Break out the chimichangas

Dead­pool is back, and no one is safe from snark.

USA TODAY US Edition - - LIFE - Patrick Ryan

Ev­ery­one’s fa­vorite foul-mouthed crime fighter is back.

Ryan Reynolds squeezes back into Wade Wil­son’s red leather body­suit for Dead­pool 2 (in the­aters Fri­day), the R-rated se­quel to the sur­prise smash hit that sliced off $783 mil­lion at the world­wide box of­fice in 2016. This next in­stall­ment man­ages to pack in even more laughs, vi­o­lence and pop-cul­ture ref­er­ences than the first as the sword­wield­ing mer­ce­nary as­sem­bles his mu­tant X-Force team to save an abused teen (Ju­lian Den­ni­son) from un­leash­ing his fiery pow­ers on the world.

Reynolds, 41, who co-wrote with the orig­i­nal movie’s writ­ers, Rhett Reese and Paul Wer­nick, tells USA TO­DAY what you can ex­pect from Dead­pool’s lat­est.

Move aside, Colos­sus.

The bro­mance be­tween metal­lic mu­tant Colos­sus (Ste­fan Kapi­cic) and the “Merc with a Mouth” is alive and well in the se­quel, com­plete with tinny tush grabs and a spot-on Say Any­thing ... boom­box par­ody. But the story’s core re­la­tion­ship is that of Dead­pool and cy­borg as­sas­sin Ca­ble (Josh Brolin), who start as en­e­mies but even­tu­ally find com­mon ground in their tragic back­sto­ries.

“I love that we in­tro­duce Ca­ble into this film as our big bad­die and that it takes a bit of a turn,” Reynolds says. “By the end of their jour­ney, Ca­ble has given an inch and Dead­pool takes a mile with their re­la­tion­ship. He’s ob­vi­ously over­play­ing it with Ca­ble and it’s a lot of fun.”

Marvel and DC are both fair game.

The se­quel wildly ups the ante for meta, self-ref­er­en­tial hu­mor, with Dead­pool toss­ing out playful (and of­ten ex­ple­tive-filled) quips about fel­low Marvel su­per­heroes in­clud­ing Wolver- ine, Black Widow and Black Pan­ther. But one of the most mem­o­rable one­lin­ers comes at the ex­pense of Marvel’s comic-book movie ri­vals, as Dead­pool taunts a foe, “You’re so dark. Are you sure you’re not from the DC Uni­verse?” (A ref­er­ence to the fran­chise’s char­ac­ter­is­ti­cally dreary color pal­ette and lack of hu­mor.)

“We’re cer­tainly not above pok­ing fun at the dis­tinc­tion peo­ple draw be­tween the uni­verses,” Reese says. “Peo­ple know the dif­fer­ence be­tween a Marvel and DC movie and (un­der­stand) the over­all tone and ex­pe­ri­ence they’re go­ing to get. So we just had fun with it.”

Reynolds used his Cana­dian con­nec­tion to woo Ce­line Dion.

The French-Cana­dian song­bird is the last per­son you’d ex­pect to hear in a Dead­pool movie. But her leg­endary pipes make an ap­pear­ance in the James Bond-style open­ing credits, which roll over her de­light­fully over­wrought Ashes.

“The stu­dio pre­sented us with a ton of hy­per-tal­ented, Mil­len­nial-friendly singers and we thought, ‘Let’s just go straight to the leg­end first,’ ” Reynolds says. The ac­tor emailed her, which, he says, was “tan­ta­mount to dig­i­tal beg­ging. I met her once in pass­ing a cou­ple of years ago, so I ref­er­enced that, and may have dropped that I’m also Cana­dian.”

There’s way more blood, guts and baby legs.

If you thought the first movie was grue­some fun, then you’re in for a treat this go-around, as Dead­pool de­cap­i­tates his ad­ver­saries to the tune of Dolly Par­ton’s 9 to 5, gets blown to pieces in a gas ex­plo­sion and is vi­ciously torn apart by a mon­strous mu­tant. For­tu­nately, one of the Merc’s pow­ers is re­gen­er­at­ing limbs, lead­ing to one of the film’s fun­ni­est sight gags as he tot­ters about on in­fant-like legs.

“He got his arm cut off in the first one and we wanted to step it up just a notch by rip­ping him in half,” Wer­nick jokes. “I don’t know what we’re go­ing to do on the third one,” which they plan to write af­ter Drew God­dard’s planned X-Force spinoff with Dead­pool, Ca­ble and overly lucky mu­tant Domino (Zazie Beetz).

Bar­bra Streisand and snow­men make tune­ful cameos.

The film be­gins with Wade and girl­friend Vanessa (Morena Bac­carin) liv­ing bliss­fully, plot­ting to start a fam­ily and watch­ing Bar­bra Streisand’s 1983 movie mu­si­cal Yentl as ... fore­play? Post-coital en­ter­tain­ment? “I like that it’s open to in­ter­pre­ta­tion,” Reynolds dead­pans. The drama’s Os­car-nom­i­nated song Papa, Can You Hear Me? be­comes a run­ning joke, af­ter Wade mar­vels that it sounds just like Do You Want to Build a Snow­man? from Dis­ney’s Frozen.

Reynolds thought of the gag two years ago af­ter catch­ing Yentl on TV and count­less view­ings of Frozen with his two daugh­ters, James, 3, and Ines, 20 months, with wife Blake Lively. “It sounded like a very fright­en­ingly sim­i­lar song, so I made a lit­tle light of it.”



Ryan Reynolds takes no pris­on­ers as the “Merc with a Mouth,” mock­ing ev­ery­one, es­pe­cially him­self, in “Dead­pool 2.”


Dead­pool is an un­abashed fan of Dis­ney’s 2013 an­i­mated mu­si­cal “Frozen.”

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