Deadpool & Wolverine: Marvel’s Wild Ride Only True Fans Can Handle! Must-See!

The last time Deadpool graced the big screen was before a global pandemic and a new presidential reign. It’s been six long years since Ryan Reynolds’ iconic character, the fast-talking anti-hero known as the “merc with a mouth”, appeared in “Deadpool 2” in 2018. A lot has happened since then, including corporate mergers and acquisitions that left the future of Deadpool uncertain. The big question was, what does Disney, of all companies, plan to do with this ultra-violent, foul-mouthed rogue?

Marvel’s head honcho, Kevin Feige, has decided to make the red-suited troublemaker the official jester of the Marvel Cinematic Universe; however, he comes with conditions. Deadpool now has a chaperone, another casualty of Disney’s acquisition of 20th Century Fox: the renowned Wolverine (Hugh Jackman). The duo is set to star in “Deadpool & Wolverine,” a crossover event that also serves as a farewell and tribute to the Marvel era of 20th Century Fox.

Reynolds has once again teamed up with his “Free Guy” and “The Adam Project” director, Shawn Levy, after “Deadpool 2” director David Leitch moved on to other ventures. Reynolds and Levy have partnered with franchise writers Rhett Reese and Paul Wernick, and “Robot Chicken” veteran Zeb Wells, to write the screenplay.

The script is a unique blend of jokes, pop culture references, fourth-wall shattering, celebrity rumors, Hollywood insider knowledge, jabs at other movie studios, ironic throwback music, and chatter reminiscent of mid-2000s online film forums. The plot is nonsensical, the characters are one-dimensional, and the motivations are unclear. But the cameos are worth watching. It’s like watching an internet-centric movie, but one that’s strictly inhabited by Gen X and older millennials.

Without revealing too much, the plot follows Deadpool as he enlists Wolverine’s assistance to save his realm of the multiverse, simply because Deadpool values his friendships. Wolverine, or Logan, could use some personal redemption, and most of the film sees the two bickering relentlessly in a love/hate relationship storyline.

The movie’s main antagonist, Cassandra Nova, is portrayed by a bald Emma Corrin. The true villain, however, is a corporate tycoon (Matthew Macfadyen) obsessed with ruthless efficiency and downsizing. His character, along with numerous jabs at their competitors (i.e., Warner Bros.), makes “Deadpool & Wolverine” a cheeky Disney critique aimed at another superhero movie producing studio based in Burbank. Isn’t that a fun regional joke?

By this point, you’re either a fan of Reynolds’ sarcastic and self-referential style or you absolutely dread it. I fall into the latter category, but with the volume of jokes being delivered, some are bound to land, and there are some amusing moments. The film’s focus on past and future superheroes makes for an intriguing study of corporate media, and someone should really explore Deadpool’s queer politics.

However, “Deadpool & Wolverine” lacks emotional depth or engagement, beyond the intrigue of which celebrities agreed to make a cameo. The characters deliver hollow speeches and engage in meaningless battles. Who wants to watch two superheroes, famous for their healing powers, repeatedly stabbing each other?

Levy fails to present the action in a novel way. His visual style lacks innovation, and when he’s not imitating other projects for the sake of reference, everything is filmed in the typical Marvel style: flat, shallow wide, and medium shots, with overhead angles of the larger fights to see everyone running around like ants. It all merges into a monotonous buzz that’s more tedious than anything else.

Deadpool’s controversial remarks this time around seem trivial and localized, with his constant complaints about whether Disney will allow them to mention drugs onscreen. But Deadpool has always been a pretend rebel and overachiever. While it will likely entertain its target audience of nerds and internet junkies, “Deadpool & Wolverine” is mostly bluster with little substance.

Walsh is a Tribune News Service film critic.