YMMV / Wanted

The Movie:

  • Crazy Awesome: Attacking a guild of assassins with a trash truck full of peanut-butter-smeared bomb-rats? Shooting a bullet so that it flies along a CIRCULAR WALL and kills everybody standing along it, including the shooter? Sloan's "X marks the spot" death from LITERALLY miles away during Wesley's "this is (not) me" lecture"? How long is the sequel going to take?!
  • Ear Worm: Danny Elfman does the soundtrack, and even sings rock music for the first time since his days in Oingo Boingo!
  • Hilarious in Hindsight: Six years later, in another movie, James McAvoy gets to play character who accuses someone else for committing assassination because the bullet curved.
  • Jerkass Woobie: Maybe a little bit too sympathetic for a label, but both Wesley and Fox could qualify. Their sympathetic portrayal in the movie is the closest to humanizing them.
    • Cross, specifically because he, as it turns out, was Wesley's father. All he wants to do was to prevent his son from being influenced by the Fraternity.
  • Memetic Mutation: "Shoot THIS motherfucker!"
    • The broken keyboard scene has spread too, leading to such gems as this.
    • People commenting on future Professor X hitting future Star Lord with a keyboard.
  • Nightmare Fuel: A garbage truck chock-freaking-full of the aforementioned exploding rats. Poor rats.
    • The fight in the moving train, which ends with at least a HUNDRED people dead due to Fox's car getting debris stuck in the wheels and the train driver braking. This causes 3-4 carriages to derail OFF A BRIDGE.
  • Ooh, Me Accent's Slipping!: When Wesley yells "Shut the fuck up!" to his boss.
  • Retroactive Recognition: Professor X smacks around Star Lord with a keyboard!
  • Signature Scene: the chase with the Dodge Viper, the raid of the Fraternity, and Fox curving the bullet engraved with "GOODBYE."
  • Strawman Has a Point: Wesley's boss may be verbally abusive, incredibly obnoxious, and a poor manager, but she does have a point in that Wesley should perhaps be doing his job rather than surfing the internet.
  • Wangst: Everything until Angelina Jolie first appears. Fortunately, it's Played for Laughs.

The Comic Book:

  • Anticlimax Boss: Mr. Rictus (and his gang of supervillain cronies, if you take them all together as one boss). The entire fight at the end, basically, was a huge letdown.
  • Crosses the Line Twice:
    Wesley: "Can you believe I raped an A-list celebrity and it didn't even make the news? That's how deep The Fraternity goes, my friend."
    Mr. Rictus: I don't rape goats, Mr. Gibson. I make love to them.
  • Darkness-Induced Audience Apathy: In a fight between a group of nihilistic, mass-murdering, serial-raping assholes who want to continue ruling the world in secret and a group of nihilistic, mass-murdering, serial-raping assholes who want to rule the world openly, why should the reader really care who wins? Heck, you might as well root for the series' antagonist, Mr. Rictus. At least he's good for some Black Comedy (if you're amused by the slaughter of children). The You Bastard ending seems to indicate that the author himself hates both the story, and anyone who read it through to the end. One of the possible interpretations is that he's condemning anyone who could accept a universe so devoid of hope.
  • Escapist Character: The comic is a very vicious deconstruction of the idea of Evil Is Cool-as Escapist Character. Wesley Gibson is a put-upon hypochondriac loser whose girlfriend is cheating on him. Then he finds out that his deceased father was a supervillain assassin, so he assumes his father's open seat in The Masquerade, Takes A Level In Badass, and eventually becomes one of the most powerful people in the world. However, when we say "supervillain", we mean it. He becomes a mass-murdering psychopath who casually notes that he raped a celebrity, kills any innocent person who looks at him funny, and eventually calls out the reader for cheering him on.
  • Evil Is Sexy: The Fox, who despite being a heartless murderer, would probably give you the night of your life. Before, you know, killing you.
  • Hilarious in Hindsight: The Fox is intentionally made out to be similar to Catwoman and her appearance was modeled after Halle Berry. Guess who ended up playing Catwoman (In-Name-Only) in the film released the following year?
  • "Holy Shit!" Quotient: High.
  • Narm: The book's final scene, a Take That, Audience! which calls out the reader for supporting a monstrous Villain Protagonist like Wesley, falls pretty flat for those readers who never do side with him in the first place and keeep reading only out of the vague hope that he receives some kind of comeuppance or Downer Ending.
    • Wesley's entire speech about how "being very good at killing people" is the scariest of all powers and wouldn't change it for anything else. The problem is, the actual action of the comic does not back it up: Wesley faces exactly two people with superpowers, and both of them conveniently avoid using them. And in the inter-dimensional raid, facing heroes using those powers, he ends up needing to be rescued, despite having a couple of extra gadgets and the heroes, being heroes, not using those powers to hurt as kill as a villain could have.
    • Wesley going afte Rictus and his men only to avenge his father. A man who, for all he knew, abbandoned him when he was eighteen weeks old and never gave a damn (it wasn't what actually happened, but he had no way to know). Litterally everyone else killed by Rictus' men had been closer to him than his dad, and he couldn't care less about them. It doesn't help that later you are supposed to find his father to have been a great one, despite chosing to leave him instead of changing his life for him, manipulating his every step to have Wesley become what he wanted, and ultimately doing it merely for his own pride of not having to be ashamed because his son was a different person than he was and to go out on his own terms.
  • Plot Armor: Either that, or the Killer and the Fox are the only ones capable of actually hit the target they are shooting at. The Sucker and Shitface, however, are two egregius examples: the former wastes no time talking when he has to use his powers against the Imp, but when it's Wesley and the Fox's turn he instead takes just enough time gloating to have him reach his limit; the latter doesn't take any action against the two and even let's itself be held at gunpoint (despite bragging about being bulletproof after the Fox shot it, but Wesley had the bleach ready by then), as before, he had a more pragmatic attitude when he killed the Professor.
  • Strawman Has a Point: A lot of the main characters' problems would have been solved if Seltzer (who runs two continents to everyone's one) just let Rictus run South America.
  • Squick: Human bodies exploding from Wesley's shots, cannibalism...