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Indeed, when superhero historians look back on the spandex-saturated year of 2016, Deadpool’s improbable success will likely be seen as the annum’s defining event. What’s more, in a genre plagued by numbing repetition, the film felt fresh: It was postmodern and potty-mouthed, and it genuinely worked as an action-comedy.
#DEADPOOL 1&2 MOVIE#
Hell, it just got nominated for best picture at the Golden Globes in the musical or comedy category, something no live-action superhero movie has ever done. The movie was called Deadpool and it was, as you already know, a smash. What’s more, the first comic-book flick of 2016 was going to be the tale of an obscure character, helmed by a first-time director, and starring a waning movie star who had already torpedoed one costumed-crimefighter franchise a few years prior. The boom had its first outright bomb, Fantastic Four the forgettable Avengers sequel Age of Ultron disappointed its studio for falling below the stratospheric financial and critical success of its predecessor and though Ant-Man performed well, it had the most troubled preproduction in Marvel Studios history.
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The previous year had experienced a poisoned crop. Scott in a 2008 - 2008!), but when 2016 arrived, it was accompanied by some particularly grim portents. Industry watchers had been predicting the apocalyptic arrival of Peak Superhero for a good long while (“Is it just me, or is the strain starting to show?” mused the Times’ A.O. As the 18th year of the Superhero Boom dawned, one could be forgiven for believing its decline was nigh.