Image Credit: ScreenRant.com From Left Will Smith as ” DeadShot and Right Margot Robbie as “Harley Quinn” In DC’s “Suicide Squad”.
“The Problem with Meta-humans is the human” Amanda Waller (Viola Davis) curtly pitches to a board of generals in response to the events of Batman V Superman. Thus, Waller is given the means to procure a crack team of baddies, should a need arise to deal with the next meta-human threat if and when it occurs. The Enigma of it all, its Waller’s dilemma to begin with as the “Enchantress” (Cara Delevingne) escapes custody and threatens all of mankind via the mystical portal above the city as seen in every sci-fi-ish tentpole to canvass the silver and small screen since Star Trek The Original Series. A common theme of late as it can be seen in Fantastic four (2015) and Both variations of Ghostbusters. As encroaching evil intimidates mankind, making Suicide Squad a dead-on-arrival attempt at creating a mismatched group of anti-heroes dissimilar to The Avengers forced into “saving the day”.
If anything is to be matriculated from the last DCEU outing its that Batman (Ben Affleck) who cameos here, can put up one hell of a fight and it’s not so far from the realm of possibilities that he alone could’ve dealt with this crisis. Alternately, those congregating to theatres will be given a choppy introduction of the nine different characters appearing in the film as Waller briefly glosses over dossiers while eating a steak dinner with her superior Dexter Tolliver (David Harbour).
As if this isn’t beguiling enough events appear to be happening simultaneously, while formalities are being exchanged among players such as Harley Quinn (Margot Robbie) and Deadshot (Will Smith) meanwhile, Enchantress has half leveled the fictional city of Midway. Which in some cases is a necessary evil, here it feels like its holding back the film’s painfully obvious conclusion. Which suggests heavy studio involvement in the editing process as re-shoots on key scenes took place in response to Marvel’s Deadpool. Despite, the fact the film had a more than competent editor in John Gilroy whose credits include Miracle, NightCrawler and Michael Clayton.
Taking inspiration and creating a similar environment seen in Adam Glass’s New 52 Run, which was eventually taken over by Matt Kindt, some relationships are in fact given credence. Elements from the Harley Quinn (Margot Robbie) and Joker (Jared Leto) affair is shot-for-shot from the comics, but once they’re given a mob like apprenticeship is when events take on a lethargic life of its own. Other task force-x members like Deadshot (Will Smith) and El Diablo (Jay Hernandez) are given faithful flaws as well, they’re just not front and center in that verdant limelight.
Suicide Squad features a great soundtrack however, as the film is not even five minutes in you’ve already burned through classics like Rick James “Super freak”, The Rolling Stones “Sympathy For the Devil”, and ACDC’s “Dirty Deeds Done Dirt cheap”.
An idea that has been used before to great effect simply because, excellent imagery will sustain onscreen and if excellent music is added it will support the image permitting an extended use of it, before a cut is necessary. However, this is not the case as the film cuts around trying to fill in expository information building to its eventual assembly of misfits.
Suicide Squad is far from the hit Warner Bros and Writer/Director David Ayer were hoping it would be. As the film fails to even ask the question of what consequences could be the end result of putting a rag-tag team of super criminals together be, like its predecessor Batman V Superman spent so much time contemplating. David Ayer whose strengths lie in telling gritty-yet moving crime dramas such as Street Kings and Training Day might be better off returning to those landscapes and leaving the Joker locked away at Arkham.
The highlight of the film here is Clearly Margot Robbie’s Killer performance as Harley Quinn. Which only seems to be weighed down by Joker’s (Jared Leto) appearance. Which of all things is odd as her origin is completely defunct without it. Otherwise, Robbie delivers her Bronx swagger superbly and even stops men from working while dressing for her venture into the world.
Will Smith’s Deadshot is okay, but believable enough to be the leader as he often is in similar roles, a favorite of Amanda Waller’s nonetheless as she continually comes to him in the film with specific requests. Viola Davis strands strong in the film as well, but it’s hard to like a character when her mistake pushes the formation of such a group in the first place.
Cara Delevingne’s June Moon whom becomes the embodiment of “Enchantress” is no doubt the weakest villain to gloss the DC screen in quite some time, but this isn’t due to a sour performance either; but overall poor development in general. As character isn’t given enough screen time to accurately gauge a performance, let alone justify the series of events leading up the eagerness to destroy Midway city, playing out in a miniscule flashback.
Suicide Squad may have attempted to fix problems brought on by previous DCEU films, but despite good trailers for the film, it made the problem far worse. Frankly speaking Superman isn’t dead and the idea of doing a live version of the death and lives story arc is about thirty years to late. Those familiar with Jon Scnepp’s The Death Of Superman Lives will know that this universe could’ve come to head much sooner, despite the effort of trying to create a moderately connected universe outside of TV Land; when the competition is clearly doing a far better job at it. Suicide Squad is a renter, even if a director’s cut finds its way onto the market.