I saw Deadpool & Wolverine's Terrific Team-up, Alternate Reality, Time Travel Time

Could Deadpool & Wolverine, a sequel to a movie mythology produced by Fox, be decrepit Disney's saving grace for a distilled MCU? You got me, but I (one who's been jaded by those ho-hum, let's-please-everyone-and-no-one, Carol Danvers chapters) believe this submission could do the trick, but then, how wrong could one go with Ryan Reynolds' Wade (Merc with a Mouth) Wilson and Hugh Jackman's alternate-Logan doin' their brazen thing? 

The waters were tested many years ago with this X-Men crossover in Wolverine's first, solo sojourn, but Reynolds' Wilson wasn't the Deadpool he'd later become. For Deadpool & Wolverine, Wilson is in full, fourth-wall-breaking, crimson-clad mode, and Jackman's Wolverine is, well, as tough and grouchy as ever, even if a variant. The combination creates a pleasurable Spock/McCoy, argumentized contrast. (Incidentally, Logan's yellow-blue, comic-book outfit doesn't rub against Jackman's tall, lean grain, anymore than the "adorable" Dogpool diminishes his master's snarky stride.) 

On the whole, this highly anticipated sequel, directed by Shawn (The Adam Project) Levy, who cowrote with Reynolds, Rhett Reece, Paul Wernick and Zeb Wells, is basic but profound in its implications. 

Time Variance Authority chief, Matthew Macfayden's prissy, time-wrecking Mr. Paradox, wants to eliminate Deadpool's timeline (which is set to extinguish in about a couple centuries, anyway), though the eradication would be beyond merciless in its expedition. Though Paradox toys with Wilson to cloak the magnitude of his motive, Wilson sets forth to plug Paradox's plan, tracking down a disgruntled variant of Logan (said to have let his own universe tumble). This prompts our protagonists to jump through various, time-dimensional hoops to maintain the long-term dimensional stability. Along this arduous path, the two visit (and learn from) a number of the MCU's heroes and a few we never had the extended pleasure to meet. That means audiences get plenty of X-Men and Avenger cameos and even a series of surprise manifestations of Deadpool and Wolverine, characterized by diverse shapes and sizes. Wow!  

To anchor the movie's mayhem, Deadpool & Wolverine makes no apologies for being profane, gruesome, explosion-laden and (most importantly) male-oriented: i.e., its leads are virile and act as most testosterone-propelled males would given the liberated chance within the plot's exaggerated circumstances. And they really have no choice but to do so, considering not only the crafty Paradox, but the diabolical Emma Corrin's Cassandra Nova, Professor X's rotten, sequestered sister. (That dear Cassandra resembles the guy-bashing/western-civ-despising Sinead O'Connor only accentuates to her bigoted treachery, except that Cassandra displays much more compassion than the defunct, Irish singer ever did. I mean, Cassandra's contempt is at least fictional.) 

Deadpool & Wolverine is also a swell, throwback, buddy movie, much like the Lethal Weapon pictures. The banter is realistic, based on the personalities established, and the duo's reaction to others (whether friends, foes or fellow champions) feels right, like it's been there all along, just waiting to be plucked. 

As I've mentioned in past posts, there is, indeed, an audience for this type of brass-necked storytelling, which goes way back to Marvel's classic (Golden/Silver Age) comics. Thank goodness, this one drives home Marvel's traditionalism, confirming that its tried-and-true formula (even if served with copious crassness and ultra-violent interludes) has always been the one-and-only way to go, and if it's not to be that way, then why the hell even bother?