable decision-making. Mathews, like many cult leaders, is a charismatic person with very misguided tendencies.
The filmmakers set up the plot (which is based on a real-life story) well, but the details get a little loose as the film goes along. While The Order has a hatred of Jews, a plot against radio personality Alan Berg (Marc Maron) doesn’t make much sense in the context of the film. The geography of the group’s operations is also confusing; they’re located in Washington, but they range out as far as Colorado and California to commit their crimes.
Still, the inherent appeal of good-vs-evil keeps the plot mechanics going, and the side stories of the main characters give them a depth that makes up for other faults. The filmmakers also make sure to demonstrate how the scourge of white supremacy has never been limited to one particular era, and continues to infect American society to this day.
Law commits fully to the lead role, giving a performance with a convincing American accent that is far from the suave British parts which have dominated his filmography. Hoult proves equally believable, giving his character a nuance that somehow makes him more detestable. Sheridan adds another interesting role to a career that would be enviable for any other young actor.
While The Order doesn’t rise to the level of an awards contender, its story is still relatively compelling with antagonists that, unfortunately, never go out of style. A great cast playing characters with engaging lives keeps the film watchable even when it goes into some odd detours.
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The Order is now playing in theaters.