Here’s to 'Deadpool & Wolverine' and its uncensored homage to Marvel

The feeling of exultation seems to be ripely dense in the air for Ryan Reynolds, who leaves no stone unturned to get back at 21st Century Fox in "Deadpool & Wolverine", despite having fought for and won the desired final products in the form of the first two "Deadpool" films under its banner. The movie simultaneously and more importantly pays an almost necessary homage to its pre-existing and thriving Marvel heroes and franchises before the launch of the MCU (Marvel Cinematic Universe). Since Disney's acquisition of 21st Century Fox in 2019, I bet Reynolds had just been itching to finally spill his guts which he does in this more successfully done fan servicing movie after "Spider-Man: No Way Home". 

Only this Shawn Levy directorial bands together the hardly conceivable yet canonically paired frenemies Deadpool aka Wade Wilson (played by Ryan Reynolds) and Wolverine aka Logan (played by Hugh Jackman) in what kicks off as initially a plotless story. This installation in and of the MCU under Kevin Feige's supervision (mentioned multiple times by Reynolds by breaking the fourth wall) and production finds its form on the run, abetted by consistent pacing. The lay of the land for the film begins when Deadpool is left with no alternative but to find a befitting Wolverine variant to attempt to save his earth (Earth-10005), among the already existing gamut of earths in the multiverse, but he winds up with the worst one. Wade is alerted of the upcoming doomsday, while he surfs through a mid-life crisis, by the self-serving Mr Paradox (played by Matthew Macfadyen) from the TVA (Time Variance Authority), introduced extensively through the series "Loki". 

Inundated sporadically with sleek slashings, hackings, and sweepings of Deadpool's katanas and Wolverine's retractable adamantium claws throughout the film, their second and last similarity, apart from the formation of their origin of power, is what wraps up the whole affair. The climactic goal of the movie could have only been achieved with their shared ability of regenerative healing. However, prior to the anti-hero and esteemed hero choosing to be men of the hour and saving it all, the whiplashing and gory fight sequences — even reminiscent of actions from the 2003 film "Oldboy" — admittedly earn the film its cutthroat R-rate.

My favourite blood-spattering moment is most unequivocally the thrashing and bludgeoning fest between Deadpool and Wolverine inside the initially frowned-upon but gradually validated Honda Odyssey model. The scene not only emphasises the quick reflexes of the characters related via having been experimented upon by Weapon X, but it adds to the comics-induced bantering spread throughout the film. The scene retains profundity by proving its awareness of how people perceive Deadpool's character. Wolverine's scathing remarks about the merc with the mouth speak for many of us, including myself. But a nuisance is as nuisance does, he shakes it off by fighting it out. Wolverine, claws out, literally jumping at Deadpool while taking on the posture of an animal is a glorious highlight.

"Deadpool & Wolverine's" cinematography, enhanced by the movie's playlist involving upbeat songs from the '90s, feels almost glossy, crisp, and aptly gory. Many of its slow-motion action sequences essentially act as stable visual grips or harnesses to allow viewers to soak in the overall momentum of the designated fights. The film's direction and editing, comprising stark "budget-cut" reasonings for not providing certain characters enough screen time in between fourth wall breaks, swift zooms on the comical outcomes following bouts of mayhem, and groundwork for bringing back Wolverine, not only add to the movie's panache but also stress it belonging to Marvel Comic books.

The locations encompassing the space called The Void, resembling feverish dreamlike landscapes from the "Mad Max" saga and even "Shang-Chi and the Legend of the Ten Rings", allow for the film's template to bring in the Marvel heroes who failed to receive more than one or two sequels with one not having had the chance to even launch the film production. Elektra (Jennifer Garner), Laura / X-23 (Dafne Keen), Blade (Wesley Snipes), and Gambit (Channing Tatum), humorously termed the rejects whose earths had perished following their respective last films, therefore join forces to help Wade save his earth from its impending cessation. Diverse variants from the "Fantastic Four" family and "X-Men" family make further appearances, both supporting and opposing the heroes, to seamlessly bring out the pleased feeling of revelry from any given loyal long-term MCU fan. 

Absurdly enough, the bigger villainous threat Cassandra Nova (Emma Corrin), Charles Xavier's evil twin, is inversely corrupted by Mr Paradox who– with only the power of holding alleged authority over a section of the TVA– feels like an extension of Macfadyen's highly sycophantic character Tom Wambsgans from "Succession". Nova's fatal, prowling, and almost maniacal telepathic powers, especially the ones that get under the skin, get under the skin. Corrin's appropriately projected glares and gazes make Nova's damning abilities believably undefeatable. 

Frenemies duo Deadpool and Wolverine play their parts to the letter, as they always have. The fact of Wolverine needing a semblance of poignancy to do whatever he chooses to do is something that the movie pays attention to as well — as though the self-loathing hero can never actually be written on a script without a tether (in this case Laura) pulling at his compassionate sanity. On the other hand, this time around, Deadpool practically begs for a chance at being a hero while going through a mid-life crisis. His character supplementarily begins needing a form of mass validation, which he never cared for until the potential demise of his Earth roots his bearings and affirms his priorities.

When I was experiencing the movie at the theatre, the cinematic entries of Blade and even Laura gave way to loud cheers and hoorahs from the more than half-filled roaring hall. Elektra and Gambit, however, failed to bring out any noteworthy response from the presiding audiences around me. At the same time, I gleefully took in the presence of the latter two over the former two. Elektra vividly reminded me of being fonder of her than of Matt Murdoch in the 2003 "Daredevil" movie. Gambit almost instantaneously reminded me of Channing Tatum's constant plight to get a movie about his favourite hero made with no sign of progress to report. Tatum, like Reynolds, spoke ardently about starring as the character multiple times even though he failed to take on the mantle of the character in "X-Men Origins: Wolverine" (2009) due to scheduling conflicts. 

The acquisition process of Fox again halted the possibility of "Gambit" being produced. Disney reportedly even cancelled its production in May 2019, until last Tuesday (August 27) when Reynolds posted a brief video indicating Gambit's potential return to the MCU to properly and hopefully finally own a full-length feature film of his own and more. 

"Deadpool & Wolverine" is not exactly a meticulously crafted story providing ample opportunities for narrative explorations; but in its acutely uncensored glory, it is a surprising tribute to the Marvel heroes from Fox. The movie interweaves its tale as it transpires—which in and of itself gives it the license to be cacophonous. In a way, this movie can be seen as Kevin Feige honouring the previous heroes from Fox to potentially move forward with more characters the studio held ownership of. Therefore, in all its truth, the movie is for all Marvel fans who have been here throughout the pre-MCU era, the MCU formation and development, and now the acquired and then resumed existence of it all.