We watch a movie or read a book because we think it is worth engaging with. While “Transformers 4: Age of Extinction” may have its merits, I don’t think it would demonstrate a great deal of worth to me, so I don’t watch it. As a result, art reflects what we find to be valuable. Art also changes our understanding of what has value. Consciously or unconsciously, we are changed by our art.
The way some people will be shaped by certain art will be different, and it is important to be cautious about critiquing art too broadly. It is unwise for a compulsive smoker to watch “Casablanca,” and it is unwise for a particularly violent person to watch “Gladiator,” but that doesn’t make these films particularly evil, it makes them unwise viewing material for some people.
If films can contain content wicked enough to exclude some audiences, can there be films that have content wicked enough to exclude all audiences? Can we ever say with confidence that “No one should see that movie”?
Operating under the assumption that we can make this claim, I will declare (with China, apparently) that no one should see 20th Century Fox’s “Deadpool.”
This film, based off of the beloved comic book mercenary Deadpool, has been given an extensive marketing campaign, all trying to reassure comic book fans that this Deadpool will be the character they know from Marvel comics, not the confusedly mute and stoic character in “X-Men Origins: Wolverine”
All of my observations have been based off of the handful of trailers that have come out for this film. The fact that the trailers themselves have thoroughly condemned the film to my moral sensibility shows that I am either a fuddy-duddy (possible) or the film is deeply wicked.
Deadpool is a character based on perversion and irreverence, a comic hero in a tragic setting. In the trailers alone the character strips away meaning and value from important things, leaving only cynical humor and gore.
Nearly every trailer for this film is a comedy trailer. Comedic trailers have patterns, beats and pauses, that demonstrate when the content is telling a joke. When this trailer pauses, once even with the stereotypical comedic record scratch, it is during scenes of brutal violence. We are to laugh as a bullet crashes through several brains, spilling a bloody mess. We are to laugh when Deadpool hoists up a human being with his two swords, crowing that he has turned him into “a f***ing kabob.” Violence is a joke to Deadpool, but we are not asked to be disgusted at him, we are asked to laugh with him as he dances in scenes strewn with carnage of his own making, laughing at human dignity, laughing at the value of life.
After graphic scenes of death, Deadpool declares that he is “so turned on right now” and “definitely touching myself tonight,” as if violent disposal of human life is a matter of sexual titillation.
Deadpool also perverts sexuality, sexualizing nearly everything with juvenile efficiency. The trailers, complete with strippers, feature the protagonist making every possible reference to sex. As he stuffs an enemy’s mouth, he taunts “I never say this, but don’t swallow,” after a female villain punches someone he quips “I so pity the dude who pressures her into prom sex.” Sexuality is a joke, and the only women not strippers or his love interest seem to be immediately sexualized.
This film is set in the context of the most generic plot imaginable. “When your worst enemy is after your best girl” seems to be the extent of this film’s conflict. This basic plot is a vehicle to portray the hero’s perversion. The film seems to act out a Freudian adolescent daydream where the hero is invincible, dominates everyone, and rejoices in objectification and lechery.
But why have I bothered to write this article? Obviously this film is trashy, it bills itself as such. But humans have been making horrible art forever, and we have to expect evil at the box office.
I am writing this article because I have seen many of my friends, Christians even, expressing overwhelming excitement at this film. Given that the film is unabashedly advertising itself as perverse (one advertisement consists of Deadpool cursing and making sexually charged comments to children), I cannot reason why anyone should watch, much less be excited for, “Deadpool.” What virtue or value can come out of this film?
Some may say the film has merit as an exploration of a wicked character, but Deadpool is not a character as much as a combination of internal desires, a bundle of lusts that is clearly made to be rejoiced in.
Some may answer that the film will be a fun action film purely seen for base enjoyment. But when a film intentionally uses graphic and wicked means to portray “fun,” the very act of watching the film is demeaning.
I may be missing something. Perhaps my frustration at what I have seen has blinded me to real merit and value, and I would welcome correction in the comments, but I can see no reason or acceptable excuse for watching the bloody, carnal circus “Deadpool.”