There is no doubt that comedy is a traditional film genre. The second types are basically: spoof comedy, satirical comedy, sitcom, romantic comedy, absurd comedy, black comedy and farce. The differences in these categories are manifested in the focus of comedy attacks (bureaucracy, upper-class etiquette, puppy love, etc.) and the degree of ridicule (gentle, acrimonious, deadly).
The above passage is from Robert McGee. McGee's views and theories need to be interpreted dialectically. Some places are inevitably biased and outdated, and their scope of application is also very limited. The basic guidance is based on the Hollywood industry-based drama strategy. However, this summary of comedy is quite accurate.
From this point of view, as a comedy, "Deadpool 2" attacks the superhero movies headed by the Marvel Universe, as well as the various shackles and abuses derived from the Hollywood assembly line. The degree of ridicule is also harsh and fatal. This continues the style of the first film.
17 minutes after the start of the film, the opening of the film appeared late. From the perspective of genre or art design, this MV is a spoof of the new "007" series. Like the first movie, the subtitles are still very naughty, and they don't use the names of the cast and crew members on a regular basis. Instead, they mark those titles in a deadpool tone and complete the satire.
This entertainment effect is still very effective, but unfortunately it has not been implemented throughout the film. The biggest problem with this game is the slow pace and the lack of development of the character's personality. All the comedy elements have not made too much progress and innovation on the premise of inheriting the previous one. Many jokes are still going too far, but they have lost the pain points of the previous work on the basis of repeating it all over again.
For example, the ridicule about the similarity between "Frozen" and "Yanter", and the questioning of X-men/X-Person. Even if the second joke still has a certain political meaning, the frequency of uncontrolled repeated use of these jokes, even at the Spring Festival Gala, is annoying. In addition, many of the comedy burdens in this work have been shaken. The use of various slang and nicknames is not creative. The key points of several climax scenes have not been well played, and the newly added characters are not enough to surprise the audience.
I have to doubt whether David Reich has a funny cell, at least it is certain that his imagination for action scenes will stop there, and even not as good as Tim Miller, who first directed the tube in the previous film. With the blessing of the experience of "Quick Attack" and "Cold City", Leiqi's action scheduling did not go further with "Deadpool 2", but exposed his disqualification of control.
"Quick Attack" has sharp action scenes, which are mainly based on instantaneous deadly tricks and gun fighting skills. We can even see the shadow of swords and halberds. But these are not the main credits of David Reach, he only directed part of the scene. In "Cold City", David's shortcomings were immediately exposed. Although the long shot fight in that corridor was hard, the effect was just not lost. I won’t mention the weakness of the other passages, and ended up being a mediocre action movie with posing.
The gangster ambush at the beginning of "Deadpool 2" looks dazzling, but it is actually flawed in editing, mirroring and scene scheduling. The excessively regular grouping and switching of large and small scenes, lacking the assistance of sports lenses, make the characters' movements rigid and rigid. The scene of the Japanese gangster is another long shot, which is not violent, but it looks ingenious everywhere. The montage killing at the beginning of the film is mainly to make up for the lack of scheduling through the bloody effect, rather than to win by the scene, and then use the blood plasma to add the icing on the cake.
Comparing the road action scenes at the beginning of "Deadpool 1", I think technically, it is a clear judgment. From the death of the deadpool car to the finalization of several chasers, the continuous violent passages basically run through all the action scenes in the first half hour of the film. The sense of urgency in the enclosed space, the sense of speed of high-speed chasing, and the timely upgrade of the shots and plasma, under the wonderful scheduling and editing, the effect is full and it is very enjoyable. Therefore, even if various flashbacks are interspersed in the middle, there is no strength to dissolve the action scene.
Secondly, at the narrative level, David Reich did not show any constructive ideas. This film is more lively than the previous episode, and there are more characters. Except for the very facial cable, the other new characters are just a supplement to the narrative, and the lunatic director is a piece of paper. Including a bunch of people from X-Force, such as Brad Pitt's Invisible Man. They are just a superficial sensory stimulus, with almost no aftertaste value at all.
Domino has a lot of roles, and even occupies an important position in the cast lineup, but it has not been well shaped. Including her superpowers that I expected before: luck, how to be able to play, to bring the infinite possibilities of freshness to the image, but it is also unremarkable. In the final analysis, it is caused by lack of imagination.
The narrative of "Deadpool 2" appears lazy, like a dispensable plot in a variety show. Russell, played by Julian Dienison, should be the highlight of the film, but in the endless boring dialogue and simple action trajectory, the character's due soul has been lost. Its functionality is reflected in the introspection of Deadpool itself, but the expression is too old-fashioned to be impressive.
The last one basically took the route of revenge, but the theme of this one is salvation. Cable (also known as machine castle, cool ba, are very cute names) is like a terminator, crossing from the future, the purpose is to kill the underage villain. But his biographies are also very simple. It is nothing more than his family being killed by the villain and he came back to seek revenge. Hollywood has played it thousands of times.
In the comics, Denso is a warrior with extraordinary willpower. He originally had the same character and anti-hero temperament similar to the Punisher, but he couldn't show it under the limited narrative. He initially intervened in the story as an outsider, but he didn't seem to be integrated into the world of the film after the film ended, which seemed unconformity and dull. It's not Josh Brolin's fault, it's the broken structure and unstructured narrative strategy that dragged it down.
Countless easter eggs and jokes make up this movie. The excessive use of these techniques has obvious harm to the work itself. Such a dense arrangement of elements is more likely to cause a counterproductive entertainment effect. Although "Deadpool 1" does not have any clever narrative and structural skills, Miller uses these entertainment materials in a measured manner, giving the film a natural temperament. By the time "Deadpool 2", the variety-style gag rose to the apex, and the narrative became a funny accessory. In this way, all expressions lose their proper taste and become purely a plastic party.
As a superhero movie, "Deadpool 2" is still unique. Two years ago, Jianjian broke the box office record of restricted movies with a challenger attitude, and also triggered a wave of topics that lasted for more than half a year. He put all the criticisms about superhero movies that people knew but kept silent on the big screen. This is undoubtedly a kind of subversive pleasure. After watching traditional, conservative, sweet Marvel movies and crappy DC movies, Deadpool has become a spokesperson for the audience's emotional catharsis.
From the perspective of characterization, Deadpool is a typical anti-hero character. He is not as great and noble as Captain America, Thor, and Superman, nor is he as bitter and enmity as Batman and Wolverine, nor is he anxious about the identity of the Hulk and the spiritual struggle of Iron Man. He is completely based on the character of a small person, and after gaining immortal superpowers, he will act recklessly and disrupt the world. People can accept his perversion and brutality, and they are inseparable from the sordid darkness of the world itself. Therefore, he is often used as an analogy with Spider-Man, not only because of his similar fighting style and personality, but also a level of identity convergence.
But Peter Parker also has adolescence and family troubles, but Deadpool is completely free. His invincible healing ability provided the conditions for his funny self-harm. In "Deadpool 1," the broken hand is still pointing to the middle finger, mocking the values and worldview of traditional superheroes. In "Deadpool 2", after losing his girlfriend, he constantly tortured his body, but he was unharmed, so suicide in the philosophical sense seemed meaningless.
And the pleasure of this subversion is not limited to the screen. Thanks to the narrative technique of "Deadpool" from comics to movies, that is, breaking the fourth wall, Deadpool frequently breaks through the "inside world" and engages in direct dialogue with the audience. Under the high-sensory, high-concept spectacle images formed by superhero movies, the effect of breaking the wall is unforgettable. To a certain extent, the dialogue between Bane and the audience has caused the spectacle of the fictional world and the sacredness of superheroes to be continuously deconstructed and reorganized. The distinction between virtual and reality no longer exists in jokes.
In addition, Deadpool has also completed a series of amazing self-deprecations through character setting and wall breaking methods. His disdain for his own fiction, and even sometimes joking from the perspective of the actor Ryan Reynolds himself, also extended the comedy effect behind the scenes. The superhero universe run by the merchants seriously, and the problems left over from the history of the movies have become a joke before him.
As a result, the best part of the film is concentrated in the several easter eggs at the end of the film. Through the passing device of the electric cable, Bianjian broke Reynolds in the Green Lantern period, and collapsed the image in "Wolverine" Dumb dead waiter in the cottage. This sharp self-deprecation has almost become the most beautiful scenery in Hollywood in recent years. That being the case, I would rather see "Deadpool Slaughter the 20th Century Fox Cinematic Universe".
Deadpool is a kind of "extremely free" role, which is rare not only in superhero movies, but even in traditional Hollywood genre movies. He obviously possesses certain post-modern characteristics, forming his own set of independent aesthetic system in negation and subversion. However, the rapid decline in effects of such creative methods should also be worthy of attention. This is not only caused by the fast food era, but also an inevitable problem arising from the highly commercial operation and straightforward entertainment experience of the work itself.
So before I saw "Deadpool 2", I was worried about this. If the creator did not find a newer way of expression and in-depth exploration on the basis of the first part, then the same set of things is likely to be outdated. In the process of watching the film, I tried to find out whether the film was trying to establish a higher entertainment purpose, whether there was more digging in the form, or even self-subversion, but the result was in vain. The creators are still shooting on the basis of the uniqueness of the previous work, with the strategy of allowing the cheap commercial value to continue.
From this perspective, some of the new things added in this movie are, on the contrary, the traditional Hollywood theme concepts that the brand satirized and criticized before. But they are not willing to abandon their maverick attitude blindly, and in the words of selfishness, they have come up with a pretending "family carnival movie".
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