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    Movie Review

    Deadpool turns superheroics into awesomely profane free-for-all

    Alex Bentley
    Feb 12, 2016 | 12:00 am
    Deadpool turns superheroics into awesomely profane free-for-all
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    When it comes to offensive material in movies, the line keeps getting pushed further and further out. Gross-out gags, profanity for profanity’s sake, and ultra-violence are the norm in certain genres, but the majority of the time those elements only seem to be there to cover up storytelling or filmmaking deficiencies.

     

    Not so in Deadpool, which manages to maintain its wit and charm despite being offensive as hell. Ryan Reynolds stars as the titular anti-superhero — real name: Wade Wilson — a mercenary who’s subjected to a torturous experiment that allows him to develop supernatural healing powers, at the expense of having his entire body look like melted cheese.

     

    The film, helmed by first-time feature director Tim Miller, jumps back and forth in time. It trails Deadpool as he tries to hunt Ajax (Ed Skrein), who inflicted much of the pain on him, while also showing earlier, happier times with girlfriend Vanessa (Morena Baccarin). Bridging both worlds is a friendship with Weasel (T.J. Miller), the bartender at the bar full of rogues which Wade/Deadpool frequents.

     

    What is a constant throughout, though, is a stream of never-ending jokes. It starts in the title sequence, which eschews actual names for insults for everybody from Miller to Reynolds, and Wade/Deadpool carries it on, as his sense of humor and mouth have no off buttons. Not all the jokes land, but the vast majority of them do, leaving the audience bludgeoned by an avalanche of comedy.

     

    That theme transfers over to the film’s multiple violent scenes. What Miller and his team, which includes the writers of Zombieland, understand is how to keep the balance between being too inane and too serious. It could be that Deadpool cracks wise even while carrying out his dastardly deeds, or that the bloodshed is gratuitous without being off-putting. But somehow the filmmakers found a way to appeal to a broad audience without treating us like we’re idiots.

     

    They also provide a ton of fan service, referencing both real and movie world events. Deadpool is related to the X-Men universe, with two characters — Colossus and Negasonic Teenage Warhead — making appearances here. Jokes made at the expense of Deadpool’s ill-fated appearance in a previous X-Men film and of Reynolds’ own checkered superhero past are among the funniest in the whole movie.

     

    The biggest reason for the film’s success is the inherent charisma of Reynolds — his good looks don't even figure into the equation. He utilizes multiple funny approaches, including “breaking the fourth wall” (i.e., talking directly to the audience), making it next to impossible to be disgusted by anything he does, even when he does distasteful things. It was Reynolds’ passion for the project that led to it finally seeing the light of day, and he appears to be relishing every second of it.

     

    After a month and a half of stinkers, Deadpool is finally the first movie of 2016 worth paying money to see in the theaters. It’s an equal-opportunity offender, and it’s completely awesome.

    The central romance in Deadpool is off-kilter, but still affecting.

    Ryan Reynolds and Morena Baccarin in Deadpool
      
    Photo by Joe Lederer
    The central romance in Deadpool is off-kilter, but still affecting.
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    news/entertainment

    Film Fest News

    Top picks of the 2025 Asian Film Festival of Dallas coming in July

    Teresa Gubbins
    Jul 3, 2025 | 11:27 am
    Baby Assassins: Nice Days
    AFFD
    Asian Film Festival's Baby Assassins: Nice Days

    The annual Asian Film Festival of Dallas — a nonprofit dedicated to celebrating Asian and Asian-American filmmakers — returns in 2025 with more than two dozen films including action movies, comedies, thrillers, and short films.

    The four-day festival will take place July 24-27 at the Angelika Film Center Dallas, 5321 E. Mockingbird Ln. #230, and will include award-winning films, premieres, and red carpet action.

    Highlights include:

    • Opening Night July 24: Shinji Araki's Japanese thriller Penalty Loop
    • Centerpiece July 25: Johnny Ma’s comedy-drama The Mother and the Bear (Johnny Ma will also be in-person at AFFD to participate in the post-screening Q&A.)
    • Women's Showcase July 26
    • Closing Night July 27: Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days

    AFFD will also host a special Saturday Women’s Showcase spotlighting female filmmakers from across Asia—South Korea, India, Singapore, and Vietnam—as well as the U.S.

    "For the festival as whole, while fans can still count on the high-energy action films we’re known for, a deeper theme emerged as I programmed the lineup — the power of connection," says Programming Director Paul Theiss in a release. "This year’s festival explores the deep human need to reach out, be seen, and never go it alone. And what better place to celebrate that spirit of connection than at a film festival, which brings us together through the shared experience of storytelling.”

    Women's Showcase
    Highlights include:

    • Mye Hoang's 25 Cats From Qatar. Film about an American flight attendant and cat cafe owner who reacts to a homeless cat crisis in Qatar by coming up with a plan to fly 25 cats to Milwaukee, with her cat cafe providing the way for people to adopt them.
    • Dương Diệu Linh’s Don’t Cry, Butterfly. Focuses on a wedding venue staffer who learns of her husband’s affair while watching live TV. Instead of confronting him, she uses a voodoo spell to reclaim his love.
    • Nelicia Low’s Pierce. Thriller follows the push and pull between a young fencer and his estranged older brother, recently released from juvenile prison after serving time for killing an opponent during a fencing match.

    All three filmmakers will be in Dallas to participate in Q&As following their screenings.

    Sunday will feature films with attending filmmakers leading up to the Closing Night screening of Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days, including:

    • Jeff Mann’s Paper Marriage finds comedy and drama in the story of a Chinese immigrant facing deportation, who pays an unemployed and directionless man to marry her.
    • Lee Jong-min and Yeum Moon-kyoung’s South Korean comedy The Last Woman on Earth looks at a female screenwriter who finds tension with her fellow film students due to her script’s anger toward men.

    Also noted for its singular party presentations, this year the Asian Film Festival of Dallas will complement the screenings and filmmaker appearances at AFFD with Opening Night, Centerpiece, and Closing Night parties at the Angelika Film Center with Asian cuisine and crafted drinks by George Kaiho, featuring Suntory Japanese Whisky, as well as themed presentations, filmmaker meet-and-greets, and photo opportunities for film fans who have come out to enjoy the great AFFD programming during those evenings.

    To purchase badges, tickets, and find a full list of all the films, go to asianfilmdallas.com.

    Over the last 20+ years, the festival has provided opportunities for more than 400 Asian and Asian-American filmmakers to share their vision, often providing the only venue for their films to be shown in Dallas. The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats.

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