The sequel is as witty, quippy and bloody as its predecessor, but its scattershot plot leaves it feeling disjointed

Editor’s note: This review was originally posted May 18, 2018.

Most movies are told in three acts: beginning, middle, end. “Deadpool 2,” the sequel to the violently hilarious 2016 movie starring Ryan Reynolds as the Merc With the Mouth, instead feels like three movies stitched together — an oddly disjointed barrage of wicked one-liners and action-heavy set pieces lacking any cohesion outside of Deadpool himself. 

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That’s not to say the sequel, directed by David Leitch from a screenplay by Rhett Reese, Paul Wernick and Reynolds, isn’t its own brand of enjoyable chaos. Deadpool continues to be his charming degenerate self, just as quick to cut you (and Wolverine; always Wolverine) with his scathing wit as he is with his katanas; the action remains top-notch, on par with the likes of “John Wick” in its stunning fluidity and carnage; and sparks of brilliance can be found throughout — you don’t have to go any further than the opening-credit sequence for proof of that. (All jokes aside, that intro, anchored by the phenomenal Celine Dion’s “Ashes,” is on the same level as “Skyfall’s” — even if it’s far more asinine and intentionally making fun of the latter.) 

The problem is, “Deadpool 2” doesn’t have a clear sense of self. Sure, it knows it wants to be funny and violent, two metrics it meets with aplomb. But beyond that, it’s more scattershot. There’s an overarching theme of family lost and family found, but it’s stretched paper-thin, feeling more like an aside and generally failing to leave an impression.

What does leave an impression is the pure kinetic feeling of the film. Even at its most domestic (well, as domestic as a mutant crime-fighter’s life can be), the movie never stops moving. Even when grief hangs heavy in the air, or an anti-hero’s purpose rings with striking clarity, there’s nary a moment of rest. (The soundtrack, from Dolly Parton’s “9 to 5” to Skrillex’s “Bangarang” to AC/DC’s “Thunderstruck,” generally keeps the toes tapping and blood racing.)

The plot, as disjointed as it is, focuses on three timelines: what Deadpool’s been doing since the end of the first movie, dealing with the arrival of the time-traveling cybernetic soldier Cable (Josh Brolin) and putting together the X-Force to prevent a tragedy years down the line. Along the way, he pairs up, oh so reluctantly, with familiar X-Men characters, including Colossus (voiced by Stefan Kapičić) and Negasonic Teenage Warhead (Brianna Hildebrand). (With his antics in the X-Mansion, Deadpool proves once again why he is a poor fit for the superhero group.)

Among the new faces that show up in “Deadpool 2,” Brolin’s Cable and Zazie Beetz’s Domino get the most play. The former, who we learn little about other than his past is stereotypically tragic, serves as a broody Straight Man to Deadpool. (It’s not unlike the relationship between Reynolds’ Deadpool and Hugh Jackman’s Wolverine in “X-Men Origins: Wolverine.”) Domino, however, deserves her own movie. The mutant with the power of luck steals the show in every scene, particularly when Deadpool is ragging her for her “imaginary” superpower. (A “Final Destination”-style scene showcasing just how awesome her power is is a highlight of the film.)

In the end, “Deadpool 2” is a smorgasbord of unabashed chaos that bounces between undeveloped plot points faster than the “clown dressed up as a sex toy” can crack a joke. While it feels more like “The Deadpool Variety Show” than a properly put-together feature, it’s genuinely hilarious (the “Interview With a Vampire” references are gold) and its action sequences are beautifully choreographed. It may not be maximum effort, but it is a good time, and we all know that’s more than enough for Deadpool. 

Three “Where do I get a Logan-based winding music box?” stars out of five.