Deadpool 2: A Film So Meta It is Its Own Review

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Deadpool 2: A Film So Meta It is Its Own Review

Illustration: Sushant Ahire

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ometime last year, an executive at Fox was probably stealing ideas from an intern when he came up with a brilliant one all by himself – “What if, instead of getting people to review our movies through boring articles and rotten tomatoes, we review them through full-length features?” It was this epiphany that presumably prompted the scripting of Deadpool 2 – a movie so self-referential, so self-aware, and so full of snark, it’s basically reviewing itself, and all the millions of superhero movies that preceded it.

The sequel to 2016’s Deadpool continues with the “meta” delivery template set by the previous film. It is a brilliant tool because it can make you laugh at Hollywood’s general decade-long obsession with superhero movies, while you sit through, yet another superhero movie. Even if you are the kind of person who despises watching comic-book characters brought to life on the big screen, you’ll find it hard to criticise the movie for anything Deadpool doesn’t criticise himself. No commentator is going to accuse the film of lazy writing (and it isn’t), because in one scene Ryan Reynolds – who co-wrote the movie – calls it that himself. It’s the best aversion tactic since Patanjali started making condoms.

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