Deadpool 2 is a lot shaggier than the first movie, with both a looser and a busier plot. More full of stuff, but less novel than revolving a film around two basic setpieces as the first film did. There’s more on the film’s mind, but it’s communicated through a relentless parade of busier and louder scenes with more convoluted ideas behind them. It aims for a story more than just a parody (with some things to say about death and legacy to boot) but it isn’t particularly well-executed.
What is well executed is Deadpool himself. The film relishes in putting him through death after death, and the action in the film sails above most of its superheroic peers. The film in general does that, in a formalist sense at least, looking better and sounding better than the majority of films it riffs off. That’s one of the film’s better jokes, whether intentional or not.
Grace notes like using music from a pivotal point in Logan at a similar scene in the film are clever touches, but the film remains bizarrely unaware of its similarity to some of the stuff it’s ostensibly parodying – the way it heavily fridges a vital character and acts like there’s some sort of revelation or novelty to that instead of a lazy parade of the sort of trope you’d assume too low-hanging fruit for the film to even aim at.
Not as sharp as the first, but still sharper than most of what it’s lampooning, Deadpool 2 is a fun experience though not as self-aware as it likes to think. Three bullet holes, and a celebrity cameo.