Have there been 90

"Wait," you say, "Tom Bombadil wasn't in the LotR movies." Yeah, and Deadpool wasn't really in Wolverine either. They did have a character in it named "Deadpool," but other than that...no. And props to me for spelling "Bombadil" correctly on the first try. At least, it's correct according to Wikipedia.
So who is Deadpool? He's a mutant with a healing factor much like Wolverine. He's also a mercenary for hire that does not shut up. Deadpool is comic book absurdity at its finest. He's one of the rare characters that is actually aware of his existence as a comic book character. Because of this, he frequently gets into discussions/arguments with the writer/editor of the given story he's in.
So what's so fancy about this issue 900 thing? Well, it's a collection of short stories staring the proclaimed "Merc with a Mouth." And really, in short, frenetic bursts is where this guy shines. So this is what the book contains:
Close Encounters of the @*#$ed-up Kind: Deadpool gets abducted by aliens. There is an anal probe involved. That about sums it up.
Silent But Deadly: This one is a bit of an homage to the infamous all-silent Snake Eyes issue of the old GI Joe comics. An explosion ruptures Deadpool's ear drums, so he battles a trio of villainous mimes in silence. It's actually pretty neat.
Deadpool Shrunken Master: Deadpool sees a shrink. Again, what more do you need to know?
Pinky Swear: This one was probably my favorite story out of the lot. Deadpool is in the middle of saving the world or something (it's never specified, but who cares?) when he remembers the time has come to collect on a childhood bet he made while in elementary school. So he visits his childhood friend, inadvertently bringing the war he's currently fighting with him. The bet turns out to be childish, immature, and highly inappropriate. Just like Deadpool.
What Happens in Vegas: Deadpool is found dead in a seedy Las Vegas motel and it's up to the cast of CSI to solve the murder mystery. Seriously. Oh, and there's a live chicken at the crime scene.
Great Balls of Thunder on the Deep Blue Sea: Deadpool takes a vacation on board a cruise ship. It doesn't go well.
One Down: This story is kind of odd, but who doesn't love the imagery of Deadpool standing on a pile of Tyrannosauruses while fighting a pirate dragon. That's right. A Pirate Dragon! Anyway, throughout the story Deadpool is having a discussion with the writer/editor/whatever of the story. See, Deadpool is tired of life and wants to die. But his healing factor prevents this from happening. So he rationalizes that if he can't die in the comics, then his comics must die. That means the popularity and, therefore, sales of his comics must go down until Marvel cancels everything he's in. How best to do this? Eliminate the people responsible for his popularity: the readers. Including the readers of this very comic book. In this very existential work, we see that Deadpool is really a self-regenerating, witty Camus. Who likes to kill people.
Turning Japanese: Unlike the others, this is actually a rather long story, and probably the weakest of the bunch. In fact, I didn't really understand it, especially the first couple pages. But then its all about Deadpool becoming a sumo wrestler and then returning years later to fight a midget clone of himself. Sadly, it's not nearly as humorous as that sounds. I mean, it sure could have been, if the story was truncated to just that plot. But for some reason, a whole story is developed to try to add depth to the character.
This has me worried about the Deadpool movie. While I love the concept (especially with Ryan Reynolds playing the lead), this story gave me pause. Deadpool is the comedic foil. He's at his best when his mouth is spitting out an endless stream of irreverent, fourth-wall breaking wit. And that works great in short spurts. But how well will that hold up in a 90 minute movie? Especially if they do what this last story did and try to add depth to the character.
Wait, isn't depth a good thing? It depends. Remember the whole segment in Wolverine that dealt with his love interest and him becoming a lumberjack? Yeah, that was boring as all crap. I don't want my Wolverine to settle down and enjoy the simple life. I want him to go berserk and claw the living crap out of a hundred bad guys! I want the same for Deadpool. But now I fear they'll try to give him a Mary Jane Watson and have him mope around about whether to be Deadpool or give it up for the girl. So that would suck, but 90 minutes of endless one-liners would probably get old quick.
So what's the right way to make a Deadpool movie? Is there a right way? I don't know. But I do love the idea of a bunch of short Deadpool stories in one comic. Deadpool #900 was grand.