Still Perfect for Valentine’s Day, Even 10 Years Later

Valentine’s Day isn’t just about sweeping, epic romance and blasting Seal’s “Kiss from a Rose.” Sometimes, it’s about a merc with a mouth who dons red spandex (to hide the blood) and dispenses quips that would make your grandmother blush. 10 years ago, Deadpool made his Marvel big screen debut under the Twentieth Century Fox umbrella, just before Valentine’s Day. Starring Ryan Reynolds as the titular character, Deadpool broke barriers for comic book media, paving the way for the subversive superhero subgenre on screen (The Boys, anyone?). It also blessed fans with legendary supporting characters like Dopinder, Blind Al, and Negasonic Teenage Warhead.

Deadpool 2 burst onto the scene in 2018, with the third film in the series, Deadpool & Wolverine, marking the character’s official induction into the Marvel Cinematic Universe. And that’s not all – Deadpool & Wolverine is also the MCU’s first R-rated movie. Talk about maximum effort. While all entries in the trilogy are solid, nothing compares to Deadpool. Even after a decade, it’s still the best in the trilogy and a perfect Valentine’s Day superhero movie.

Starring God’s Perfect Idiot … It’s Deadpool

Twentieth Century Fox

Wade Wilson made his comic book debut in 1990. Fans of the Deadpool comics undoubtedly knew what to expect before the opening credits of the 2016 film. However, nothing can prepare one for the extreme close-ups of the slow-motion crotch shots and the People issue of Sexiest Man Alive’s 2010 recipient, Ryan Reynolds. Complemented by “Angel of the Morning” by Juice Newton, those opening credits leave an indelible impression. They set the stage for the bonkers, balls-to-the-wall, wild ride that’s to come.

It’s easy to compare the subversive elements of Deadpool to James Gunn’s Guardians of the Galaxy, which certainly switched things up tonally for the MCU. While Gunn’s soundtracks, for example, lie more in the classic rock/indie/glam metal realm, the music for Deadpool is more of an eclectic mix of rap, pop, hip-hop, and R&B. There’s something chaotic (in the best way) about the sweet pop music juxtaposed with Deadpool “kebabbing” a man (not a euphemism).

Deadpool also shakes up the superhero film formula by having the eponymous lead serve as the narrator. Wade constantly breaks the fourth wall (even 16 walls at once) and controls the narrative flow by utilizing nonlinear storytelling. He also cues the music, moves the camera away as he kills Agent Smith, controls the wide shot at the end, and, um, rewinds the footage when it lands on him jacking the rabbit. This adds a delightfully entertaining element to the format.

Wade Wilson isn’t your typical good guy either, often blurring the lines between superhero, villain, and antihero. Ajax/Francis is like the devil on his shoulder, bringing out the darker parts of him, while Colossus encourages him to do the right thing. Deadpool dissects what it means to be a hero. Not all heroes take the conventional path, nor are their stories your stereotypical, cookie-cutter origin stories. Deadpool is proof positive that unorthodox heroes exist – hell, sometimes, they defy all labels.

Of course, there’s an irreverent quality to the film. Its tongue is firmly planted in its cheek. Riddled with pop culture references, both modern and classic, Deadpool also features an iconic Stan Lee cameo (RIP) and our merc with a mouth lovingly poking fun at Marvel. Colossus admonishing Deadpool for his language in the third act feels like a nod to Steve Rogers’ “Language!” remark in Avengers: Age of Ultron. There’s also Wade’s question about whether he’s visiting “[James] McAvoy or [Patrick] Stewart” because the timelines are confusing. You can never have too many Charles Xaviers. Lastly, Wade’s Ferris Bueller’s Day Off homage in the end-credits scene boasts another fun Marvel reference to Samuel L. Jackson.

The gore and violence are cranked up to an 11 in Deadpool. Deadpool’s play-by-play as he beats the baddies puts a new twist on your standard superhero catchphrase. Not to mention, Wade cutting off his arm to escape Colossus is enough to make even the most stoic a bit squeamish. (But it’s still hilarious.)

Boom-Boxing ‘Careless Whisper’ in the Next Life

Reynolds was made for this role. Only he can embody Wade’s snark coupled with his penchant for using humor as a defense mechanism. It’s hard to picture anyone else playing him. In fact, based on Reynolds’ demeanor outside his work, one has to wonder if there was much acting involved, and that’s a compliment. He boasts electric chemistry with Morena Baccarin, whose Vanessa “matches” Wade’s “crazy.” This on-screen synergy translates well. The love between Wade and Vanessa feels tangible, but the movie never stays in a romantic or somber space for too long. After all, this is a comedy. Even their sex montage has a hint of humor to it as they get it on during different holidays.

One could argue there’s an element of trauma bonding between them, but Wade and Vanessa’s dynamic goes deeper than that. They’re soulmates. Deadpool might be self-deprecating and often pokes fun at everything around him, but he’s dead (sorry) serious about his love for Vanessa. It’s the only time viewers truly see him in a vulnerable state. And if this line isn’t the epitome of romance, this writer doesn’t know what is:

“I swear to God, I will find you in the next life, and I’m gonna boom-box ‘Careless Whisper’ outside your window. Wham!”

Wade brings this moment full circle by “boom-boxing” this song for Vanessa on his phone. You know, after wearing a paper mask of Hugh Jackman stapled to his face (nice foreshadowing of Jackman’s eventual involvement in the third film). Deadpool is all about love, butts, shooting baddies, and chimichangas. Emphasis on the chimichangas.