DEADPOOL 2 or irreverence, general public – Review

Two years after the sensational arrival of the first Deadpool in the movie, the hero, champion of the politically incorrect, is more mocking than ever. Quest tottering, animated by paternal instinct, this second installment is a sequel richer than its predecessor as well as a entertainment quite honorable.

If it is certain that the film would have attracted to him many fans, it stands out even before its release by promotional campaigns delusional. His hero is these last few weeks present everywhere, in Alain Chabat or Celine Dion, so much so offbeat that it arouses the curiosity even people not convinced before. And all those ads don’t lie, Deadpool 2 is a good time, sometimes even hilarious. Despite some differences purely shocking and obviously intended for 13 year-olds, the humor is most of the time terribly effective. The references are mitraillées at any speed and no one is spared : Black Widow, Hulk, Hawkeye, Batman, Superman… However, the funniest ones are clearly those that relate to Ryan Reynolds, always brilliant, self-deprecating about his career, which too often we forget the great The Voices or Buried for the benefit of its roles as that of Green Lantern.The franchise has offered a comicité new to offset the humor of the Marvel Cinematic Universe in particular, and at the same time has encouraged the studios to exploit other fibres. [Between the two feature-length films dedicated to Deadpool, Logan -on which he made a music box in a stroke of genius – has been there and has just renewed the tone, much more steep and dark this time.] This sequel succeeds well enough to handle the sentimental, alternating between moments of high spirits and moments of sad in a way surprenamment effective. Conversely, the set-up/pay-off about the child is anything but subtle, and prevents the narrative to really no surprise, then, that is constantly claimed that the innovative side. We forgive him, however, its linearity thanks to a few flashes, of which the generic Spectrum and especially the mission of the “X-Force”, trip on “Thundurstruck” AC/DC that allows literally hearing it folded in two and rightly so. The music is a spring also comical that significant, just as new entrants and, in particular, Julian Dennison in Firefist, which is part of the universe as evidence (special mention to… Brad Pitt).

For the new adventures of Wade Wilson to the issues, intense emotional, it was necessary to find a director who could bring an action more vivid. David Leitch succeeds this exercise with ease, it was in fact shown after the noticed John Wick and the aesthetic Atomic Blonde. The camera insinuates itself at the heart of the fighting between weapons and close shots, providing a certain appeal to this kind of scenes inherent in the genre superhéroïque. It also plays a few rounds very well thought out, similar to the confinement effects, which depend on the point of view, or the change of meaning around the pyramid of corpses that overcomes Cable –Josh Brolin motivated – at the beginning . However, even if the realisation is vigorous, the bottom of the character does not find. The dynamism of plans suddenly filmed upside is too rare in a set that puts rarely fights in the service of the provocation.Basically Deadpool is a bit of a reflection of the viewer tired to see serve many of the same things, and it allows him to finally atone for his frustration by exceeding the limits. This second film keeps all its promises, where the first one was friendly it wants to be more radical. Yet despite a few cut-outs body enough gores it is not so subversive as that, and you could have the same reservations as for a series like Lucifer, who does not carry on both the psychopathy of the anti-hero as his humanity. Too borderline to be watched by children and too wise to restrict his target, on the consumer side of the saga is both its strength and its weakness. Still not a risk-taking accomplished, therefore, but a coolness punctuated that look with gusto.

Manon

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