This is the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.Written by
20th Century Fox
A promotional campaign for the movie is a parody of the "Uncle Sam Wants You" poster, with Deadpool declaring "You want ME." See more »
(at around 1h 21 mins) When the taxicab is rear-ended, the cab is obviously CG. The taxi is much smaller than the car that rear-ended it. The cab is a Ford Crown Vic, the other car is Subaru Justy which is shown to be just as big, if not bigger, than the Crown Vic. The second-gen Crown Vic is 17 feet long. The Subaru Justy is 12 feet long. The taxi appears to be smaller than the Justy in the shot and is very small compared to the forklift in the same shot. See more »
Kinda lonesome back here.
[wedges himself through the Plexiglas opening between the back seat and the front]
Yeah, little help.
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The opening credits are placeholders for what was in the script, since director Tim Miller (who asked Blur Studio's layout supervisor Franck Balson to remove his quickly) and Ryan Reynolds were the only ones. "As written by Deadpool"; "Some douchebag's film, Starring God's perfect idiot (referring to Ryan. Accompanied by an Easter Egg of Ryan's People Magazine cover as Sexiest Man Alive.); "A hot chick"; "A British villain"; "The comic relief"; "A moody teen"; "A CGI character"; "A gratuitous cameo"; "Produced by asshats"; "Written by the real heroes here"; "Directed by an overpaid tool". There are Easter Eggs as well: The card in the wallet of Ryan in a green suit, a blurry Killebrew being on the phone, the thug with the lighter was originally a filmed joke in reference to Colin Farrell in Daredevil (2003), "Rob L." on the coffee cup is Rob Liefeld, the little sex key-chain, the Orange Number 5 card, and the Hello Kitty. See more »
The Freeform print removes all uses of "fuck". See more »
Dirty, funny, sexy, violent and unabashedly romantic: Deadpool has arrived!
I really, really liked Deadpool. And you know what? I didn't expect to. Seriously, I was never a fan of the character (in the sense that I hardly knew anything about him) and the humor as well as the violence seemed forced and overdone in the trailers. Still, I remained interested in the film, I just never expected it to actually be good - until the reviews arrived. After most critics unexpectedly showered this newest superhero movie with praise, I went in cautiously optimistic (but still fully prepared to hate the film).
The first thing I noticed was how inventive the storytelling is. The film throws you into the action from the first moment (literally: the very first moment) and then it goes back and forth in brilliant and unexpected ways to slowly unspool the story of this insane - but oddly charming - antihero. Flashbacks and fast-forwards can be annoying as hell, but when done right, they can help render even a somewhat simple story fresh and exciting. And that's exactly how Deadpool felt to me right from the start: like a fresh (if somewhat dirty) jolt of energy.
The action itself is beautifully designed, employing playful visuals and using pretty much every camera technique available; it never feels repetitive and the pacing is close to perfection. But, and that was probably the key to me liking the film so much, there's a beating heart underneath all the action and carnage, and that has a lot to do with how brilliantly Ryan Reynolds portrays the character and the great chemistry he has with co-star Morena Baccarin. What came as a complete surprise to me was how unabashedly romantic Deadpool is. The love story in this film is probably the most sincere I've ever seen in a superhero movie and it gives the film the strong emotional core which so many of these movies lack.
The humor, which I initially feared would just be non-stop juvenile wisecracks and soon become distracting, also works surprisingly well. Not every line or every joke lands - but that's the beauty of this character: they don't really need to. Deadpool can't help himself; as long as he's able to breathe he'll crack wise and make fun of himself and those around him. It's a clinical condition; he's not a stand-up comedian whose jokes need to land: he's a madman (albeit a very entertaining one) and the comedy in his case is born out of tragedy.
Despite all my praise, it's not a perfect film. The villain in this revenge tale could be more memorable and the story itself is a bit too derivative to really do its highly unconventional protagonist (he insists he's not a hero) justice: but it's a damn good first entry in a franchise that will hopefully explore the character and his world to a much larger extent in the sequel(s). And it's actually a very important film for another reason. If Deadpool is a financial success - which at this point is already clear it will be - this could play a vital role in how studios henceforth view the financial prospects of R-rated superhero films, and we'll hopefully see more of them in the future.
Many people might feel different - and I respect their opinion - but I've grown tired of the entirely bloodless CGI overkill in all those 200 million productions where even the most terrible villains talk like Mormon schoolgirls. I mean: there's a gigantic audience out there that is over the age of 18, loves to read comic books and can absolutely handle real-world language, real-world sex and real-world violence in superhero movies. This genre is so diverse; it's ridiculous to believe just because comic books have pictures in them all film adaptations - regardless of the material - must automatically be made for kids in order to be successful.
As it is, I think Deadpool - a dirty, funny, sexy and violent film which is decidedly NOT for kids - just proved my point perfectly. 8 stars out of 10.