Consider the villain of this film, Cassandra, sister of Charles Xavier in one of the many possible timelines, devious and immensely powerful. With a very beautiful visual effect, she enters thoughts by inserting a hand into the heads of others, moving her fingers as if lifting banks of memory, manipulating what is in the mind. It’s not just a successful digital effect; it’s a way of using effects to convey the film’s meaning. It is the perfect symbol of a film that seems to want and be able to manipulate everything with that same ease and plasticity. With the excuse of its brazen humor, Deadpool & Wolverine manages to showcase the best writing for a Marvel film since Spider-Man: No Way Home. Thus, while distracting with jokes and showcasing everything that has never been shown but has been requested by fans (in terms of costumes, attitudes, characters, cameos of well-known actors, etc.), it manipulates the story of the saga and adjusts everything to relaunch the franchise of the Marvel universe.
But not only that: the big idea is that the involvement of Wolverine is not just as a sidekick to Deadpool, but can pick up the ending, incredible for its emotional peak and engagement, of Logan. Deadpool & Wolverine (it states at the beginning) is built on Logan, bringing in scenes from that film, characters, and especially exactly the feelings that that film had so well explained and told, to prolong and evoke them. It’s a wise and intelligent use of past films and successful stories in a movie that consumes other films, has a preferred channel with viewers who know everything and have followed everything, and that wants to apologize for its failures, presenting itself as a way to rediscover its former glory.