Cheekily based not a month after The Avengers: Infinity War, with all this about teamwork and combining forces with other superheroes of various backgrounds, Deadpool 2 drives a semi-truck through the sentiment, smearing blood and snarky/foul language across the board in crimson red brushstrokes. It’s right at home for Wade Wilson/Deadpool (Ryan Reynolds). Only two summers ago he was up to teasing the superhero origin archetype, internally making fun of comic book films and himself. Deadpool is treading similar ground, but taking on a team of misfits to help save and guide a confused mutant teen (Julian Dennison).

The deconstruction of the genre is what drew such a large crowd to Deadpool, and in the new film, if for a moment, I was able to understand why just a little better. More than just a film type turned on its head, it also welcomes those who feel like outsiders to feel a bit more heroic—or in many cases, anti-heroic. There is a more welcoming quality to be found and appreciated in Deadpool 2.

That said, Deadpool as a character and franchise has felt paradoxical. Sure, it reasonably successfully deconstructs the genre. Yet by doing so, it falls on its own sword by still, at its core, being that very type of film: a narcissistic hero (of sorts) challenged to open up and play on a team. It is in this way that the Deadpool series is, deep down, not all that surprising or challenging. It plays by the rules far more than it may think.

Still, Deadpool 2 belongs to its audience. It has major followers on its side and, credit where credit is due, there is an empathetic nature to be unlocked. Fans will likely not be so disappointed. For its violent content and heavy use of language, Dove is unable to approve the film.