This is an inspiring story about a guy who could have made a living from his talent but had to rely on his face. The hero has a promising career as a comedian, but with all the idol groups being announced on rural channels, he can’t help but feel restless and decides to become a love shake too, thinking that he can be worthy of his girlfriend. To do this he goes out of his way to accept a subterfuge from a slugger with a Turkish-Australian accent, and later kills or curses out basically everyone in this movie who looks better than him. He eventually impresses a Russian guy called Colossus with his great oral skills and is invited to join the positive idol group KGB48, which promotes harmony. Armstrong gun.

The life lesson my good friend Master Sun learnt after watching this film was that when the audience is full of gweiloids laughing like idiots, they look even more like idiots if they don’t laugh. It was only after watching this movie that I realized more deeply how bad my English is. Life is like Deadpool’s mouth, you never know what’s going to pop out next, and even if you do, you don’t always understand it. The few laughs I got and remembered were mostly when the protagonist stepped outside the world of the story and spat about the film from the audience’s point of view, also known as breaking the fourth wall. One of my favourites is the discussion between the protagonist and the blind woman about the importance of looks, and the words “Did Ryan Reynolds get famous because of his acting?” coming from Ryan Reynolds’ Deadpool. It was a particularly comical comment, and as I stared closely at the actor’s face, I had the vague impression that he was holding back a laugh. Of course, it’s possible that he knew that viewers like me would think he was holding back laughter, so he deliberately acted as if he was holding back laughter, and if that was the case, it meant that his acting was really good (I’ve always thought he was good, so his comment sounded to me more like “I’m a good actor, but I’m nothing compared to my good looks! (“It’s just so stinkin’ cute”). The other thing that was in the trailer was, “No red uniforms or uniforms with special effects (thanks for the reminder, I don’t know how I typed the word “green” as “red”, I don’t think my typing hand is I don’t know how I managed to type “green” instead of “red”, but don’t forget that the movie helped you get a beautiful wife with long legs! When it comes to the other movies in the film, what I can’t understand is that even the unrelated “The Hurricane Rescue” is in trouble (and when I think about it, it’s actually in trouble, because after all, Uncle Liam Neeson’s wife is still Phoenix, and how she always dies in the third movie; besides, the main character’s argument that Uncle is not a good father is impeccably reasoned), so why not spit it out? What about Fox’s epic mess of a movie last year, The New Fantastic Four? Well, for the sake of this new film’s superior presentation, let’s not rehash that old debt.

The most damning line in the film for me was the spiel about Professor X and the timeline of the X-Men series, “Which one to meet? McAvoy or Stewart? You guys are so tangled up in those timelines. ……” Is it really okay to say lines like that that will cause the world to fall apart? While others in the film have been known to spout off about the plot of this film or the previous X-Men series, and even the opening yellow bit about Wolverine makes use of his character Hugh Jackman’s Australian background, it doesn’t feel as powerful as the above line. Deadpool in the comics knows he’s a comic book character, and he certainly knows he’s a movie character in the movie, but it’s still a little dangerous to give away the names of other characters in the same movie world to remind everyone around you of the virtual nature of the world. It’s a bit dangerous to give away the “secret” to the world around you. Compared to this, it’s no big deal to complain about the crew’s budget: “This movie can’t afford to hire another X-Men, right?

This film is the “Prince Consort” of superhero movies. It’s cheap, dirty and poor. The film is poor from the inside out, as the protagonist doesn’t have his own means of transportation and has to sew his own clothes (Spider-Man also sews his own clothes, but at least he has a spider web launcher, so he can fly off the walls, and he doesn’t have to take a car to fight someone, not to mention he takes a bully car and rides in it twice, so he deserves to leave all his guns in it); outside of the film, you can also see that the film is better than its counterpart, from the cast to the action scenes. It’s also clear that the cast and action scenes are “smaller” than those of other comic book superhero films (although you don’t have to look too closely to see that they don’t look anything alike), because it’s a restricted film after all, and the audience has been narrowed down, so the owners don’t dare to give too much budget in one go. But once this film comes out and audiences are found to be happy with it, the sequel should be able to invest a little more in it with confidence. Of course, for the current one, the budget is small compared to other superhero films, with more than 50 million dollars, which is not a small amount when converted into RMB, but in Hollywood, you can only make action films of this format. So there is no need to be anxious for those in the domestic film market who think they have too much money to spend, if they really want to make a blockbuster, it is normal to burn a billion or eight hundred million dollars at will.

However, I think the film is slightly better than this one in terms of overall quality than the one released by Fox in the same time slot last year. I’m talking about the overall quality, in terms of just being funny, of course this film wins, but it’s not like it costs a lot of money to shoot the breeze. Kingsman has a slightly higher budget than this film, but the action is more than a little bit more exciting. The film also has some cleverly designed fight scenes that incorporate the characters and should never disappoint, but most of the action scenes that impress are those that support the fun; there don’t seem to be many fight scenes that are enjoyable for pure visual enjoyment. That said, the two X-Men in this film kind of remind me of Pops and Supergirl from Matthew Vaughn’s Kick-Ass 1.

As for the plot, the film cleverly uses interludes to bring up the best fight scene in the opening scene before slowly explaining the antecedents. Without this gimmick, the whole film would have been reduced to a complete running gag, and one of the less watchable stories. Another advantage of doing this is that it prepares the audience for the face of the main character. If one didn’t know the character of Deadpool before watching it, not many people would be able to accept a male protagonist who looks like he’s been bitten by a genetically mutated shaggy dog. After all, the film’s protagonist bears the responsibility of leading the audience, and to some extent even personifying them, so who would have nothing better to do than imagine that they look like an avocado full of resentment for fucking an older, uglier avocado? If the film had progressed in its normal chronological order, after the audience had gotten used to Ryan Reynolds’ handsome face, and then turned him into a [bleep] pill with a mouth full of teeth, there would probably have been a lot of people leaving the movie halfway through in anger. So make sure you let the audience accept that the protagonist looks as if Freddy has face-fucked a topographical map of Utah, and then slowly tell them that he was actually handsome once, but that people can just look at him casually, and that his face is like a floating cloud in the sky anyway, and that the only thing that really lasts forever is his bitchy mouth. To be honest, when the villain tells the protagonist in the lab that his sense of humor won’t be retained after everything he’s been through here, I was actually a little touched. I think it takes a strong heart to be able to keep that cynical virtue of yours going. So when I think about it from that perspective, I think that Deadpool is at least a good guy, if not a “hero”.

Since the turn of the century, both Spider-Man and Iron Man have been the most popular comic book adaptations, with the former signifying that the latest visual effects can now perfectly render the imaginative scenes in the comics, and the latter demonstrating the importance of building a cinematic universe. It may be Deadpool that ushers in a new era of comic book adaptations. From Spider-Man to Iron Man to Deadpool, the evolution of the character and the style of storytelling can be traced: from Spider-Man’s middle-aged melancholy to Iron Man’s confidence and calmness, and in Deadpool’s case, the calmness is too much and he becomes a free-spirited jerk. That there would be this change I think has to do with the growing age of the movie audience. While comic book adaptations are constantly attracting new audiences, there is always a core audience that needs to be catered for all the time. The people who watched Spider-Man in primary and secondary school were just entering adulthood when Marvel Studios started to form its cinematic universe, and they were eager to take the plunge, believing that they would become general managers and CEOs and marry rich women in the future, so they became more identified with characters like Iron Man. Nowadays, after being fucked by society for a few years, this group of people quickly declines and becomes wasted, so a movie like Deadpool becomes a more appetising choice. I’m not talking about myself above, I’m not a washed up uncle or anything like that (nose pick). It’s unlikely that all the next superhero films will be costume films, but more and more will choose to move closer to that direction in terms of scale, or at least Fox itself has the intention to do so, with Wolverine’s next film intended to be restrictive. Since the core audience is already uncle-level characters, it might as well show you a baby, something that grown-ups will love to watch, and use this as a way to deepen this market segment.

As I’ve said before, some actors starring in their first superhero movie series tend to be unsuccessful and don’t really hit it big until they’re rejuvenated. For example, Chris Evans, who went from Breaking Bad to Captain America, and Ryan Reynolds, who ditched Green Lantern to go full-on Deadpool (although he had already played the character before Green Lantern, it wasn’t a starring role in the Wolverine prequel), and Ben Affleck, who next became Batman, seem to be on track to clear up the shame of Nightcrawler (the old and new characters he played are both shot in this film).

A couple of years ago I did a little round-up called “shameless acting”, referring to characters like Darth Vader in Star Wars and V in V for Vendetta, who masked their faces throughout but still made them look attractive. Ryan Reynolds’ Deadpool should undoubtedly be included (if it’s not quite good enough for this one, which shows half of his face, it should be fine for the sequel). It’s a testament to the appeal of the original comic book character that he’s so committed to playing such a faceless character (and of course there’s the fact that Ryan Reynolds himself is producing the film, so it’s not like he’s going to care about showing his face for the sake of effect). Recently, Deadpool’s fans made a big story by calling on him to host SNL, not as Ryan Reynolds, but as Deadpool, the red-clad, masked bitch. This shows how well Deadpool can break the barrier: in the movie he is constantly chatting with the audience outside the movie, while in the real world fans are frantically trying to get into his world to interact with him.