It’s worth noting, right up top, that the many actors who turn up in “Deadpool & Wolverine” let us know — in big moments and small ones — that they’re better than this movie, this genre and this universe.

And not just the always-Oscar-eligible thunder from down under. The high-voiced chatterbox who thinks it’s all “aboot” him may be paid by the word — many of them four letters long — but he’s damned funny in the role he was born to play.

Bringing in Emma Corrin from “The Crown” as a villainess pays dividends, and classes up the joint. And Matthew Macfadyen leaves “Succession” and a lifetime of “Pride & Prejudice” and “Operation Mincemeat” period pieces to vamp up a villain who could not be funnier if he’d played the cad in culottes.

The players are fun and have fun in what a few of them, plied with enough glasses of Aviation Gin, would admit is a pretty entertaining bad movie.

Five credited screenwriters filled the soundtrack with jokes and sight gags about Disney buying Fox and “Hugh’s divorce” and whatever happened to Daredevil and Elektra and how ridiculous the concept of “multiverses” is and how hilarious it is that comic books and comic book movies are the only places they’re taken seriously.

No, Einstein didn’t sign off on them but Stephen Hawking was um, multi-curious.

Having your characters break the fourth, fifth and sixth walls commenting on a coming “third act flashback,” and the endless pauses for repeated slo-mo musical montages set to AC/DC, Madonna, et al, how “the nerds” are being fan-serviced to orgasm with this character’s revival, that “epic” meeting/confrontation and the like doesn’t let you off the hook. By anyobjective measure, this is a cut-and-paste “assembly” — not a screenplay with a coherent plot and anything like a point.

Mocking “Mad Max” and “Furiosa” is funny, and only flirts with “I.P. infringement.”

“Pegging” might not new “new” for Deadpool, “but it is for Disney.”

When the masked visage of Reynolds looks at the camera 446 times, you can hear the wink, even if you can’t see it.

I laughed and laughed at the jokes, and looked and looked at my watch long before “Marvel Jesus” turned to the camera to assure fans that “we’re almost there” — that the finale was beginning.

When you’re not really going anywhere, time stands still. And when all involved are telling you they’re all out of ideas, you should listen.

Take away the Easter Eggs and cameos and fun performances and there’s no “there” here. And they’re totally OK with it, because no matter what new Captain America trailer is slapped on before the opening credits, the idea is something along the lines of “let’s burn this bitch down and giggle at the flames.”

Mister “I turn everything into a joke” is faced with a midlife crisis and an existential threat. Something called the Time Variance Authority is out to destroy his favorite universe — his. Not necessarily the “sacred timeline,” with its “anchor character,” but the one where Marvel Jesus has lost his lady friend (Morena Baccarin) and lost his way.

He’s selling Kias with his new fanboy bestie Peter (Rob Delaney).

To fight the universe-accessing/universe-ending Paradox (Macfadyen), Deadpool has to track down just the right Wolverine (Jackman) through scores of alternate Earths. Not the short one, the DC Universe one or the less lethal ones, but the most Jim Beam-addicted and self-loathing one, sideburned and wearing that yellow X-Men suit he otherwise avoided.

“Cupcake” and “peanut” come-ons don’t work on “the worst Wolverine.” But you know our boy. Pesky and persistent and Canadian nice will win in the end, after a lot of “s–t-talking.”

“Have you been checked for ADHD?” No. But the “woke mob” may come for him. Or a hundred other Deadpools.

They will travel “The Void” looking for help in a late model Honda Odyssey, which earns a page or two of s–t-talking all its own. Old friends will show up. Deadpool will face his failure to play nice and work in a team setting — neither the X-Men nor The Avengers wanted him.

But being funnier than all those guys and gals put together counts for something. And that goes for the movie, too.

“Deadpool & Wolverine” is a burlesque of comic book movies, embracing their popularity, mocking the characters, situations, genre and its fans all the way to the Vancouver bank vault where Marvel Jesus insists Disney deposit the $billion this fun, bad movie is going to make.

And more power to them. Let’s just hope this doesn’t end the bromance between the newly-divorced Hugh and his skinny Canadian toy boy. After all the years of homoerotic teasing, all the joke-us-to-death promotion for this long-awaited “get a room” movie moment, it’d be a shame if that universe got, as The Messiah says in his curtain call, “Old Yeller’d.”

Rating: R, violence, profanity, innuendo and lots of it

Cast: Ryan Reynolds, Hugh Jackson, Matthew Macfadyen, Leslie Uggams, Morena Baccarin, Rob Delaney, Emma Corin and Jon Favreau and many other “surprises”

Credits: Directed by Shawn Levy, scripted by Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells and Shawn Levy, based on the Marvel comic book characters. A Marvel Studios release.

Running time: 2:09