there. Paradox informs Wade that his universe is about to self-destruct because it lost its “anchor being,” the single entity most responsible for its continued existence. In Wade’s world, that being was Wolverine, who died at the end of his last adventure, Logan. After first donning a new Deadpool costume and verifying that Wolverine is “positively, undeniably, and reliably” dead (and killing dozens of TVA agents in the process), Wade embarks on a quest across the multiverse to find a new Wolverine from another universe he can bring back to his world to restore cosmic equilibrium.

After finding and rejecting (or being rejected by) dozens of potential Wolverine replacements from other worlds, Deadpool finally meets one who is totally down on his luck and feels sorry for himself. (The reasons for this self-pity are revealed later.) Unfortunately, the two learn Paradox doesn’t want them to succeed (for reasons that make sense only in comic-book movies). He banishes Deadpool and Wolverine to “the Void.” It’s a desert wasteland that’s a cross between the Island of Misfit Toys and the landscape in Furiosa. There, they meet various discarded Marvel characters from other universes and bits of memorabilia like a crumbling 20th Century Fox stone logo. The Void and much of what Deadpool and Wolverine encounter later in the film will provide a cornucopia of Easter eggs and celebrity cameos for Marvel comics fans. The Void is also home to Cassandra Nova (Emma Corin), its de facto ruler. She’s got enormous psychic powers, like her brother, Charles Xavier, and Deadpool and Wolverine must get through her to return to Deadpool’s universe.

The rest of Deadpool & Wolverine consists primarily of gory fight scenes featuring decapitations and dismemberments (many in slow motion), mile-a-minute wisecracks from Ryan Reynolds (about half of which work), and glowering stares and cursing from Hugh Jackman. I couldn’t explain half of it if this review was five times longer. The plot really doesn’t matter, however. Fans of the two stars or the general R-rated vibe in the Deadpool movies will have lots of fun. As in the earlier Deadpool films, Ryan Reynolds breaks the fourth wall repeatedly to address the audience. Unlike the earlier Deadpool films, he often comments on the business aspects of this movie, the larger Marvel Cinematic Universe, and Disney’s corporate culture. He lands several zingers poking fun at Disney and the inherent silliness of what’s gone on in earlier films. Reynolds even pokes a few jabs at Marvel’s arch-rival, DC Studios. How much viewers appreciate this humor depends mainly on their knowledge of Marvel’s movie history at the various studios.

None of Deadpool’s, Wolverine’s, and their adversaries’ action antics are meant to be taken seriously, so viewers can revel in the gore and stunt work. As in most Marvel films, the massive amounts of CGI graphics here are excellent, as is a soundtrack laden with ironic oldies. Also, without spoiling anything, some cameos here are genuinely inspired and hilarious. As an irreverent comedy, Deadpool & Wolverine is a success.

Unfortunately, the filmmakers (with five credited screenwriters, including Ryan Reynolds) make the movie’s last twenty minutes far more serious. Both Deadpool and Wolverine carry considerable emotional baggage, which is introduced the first time we meet their characters. Deadpool views himself as a failure and a burnout whose girlfriend has dumped him. Wolverine has far more reason to feel bad. Not surprisingly, both view the finale as an opportunity to redeem themselves. Emotional stakes like this should result in a decent payoff for the audience. Instead, every time the movie tries to get more serious, the fast-paced action nearly halts, and the transition from comedy to drama (and back) is awkward.

The blame for this misfire goes to director Shawn Levy. Many comedies have serious, even tear-inducing moments. However, they require a deft touch to meld the two emotions. Levy is best known for effects-heavy comic work like Free Guy and the Night at the Museum movies. He incorporates the special effects well but never makes the drama entirely successful. Instead, I kept expecting Ryan Reynolds to turn to the camera and make a pointed comment about how ridiculous some of the dramatic moments played.

The first 90 minutes of Deadpool and Wolverine comprise some of the best and funniest Marvel moments in a long time. However, the conclusion is lackluster instead of moving. It left me with an unfulfilled feeling as I left the theater instead of the hilarity I expected from a zany comedy. The movie will still do substantial business and features possibilities for sequels or spinoffs (being in a multiverse means never having to say you’re dead). Marvel diehards will probably love every minute. I found Deadpool & Wolverine decent, but not among Marvel’s best.