“Deadpool,” directed by Tim Miller and starring Ryan Reynolds, was a breath of fresh air in early 2016. It openly mocked the superhero milieu it was steeped in while maintaining a solid core as a genuinely sweet and sexy romance.

The David Leitch-directed sequel was less distinguishable from the bloated subjects of its satire despite the fourth-wall breaks and filthy language. However, what “Deadpool 2” lacked in heresy, it made up for with casual inclusions of non-white, queer and plus-size characters in leading roles (its own kind of middle finger at the milquetoast major franchises).

“Deadpool & Wolverine” is directed by Shawn Levy and opens at its high point — the image of Deadpool slaughtering cops using the bones of a certain X-Man is legitimately transgressive. Unfortunately, everything that follows is quite the opposite. Sure, there are more obscenities and gorings than ever. But Disney’s firm grip on its shiny new cash cow has made sure to wring all searing commentary, which was so integral to the original installment of this series, out, leaving but a handful of gentle ribbings. Deadpool is a tame court jester in a court ripe above all others for skewering.

Setting aside the corporate angle, remember that Wade Wilson’s story began with being terminally ill. Then he became immortal and later suicidal. Now he’s in a franchise that’s being devoured like the parent studio that preceded it. He’s alongside another indestructible character, Hugh Jackman’s Wolverine, resurrected after a welcome end.

What explorations of all this mortality does the film make? None — just let ‘em stab each other a lot ‘cause it’s neat.

What, then, is left for “Deadpool & Wolverine” to offer, if any thoughtful analysis of its unique place in pop culture is off the table? Characters who are as hollow as their earnest, unmoving motivations. A plot, badly stitched together with mind-numbing exposition, that’s no more than an excuse for jangling super-keys at the audience.

Decently choreographed, wholly empty action.

Tedious filmmaking is one thing. But “Deadpool” has always been, fundamentally, a character that would, and literally did, murder the entire Marvel comics universe for fun. Here, he unironically salutes the image of Captain America. “Deadpool & Wolverine,” when it comes down to it, is reverent. How pitiful.

“Deadpool & Wolverine” is no doubt currently playing at your local theater, and Deadpool (2016) is hopefully available at your local library.

For suggestions on “what to watch instead,” visit goeasternoregon.com and click on Now Playing.

‘Deadpool & Wolverine’: What to Watch Instead

“Deadpool & Wolverine” is in theaters making boatloads of cash, and while it may feature a cavalcade of characters you haven’t yet seen interact doing super stuff together, it is unsuccessful as a piece of cinema on practically every level.

It professes to be a “love letter” to the largely failed slate of Fox superhero movies, but it doesn’t even do that well. I’ll try with this piece to give thanks to this franchise myself (I’m assuming you don’t need me to recommend “X2: X-Men United” (2003), “X-Men: First Class” (2011), and “Logan” (2017): they’re fun, smart, and were successful).

Let’s say you want some big action spectacle, or some solid thematic commentary. “X-Men: The Last Stand” (2006) is a far cry from the most cohesive film in the franchise, but by golly is it ambitious. Queer symbolism is highlighted from its opening scene and baked into its mutant “cure” narrative. Kelsey Grammar’s Beast and Sir Ian McKellan’s Magneto are great as political counterpoints. Ignore the “Dark Phoenix” stuff, and focus on the Golden Gate and car-flipping stuff.

But maybe you’re more interested in the meta-aspect of major studios changing hands, and the wreckage such a thing wreaks. Look no further than “The New Mutants” (2020), which was delayed for years during post-production due to changes in leadership and reshoots. The final product is a modest, character-driven coming-of-age story tinged with superpowers. It’s really quite cute!

If it’s “Deadpool” specifically that you’re craving, just revisit the first! “Deadpool” (2016) was a film Fox did not want to make for fear of alienating audiences, until test footage leaked online and became so popular they had to fund it. It’s a romance between two happy, sex-positive people that’s interrupted by cancer, and then supervillains.

Wade Wilson spits in cancer’s face, guts the supervillains, and takes on all superhero films while he’s at it. What’s not to love?

And if you really, desperately feel a need to give money to Disney, by all means go to their streaming service and watch “X-Men ‘97” — it’s some of the best superhero media to date.

As for the rest of the films discussed, check your local library or used video store for these gems from a now-closed chapter in blockbuster history.

— B. E. Grey, for Go! Eastern Oregon