Tim Miller's Deadpool was one of the surprise hits of 2016 and the first proof that an R-rated brand-name superhero movie could succeed at the box office. Miller is gone but the star and writers remain; in fact, Ryan Reynolds, who plays Deadpool, has joined the writing team for the sequel, and the greater creative control granted him reportedly helped drive Miller from the franchise. So what's different? In some respects Deadpool 2 is a more conventional superhero movie thematically, despite the continued in-joking and fourth wall-breaking Reynolds indulges in, extending here to assassinating himself a couple of times to prevent bad career decisions. Even in the relatively irreverent first film, you get a standard origin story and you're meant to sympathize with Wade Wilson through his formative ordeals even as you laugh at his ultraviolence and raunchy jokes. In the sequel, you're not only expected to empathize with Deadpool even more, but you're supposed to follow him through a storyline sometimes more typical of a CW show. Recovering with the X-Men as a trainee after the death of his beloved (Morena Baccarin) makes him ineffectively suicidal -- he can't even blow himself to pieces as long as someone picks them up -- he gradually befriends a troubled young mutant (Julian Dennison) who literally burns for vengeance against his tormentors at a private school dedicated to suppressing mutant abilities. Naturally, a man comes from the future to kill the kid, for should history run its course the kid will graduate from revenge to gratuitous mass murder. Deadpool is determined to keep Cable (Josh "Thanos" Brolin) from killing the kid, but eventually realizes that the real solution is to keep the kid from taking his revenge. Let that sink in: Deadpool is going to tell someone not to kill someone. I understand that Reynolds et al are self-conscious and somewhat tounge-in-cheek about taking up this trope, but it still bogs the film down a bit. Why does it need to be conscientious about anything, after all?
The answer is probably that no matter how wacky or trangressive the films are meant to be, their success is still presumed to depend on the hero being likable in a very conventional way. It makes Deadpool 2 a somewhat"X-hausting" picture not unlike some classic comedies in which the story is something you must endure between the more inspired bits of grand guignol comedy or meta joking. It leaves Josh Brolin in the flesh an inferior antagonist to the CGI-enhanced Brolin of Avengers: Infinity War, but that was probably inevitable once it became clear, as it was all along to comics fans, that Cable isn't really a villain. No one really rises to the level of "big bad," despite the appearance of the Juggernaut (voiced and mo-capped by "himself," i.e. Reynolds), a major X-Men villain who provides the returning, long-suffering Colossus someone to have a CGI fight with. To be fair, a largely comic film like this might not need an epic villain, but the lack of one adds to the impression that Deadpool 2 is often simply spinning its wheels. It doesn't help that new director David Leitch (fresh from Atomic Blonde) doesn't do much to make the action fresh, though individual fight gags are often quite entertaining in the expected outrageous way. And make no mistake: the funniest parts of this film are wildly hilarious, and there are plenty of funny moments. There are easily enough to recommend the sequel to fans of the original, but don't fall for the hype that says the second film surpasses the first. If anything, Deadpool 2 proves that there's a plateau for this sort of film, and this franchise already got there. It's still hanging around there and may do so for some time and some films yet, but I don't think it's ever going to get much better than the first time.