No one can deny that Deadpool 2, like its predecessor, is filling a hole in the cinematic-superhero marketplace. Its graphic, gleefully gratuitous and mystifyingly mean-spirited R-rated violence is there for a rigorously focus-grouped reason. The mainstream Marvel movies — your Avengers, your Doctors Strange, your Ants-Men — are happy to maintain their white-knuckle grip on a PG-13 rating, the better to maximize their prospective audience. But that means their violence must remain assiduously entrail-free. They're eye-popping, just not literally. Visuals, not viscera.My simple rule: maiming should not be condoned for entertainment purposes.
Maybe Deadpool 2, with its merry fusillade of lopped-off body parts and mangled torsos and arterial spray, is just being more honest about what the world would look like, if superheroes truly existed. Either that, or it's just cynically indulging the bloodlust of viewers who regard badassiness as the only meaningful superhero currency, because they grew up reading the blithely violent (and not for nothing, hilariously awful) '90s comics that birthed Deadpool and many of this film's co-stars.
Why have so many people moved past that proposition, in the space of 30 years or so?
Update: and more commentary I suspect I would agree with, if only I saw the movies, from the NYT review:
What drives this franchise is the same force that drives so much culture and politics right now: the self-pity of a white man with a relentless need to be the center of attention. He is angry, violent, disrespectful to everyone and everything, and at the same time thoroughly nontoxic and totally cool.
I strongly suspect that take on the matter will upset you, Jason!Sure. Great. But there is something ever so slightly dishonest about this character, something false about the boundaries drawn around his sadism and his rage. “Deadpool 2” dabbles in ugliness and transgression, but takes no real creative risks.