“Deadpool & Wolverine” Reveals Marvel’s Movie Storytelling Flaws

Last weekend, I joined millions of viewers worldwide in celebrating the record-setting opening of “Deadpool & Wolverine,” which now ranks as the sixth-biggest film debut of all time. When my husband and I, along with our friends, decided to watch it, we weren’t thinking about its historical significance.

We simply wanted a good time filled with laughs before social media and news outlets spoiled any surprises. Ryan Reynolds’ extra dose of fan service did not disappoint. Brimming with humor, the film reunites Reynolds’ Deadpool with Hugh Jackman’s Wolverine, seen last in 2017’s “Logan,” which was supposed to conclude the Wolverine trilogy.

“Deadpool & Wolverine” also weaves in elements from various Marvel Cinematic Universe (MCU) titles, including the largely unremarkable “Fantastic Four” movies and the TV series “Loki.” The film includes a fleeting reference from the villain likely acknowledging “She-Hulk,” alongside jokes that break the fourth wall involving both Marvel and DC heroes, and quips about Reynolds’ earlier romantic comedies.

Interestingly, there’s little to say about whether the story or visuals stand out. Anyone who stays through the end credits of a blockbuster will notice the plethora of names involved in special and visual effects, making a discussion of such features almost redundant.

The storyline is meticulously crafted, credited to five writers, including Ryan Reynolds and director Shawn Levy, who are experts at making the audience feel clever in the MCU universe.

Scenes are strung together with a series of references to other superhero titles and real-world actors, as well as gossip about their personal lives. Understanding who owns the rights to each character cameo and which timelines intersect is crucial to fully appreciating its clever execution. Essentially, it’s an easter egg hunt with the eggs scattered all over.

Beyond all this, the emotional core is minimal, focusing primarily on Deadpool’s quest for significance. While the film delights in the moment, it leaves little emotional impact once you exit the theater, which is amusing in itself.

Should we expect superhero films to move us? Once upon a time, some did. Christopher Nolan’s “Batman” series balanced atmosphere, performance, and character depth, evoking genuine emotion from the audience. It’s not a coincidence that Nolan remains one of the few filmmakers able to secure major studio backing for his non-superhero projects.

If Nolan hadn’t proven himself with “Batman,” would he have been able to make a film like “Oppenheimer”? Conversely, would “Barbie” have succeeded as much without Greta Gerwig and Noah Baumbach’s input, both of whom come from an indie film background?

Franchise mania is often blamed for the dwindling originality in cinema, which isn’t entirely off the mark. Among the top 20 highest-earning films of 2024, only three are entirely original titles: “Civil War,” “IF,” and “Migration.” Household economics play a part too, as movies have become expensive outings, prompting studios to bet on familiar properties.

With 34 MCU films released over 16 years, the MCU is a reliable brand, second only to “Spider-Man” and “Star Wars.” As demand surged, the plots have stagnated. Neither Deadpool nor Wolverine can die, which is why “Logan” was such a creative risk.

Audience demand made the return of these characters inevitable. Reuniting them is simple math and pure fun. But as one of cinema’s great auteurs, Martin Scorsese, pointed out, such details strip the genre of any mystery or genuine emotional stakes, replacing them with cameos for future titles.

“These films are made to satisfy specific demands, following a set number of themes,” Scorsese remarked in a 2019 New York Times op-ed. “They are sequels in name but remakes in spirit, vetted and modified until they are ready for consumption.”

The MCU’s success exemplifies this phenomenon. More news emerged at Comic-Con in San Diego, where Marvel announced a shift from the Kang the Conqueror storyline following Jonathan Majors’ conviction for reckless assault and harassment last year.

Robert Downey Jr. speaks onstage at the Marvel Studios Panel during 2024 Comic-Con International at San Diego Convention Center on July 27, 2024 in San Diego, California. (Matt Winkelmeyer/Getty Images) The plan now is to bring back supervillain Doctor Doom, portrayed by Robert Downey Jr., who is best known for his role as Tony Stark/Iron Man. Stark’s death in “Avengers: Endgame” was intended to conclude an era, but shifting his legacy to another character may not feel like a refresh. Downey Jr. will make his comeback in 2026’s “Avengers: Doomsday” and again in 2027’s “Avengers: Secret Wars.”

I am an avid movie watcher who enjoys Turner Classic Movies and is also a Marvel fan. But five years after Scorsese’s critique of comic book movies, I find myself agreeing with him more.

Today’s movies and TV shows are dominated by genre storytelling marked by formulaic writing that often neglects character development and creative plotting. This has been a key issue with “House of the Dragon” – it feels like the TV version of the MCU, lacking emotional stakes and true individuality.

At least “Deadpool & Wolverine” embraces its derivative nature, having been effectively marketed for nearly two years. The film’s immediate success is noteworthy, grossing over $550 million globally within a week of its release, according to Variety. While it’s hailed for revitalizing the MCU and boosting the box office, the hype might be a bit premature.

Numbers drive industry decisions more than ever. “House of the Dragon” may have spent two seasons setting up characters but lacks emotional depth. The Marvel Cinematic Universe remains the highest-grossing movie franchise, nearing $30 billion worldwide.

My criticisms might not be unique, but I’m not alone. Marvel has shown it can innovate, as seen with “WandaVision” and “Ms. Marvel,” which dared to explore new storytelling avenues.

The issue may lie in Disney pushing for quantity over quality. However, let’s not overlook how 16 years of MCU dominance has reshaped our movie expectations mainly targeting 14 to 34-year-olds.

This generation has grown up on MCU’s consistent narrative formulas, featuring witty remarks, conflict resolution through battles, and celebrity cameos. It’s ideal for popcorn binging, but I also yearn for films with more weight and substance.

“Deadpool & Wolverine” is currently playing in theaters worldwide.

Source: Variety, New York Times, Getty Images