The Merc with a Mouth is back, with all of the trademark wit, crudity and fourth-wall breaking self-awareness that we know and love, but with one crucial difference. This film doesn’t enter the multiplexes as the cunning underdog hoping to connect; it comes with a raging fire of fans and expectations, and with a considerably higher budget. Deadpool being Deadpool, it takes these challenges of being a sequel and rings all of the comedy out of them possible. It doesn’t fall prey to being a washed-out victory lap of its predecessor, nor does it buckle under any studio constraints to become something it isn’t. This is the rare sequel that delivers on all fronts, and doesn’t let you down.

To say very much about the plot would be to spoil a lot of the subversive twists and turns it takes, and to explain anything of the surprising emotional underpinning of it would be to spoil a major plot point (and make its successive scenes less hilarious). Essentially, the bare bones of it involves Deadpool (Ryan Reynolds, who else?) trying to protect 14 year-old mutant, Russell (Julian Dennison), from Cable (Josh Brolin), who has travelled back from the future with a warning of Russell’s imminent actions. To do so, Deadpool forms the X force, a band of unlikely mutants, to attempt to save Russell.

The film has everything you could want from a Deadpool movie, and more. It is absolutely hilarious; there is so much packed in, and the jokes have such a remarkable hit rate, there’s rarely a moment where you’re not laughing. The pop culture references (both old and new) are alive and well, expertly placed for maximum effect, and shown in a variety of ways. Many come from the wisecracking of our central hero, others are more subtle, even ‘blink-and-you’ll-miss-it’ level references (my personal favourites involve the dial on Cable’s gun, and the number assigned to a certain prisoner on a drawn-out map) making it sure to hold up on repeat viewings. With this being a sequel, the film also has some excellently placed cameos, some of which also take the form of ‘blink-and-you’ll-miss-it’, one in particular is so quick it will leave you thinking ‘wait, was that? No it can’t have been…was it?’ and then you’ll be laughing your head off in the credits when your suspicions are confirmed. Other cameos are so sneaky, with the actors under such heavy hair and make-up, you might not even realise they were there until the Internet tells you (one of these might be an actor who, honestly, we should all expect to cameo in any film now).

Of course, this wouldn’t be Deadpool without the super meta, fourth-wall breaking self-awareness, and this film delivers in spades. The opening scene gives a major, hilarious spoiler for Logan (of course, there are plenty of Hugh Jackman references packed in), before going into a tirade about the first film’s influence on the superhero genre in general (with many snide jabs at the other films also sprinkled throughout the run time). Of course, Deadpool doesn’t only take shots at other films and people, but one of its greatest strengths lies in its ability to take aim at itself. This is a film so aware of its flaws (some of which are clearly intentional in order to point out consistent tropes or flaws in other films) that it is willing to point them out for your amusement. Many a clunky line of dialogue or exposition is followed by a remark along the lines of ‘well, that’s just lazy writing’, proving this isn’t just a deconstruction or take down of the superhero genre, but run-of-the-mill film in general. It also directly parodies specific franchises, with some of the standouts being a certain take on an iconic Sharon Stone moment, that is guaranteed to make you scream either with laughter or shock and horror, and the opening credits which manage not to copy those of the first film, but instead parody an instantly recognisable style brilliantly (which also incorporates something we may have just assumed was one of the excellent marketing stunts).

The film has absolutely avoided selling its maverick status to the studios, instead successfully maintaining its outsider edge. This franchise is so inherently tied up in the character of its protagonist; it really is impossible to imagine a successful Deadpool without the line-crossing, subversive, ‘did they really just do that?’ moments. It keeps up the crude, boundary-pushing humour that defined the original, and definitely doesn’t pull any punches once it sets its sights on any target. It is also still incredibly violent, with the bigger budget lending this film’s action scenes more possibilities, which director David Leitch takes full advantage of to craft some truly great fight sequences. In a rare move for a sequel, nothing has been toned down, nor has anything that played well the first time been overdone here.

The film does carry a slightly different overall tone to what you may have been expecting. There is an emotional thread that runs throughout the film and even bubbles up in the occasional scene, which takes a break from the wisecracks to provide moments of real sincerity. It adds another layer to the film and strengthens the mystery of the plot, even if it does make it feel a tad uneven at times (but not distractingly so). Reynolds really manages to sell these moments just as much as the humour, only proving further how incredibly perfect his casting is. Every line is delivered brilliantly, and the physical restraints of the suit (we cannot see Reynolds’ face for 90% of the film) put no damper on it; every head tilt is choreographed to perfection. Every member of the growing cast, no matter how brief their part, fits in perfectly, and brings out all of the potential of their role. Everyone is memorable (although it’s likely people will find a soft spot for the brilliant Rob Delaney’s Peter). The film also does a little more in bringing more female heroes (and queer ones) into the mix, always a welcome development.

It may no longer be the underdog, but Deadpool 2 is still the subversive breath of fresh air this crowded genre needs (and the genuinely funny comedy the movie business needs). It sidesteps (and/or knowingly quips at) the pitfalls of sequels to become one that can truly stand next to its predecessor, and even hold its own in the arguments about whether it has actually surpassed it.

Oh, and the mid-credits scene is absolutely brilliant and definitely worth staying for.