Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy with supernatural abilities from the brutal, time-traveling cyborg, Cable.
After losing Vanessa (Morena Baccarin), the love of his life, 4th-wall breaking mercenary Wade Wilson aka Deadpool (Ryan Reynolds) must assemble a team and protect a young, full-figured mutant Russell Collins aka Firefist (Julian Dennison) from Cable (Josh Brolin), a no-nonsense, dangerous cyborg from the future, and must also learn the most important lesson of all: to be part of a family again.Written by
When Colossus says to Russell; "Come quietly or there will be trouble", Russell and Deadpool exclaim that he stole the line from RoboCop (1987). This is the second reference to the movie - the first being when Deadpool is handcuffed to Colossus and says, "Dead or alive, you're coming with me". See more »
The dent in Colossus's head disappears and re-appears between shots. See more »
Fuck Wolverine. First he rides my coattails with the R-rating, and then, that hairy motherfucker ups the ante by dying. What a dick. Well, guess what, Wolvie? I'm dying in this one, too.
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A vocal-only track of "You Can't Stop This Motherfucker" - the score playing over the climactic fight scene - plays over the last portion of the credits. See more »
The 'Super Duper Cut' of the film that was released on home video extends the theatrical edition with 15 minutes of added scenes, and includes some alternative material. The main changes include:
Extended World Tour: additional shots of Deadpool killing gang members around the world, with the montage in the Japanese bathhouse restored to a single shot.
Additional suicide attempts, where Wade steps into a polar bear den inside a zoo, and then jumps from a building, both without success.
Additional scenes of Russell arriving at Essex House and being tortured (parts of these scenes appeared as flashbacks in the theatrical version).
Extended scenes at the X-Mansion where Wade introduces food labels for the refrigerator.
Russell and Juggernaut ruin a mall when they go shopping for matching outfits.
Extended scene of Deadpool trying to win back Colossus' sympathy.
Extended fight between Juggernaut, Cable and Domino.
Extended afterlife scene between Wade and Vanessa.
Extended mid-credits scenes with Deadpool and Peter, and with Wolverine
Post-credits scene where Deadpool travels back in time in an attempt to kill baby Hitler.
Some minor changes include alternative music in some scenes; many scenes have extended and/or alternate dialog; and certain jokes from the theatrical version have been changed (such as the Sharknado joke during the prison scene). See more »
Humorous drama that tickles both your brain and body
Ever since DP became a sensation and a worldwide phenomenon, die-hard fans have been asking for a worthey second entry.
For a long time, superhero movies - not to be confused with films based on graphic novels, which is an interesting item of truth - have become a pinata for serious film critics and reasons are not lacking because we are talking about a cataract of conservative products, mediocre and totally interchangeable with each other. Typical examples of what happens when marketing and advertising discourse replace creativity and some kind of narrative, rhetorical and / or even formal talent (the stories of these "cosos" are otherwise schematic , do not say anything at all and are even hyper redundant in terms of digital gadgets, today present in all sad pompous proposal of the mainstream). But perhaps the worst of all is that they bore with their childish and semi-televised dialectic - from the TV of yesteryear - oriented to reproduce ad infinitum the same antics.
With this panorama it is not surprising that even the exponents who try to break a couple of rules of the format end up falling into the usual quagmire of non-development of characters, the most ancient political correctness, the humor for young children, that pathetic self-referentiality and constant a concatenation of prefixed niches of the market - it is not even possible to call them subframes - that can only appeal to a series of individuals co-opted by the most aseptic industry, the one that for a couple of decades has decided to ignore any nonconformist substrate at the level of the ideological basis of their "toys".
Deadpool 2 is another link in this endless chain of perky fun-time itself (hobby products that do not even pass the time), which once again highlights the crisis of a cultural conglomerate that fetishes the most burned clichés.
Pretending to be "set sail" for the puerile level of superhero movies, this sequel to the work of 2016 essentially repeats the formula of its predecessor: many jokes with harmless puteadas, some very innocuous sexual allusion, scenes of action that are ironic, Tired questioning to camera and a cheap background melodrama that sabotages itself because the movie-read the Marvel factory-does not understand that because of so much "attitude surpassed of everything", both beretta cancherism and so many plastic simulated CGIs, nobody can identify with these shiny but well-emptied jars from a rusty and insipid assembly line.
In other words, DP2 is the perfect sequel to DP, specifically. Doubles down on everything that fans love about the original, nonstop graphic violence, gore, torture, sex, nudity, swearing, drinking, drug use, and more, so expect the same here, while it fixes some of the first film's issues. Also this one features the best post credits scene EVER. Yes! Deadpool 2 as the title says, gives the audience two end-credit scenes. Ladies and gentlemen, the wait for the scenes are worth it! Hilarious is the perfect word to describe how the audience feels of watching 'em. They don't relate much with the whole story but the crack jokes are powerful enough to make people care of the clips.
The sequel is superior to its ancestor. It conveys silly comic drama that stimulates both your cerebrum and body.
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