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Rating: R (Drug Use | Brief Graphic Nudity | Language Consistent | Some Sexual References | Heavy Violence and Gore)
Genre: Action, Adventure, Comedy
Original language: English
Directed by James Gunn
Producer: Peter Safran, Charles Roven
Author: James Gunn
Release Date (cinemas): August 6, 2021 Wide
Release date (streaming): August 6, 2021
Duration: 2h 12m
Production company: DC Comics, Warner Bros., DC Entertainment, Atlas Entertainment, Peter Safran
Sound mix: Dolby Digital, Dolby Atmos
James Gunn and David Ayer are friends, but the use of that particular article to distinguish his film from Ayer’s 2016 slaughtered and besieged team of supervillains is illuminating. “The” marks the 2021 version as the real deal — the final draft, and few will argue. Gunn has made a film more personable, more coherent and generally more disrespectful than its predecessor. It will undoubtedly be a huge hit, which tells us that the only thing that differentiates Flops from critically acclaimed blockbusters is time. 22 years ago we called this stuff Mystery Men.
For all his success with Marvel, and now presumably DC, Gunn is — body and soul — a B-movie director; a man with little rent. The Suicide Squad allows him to pamper them and he goes broke, painting the opening title in floating blood and brain matter — and spreading a level of sadism and cynicism that was once the province of no-budget horror films and direct-video bells . Warner Bros. summer tent pole is slippery, nihilistic, and not suitable for children. It’s, in short, an orthodox, quadrant-closing leap of faith for a studio that was so concerned about the tone and content of the final Suicide Squad picture that it hired a company to cut trailers to ruin it.
DC fans will love Gunn’s movie. You will indulge in his dry approach and conjuring up old war films. You’ll notice Gunn’s inclination to rework ancient tropics — like rescuing an American from a group of South American mercenaries and astronauts who find a creature in space — to produce setups for decent carpet-drawing jokes. You’ll like its tendency to play with nonlinear narrative to get similar effects. You will appreciate a great studio film with a distinctive voice behind the camera. But will you also notice that the price you pay for this little cinematic wonder is a movie without a soul?
Ayer, at least, had ambitions to make a film with a dramatic backbone — a semi-serious piece. What is Gunn’s ambition? The Suicide Squad is uncompromising in its conception, but it is an empty piece of storytelling. Idris Elba’s daughter, who hates her father in act one, only to be proud of his world rescue operations in act three using the ancient device of news footage on the living room television, comes closest to a human moment. There are other attempts, though not many. Most are too winking to register. The Suicide Squad has a nice line in morbid Malarkey, but that’s all it has.
The effect is numbing for 132 minutes. The characters’ potential feels played out a long time beforehand. Gunn keeps the film alive with bizarre story elements, energetic set pieces, and a refreshing lack of sentimentality — it’s the kind of superhero movie the internet always wants. Why doesn’t it feel more subversive? Perhaps because the addition of cursing, frontal male nudity and the sight of an anthropomorphized shark ripping a man in half (lengthwise) can’t hide the familiarity of the template everything has been grafted onto. Superhero movies have been so for the last decade. James Gunn seasoned the broth, but it’s still thin and no substitute for a decent meal.
After being fired from Marvel for some right-wing gimmicks with old, snappy shockers, writer / director James Gunn (“Slither”, “Guardians of the Galaxy”) was lured into the DC universe. The filmmaker with a penchant for the less squeaky clean among us, including speaking members of the animal kingdom, preferred to give his favorite, the Suicide Squad, a fresh look — provided he could deliver it in R-rated. And he does, albeit with this winking humor that even infects his R-rated Gore and his characteristic pin drops, such as “People Who Died” by The Jim Carroll Band, which accompanies the opening credits of the film hilariously.
Colonel Rick Flag (Joel Kinnaman) accompanies Savant along with Captain Boomerang (Jai Courtney), Weasel (Sean Gunn), Blackguard (Pete Davidson), T.D.K. (Nathan Fillion), Mongal (Mayling Ng) in the hands of President General Silvio Luna (Juan Diego Botto). Back at Waller’s command center, bets are placed on who will be blocked first by their communications staff while the team jumps into the water just off the beach. Waller was annoyed that no one checked whether weasels could swim or not. It is only after Harley enters the jungle after conquering Flag that we realize that this is a two-pronged mission, a second team led by Bloodsport (Idris Elba), consisting of Peacemaker (John Cena), Ratcatcher 2 (Daniela Melchior ) aka Cleo Cazo and her rat Sebastian, King Shark Nanaue (voice of Sylvester Stallone) and Polka-Dot Man (David Dastmalchian). At her side will also be Sol Soria (Alice Braga), a guerrilla fighter against Luna’s command.
Much of the humor stems from the argument within the group, as these criminals came together for no reason other than Waller’s agenda. Bloodsport freaked out from the rats of Ratcatcher 2, a development Gunn uses for part of his signature heart when we figure out why (on either side, Ratcatcher 2 also remembers her father, the original Suicide Squad character Ratcatcher (Taika Waititi, one of the handful to appear in both Marvel and DC movies)). Nobody likes Shark King because he tends to hide everyone on his path when he’s hungry — until Ratcatcher 2 feels sorry for him when she learns he has no friends. When the going gets tough, the ever competitive Bloodsport and Peacemaker will have a showdown for the ages. And for at least a while, it looks like Harley Quinn will be on the run with everyone when she starts a whirlwind romance with Luna who believes she should be his queen (luckily she turns all black Widow…). Polka-Dot Man, who wields polka dots, wrestles with his own, oversized mother’s theme, visualized in a humorous way.
By the time the task force breaks into Jotunheim, the Nazis’ genetic experimentation site that houses Starro (a towering starfish with a huge eye, as silly as “Ghostbusters” Stay Puft Marshmallow Man), Starro’s handlers will be worried about them Waller’s mission is experienced by thinkers (Peter Capaldi, similar to COVID-19) when their own plans go wrong, while Luna’s right-hand man Mayor General Mateo Suarez (Joaquín Cosío) gathers troops outside.
Gunn’s script doesn’t shy away from political commentary while generally having a great time getting the squad ship up, which stalled in 2016. It’s no surprise that this Suicide Squad has a guardian feel to it. While the film falls into the superhero movie trap of overly long, puffy highlights, it’s a bit easier to forgive when we watch a talking man shark attempting to hunt down a giant pink starfish. The production is first class, Panama represents the fictional Corto Maltese. Most of the stunts performed here are real, Gunn eschewing CGI with the exception of the more obvious uses (and only leaves us blatantly forgery in one late scene where Harley “surfs” over crumbling building roofs). John Murphy’s driving rock score is as accurate as Harley’s Live Fast, The Clown. Leather jacket. “The Suicide Squad” and its cast are a blast. (And yes, stay in the credits for two scenes for a few surprises.)
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Since I didn’t even see the first “Suicide Squad (2016)” on the cable, I did a bit of digging to find out what it was about. As far as I can see the concept seemed like a good idea, with lots of colorful characters and loud F / X, but mishandled and confused. Fortunately, after watching “The Suicide Squad,” I looked up so I wouldn’t be inappropriately spoiled by its predecessor. (Although I saw “Birds of Prey” and thoroughly enjoyed Margot Robbie as Harley Quinn. That joy overflows into “TSS”.)
Scriptwriter and director James Gunn is taking the reins on this sequel reboot reinterpretation of David Ayer, and I think the Guardians of the Galaxy helmer is the perfect addition to the job at hand.
When Task Force X’s mission fails, US government spy chief Amanda Waller (Viola Davis) has to deploy a new team to attack the villain’s stronghold on Corto Maltese. She gathers a bevy of Belle Reve Prison criminal minds — Peacemaker, Bloodsport, and loads more, including Harley, to thwart an evil plot for an alien invasion.
That’s pretty much all I have to say about the film’s “plot” which, for what it’s worth, tells something of a story about an alien invasion and evil government program. I didn’t care — and never do when it comes to DCEU and MCU strips. What I hope for in these worlds are characters I can take pleasure in. I mentioned Harley Quinn, but also enjoyed the grumpy burn from Bloodsport (Idris Elba) and the muscled Peacemaker (John Cena) and the rest of the colorful team. The fans know her and that counts.
Now a criticism: A two-hour and twelve-minute superhero film is absolutely unnecessary and “The Suicide Squad” is a typical example. Around the ¾ point there was a logical, fun, and satisfying ending (again in my head) that would have earned me a higher grade. But this is a DCEU and there is a lot of action, noise, explosions, fighting, F / X and quick banter in the last 30 minutes or so. I like my version better.
And praise: if you look through the credits and pay attention, you can see that the real heroes of “The Suicide Squad” are not the movie stars or the effects experts. It’s the huge list of stunt people who helped create the massive action. If you’re careful, you’ll be showing off those talents in ample amounts even with the eye candy F / X. For me, the old ways, like real stunts, are better.
While the blame can’t be placed directly on David Ayer’s door, Suicide Squad was a creative bankruptcy, albeit commercially successful, in 2016. A gang of villains, killers, and villains thrown together to save the world had a lot of potential to stand out from the crowd of identical superhero blockbusters, but they were butchered by the studio to fit the mold that the she should absolutely have escaped.
Just days after being fired from Disney, Warner Bros. stepped in to offer James Gunn any comic book property of his choice to write and direct. He chose The Suicide Squad, and it’s easy to see why. The filmmaker started out at Schlock dealer Troma, and while he’s the guy who wrote Scooby-Doo, his personal preference has always been the dark, dirty, filthy, and subversive. Take those inspirations, put them on the big budget he mastered at Marvel Studios’ Guardians of the Galaxy, and you have arguably the best movie the DCEU has ever seen.
Delving too deep into the specifics of the plot would go too far into the spoiler area, but you definitely don’t want to be too attached to members of Task Force X, as the first few minutes of The Suicide Squad make it clear that anyone and everyone is expendable. The setup is largely the same as the Ayers Opener, as Viola Davis’ Amanda Waller recruits another bevy of outsiders to dig deep into enemy territory and carry out a mission none of them are guaranteed to survive, but in execution is the hybrid from restart and continuation flourishes.
Gunn has always been impeccable when it comes to his cast, and although each member of the ensemble presents their performance in very different ways, and many of them appear to be in completely different genres than their co-stars, it all fits in properly to create a dysfunctional and disrespectful whole. Davis is one of the best actors in the business, and she gives Waller an angry and often terrifying intensity, as if she was taken straight out of a prestige drama or political thriller, rather than a movie in which a giant starfish takes over wants the world.
For years the blockbuster cinema hasn’t exhausted Idris Elba to the full, but Gunn doesn’t make that mistake. Bloodsport lets Elba bring his grizzled charisma, steely intensity, and self-deprecating charm to the fore, while also reminding himself that the guy can be hilarious when he wants to. Similarly, the recent Fast & Furious 9 portrayed John Cena as a boring meathead, but when it comes to dry comedy he’s something completely different. The ongoing rivalry between Bloodsport and Peacemaker is consistently a highlight, especially in an action sequence that, figuratively, also functions as a tail-measuring competition.