It's fun for a while, and then it all becomes deeply disheartening, because calling attention to the more businesslike mechanics of superheroics isn't subversive when you're also playing right into them.
Tim Miller delivers a feat for his directorial debut, and on the superhero movie rating scale - which we can safely say has certainly had its ups and downs - Deadpool is pretty fresh.
Deadpool is obnoxious and puerile and infantile and has an irritating meta tone so snide that it's constantly in danger of nullifying the entire movie -- and I still got a pretty big kick out of it.
With the same goofiness and self-referential humor as a character like Spider-Man, but combined with the graphic violence most often seen in DC comics; perhaps Deadpool is just the perfect clash of contradictions.
There isn't an aspect of superhero lore that isn't rubbished by the Apatow-meets-Spider-Man comedy Deadpool. By the lights of this decade's movie making, that's a lot of rubbishing.
Deadpool is everything that Hollywood has raised audiences to believe heroes are not: crass, selfish and with a vocabulary that would have made George Carlin blush.
A more rebellious Deadpool would comment on how its climax looks just like every other Marvel climax, but instead there's safety to the tone that veers only from amusing to dull.
