Do I need to open this review explaining how important Suicide Squad was to DC and WB? After the poor reception that Batman v. Supermanm received and the less-than-expected box office this movie was what was going to pull the DC film universe back up. It got people excited again, which was no simple feat, and DC’s gritty take on their universe would actually fit in with both the premise of the plot and David Ayer’s directing style.
DC needed something spectacular, but they got tepid. They needed to launch a franchise and instead they only succeeded at launching a few characters. Suicide Squad is not the mess that BvS turned out to be, but it is still a mess. DC needed greatness, but their own panic and meddling meant they could only deliver average.
Suicide Squad
Director: David Ayers
Rated: PG-13
Release Date: August 5, 2016
There have been plenty of very harsh words thrown around about Suicide Squad already, and they really aren’t all that deserved. This isn’t a terrible movie, it just isn’t great. What is happening is that the loss of potential and the clear mishandling of this film is making some overact to its flaws. In many ways Suicide Squad is a perfectly acceptable, if unremarkable, superhero (villain) flick, but it could have been more. That fact screams out through frame after frame of this film.
The premise here is ripe for intrigue. Government agent (and most intriguing character of the film) Amanda Waller (Viola Davis) has the bright idea to make a “superhero” team from a collection of super villains in order for the government to save the day, but also have plausible deniability when things go wrong. She convinces everyone this is a good idea gathers up Deadshot (Will Smith), Harley Quinn (Margo Robbie), Boomerang (Jai Courtney), Diablo (Jay Hernandez), Killer Croc (Adewale Akinnuoye-Agbaje), Enchantress (Cara Delevingne) and Slipknot (Adam Beach). Then the world gets threatened so the team goes into action. The main thrust of this one is exceptionally lacking.
That didn’t have to be a problem. The characters here are varied and all have the chance to be incredibly interesting, even the guy who just throws boomerangs. The film chooses to focus especially on Deadshot and Harley Quinn. There’s good reason for that: both Smith and Robbie are on their A game throughout the entire thing, often turning pedantic dialog into something that actually works. Robbie’s Harley Quinn is especially on point and one can’t help but wish she and Deadshot had their own films prior to this to actually flesh out the characters. Diablo is the other surprise of the film as most people won’t even know who he is, but he delivers probably the most compelling story line of them all.
Sadly, despite these individual strong performances the film is far too cramped to actually deliver the character study director David Ayers clearly wanted it to be. An awkward opening that was reportedly redone multiple times gives you a glimpse of the two films competing with each other as the competing styles are awkwardly mashed together. One is a comical action flick and the other is a look at bad people doing good things. The latter should have won out with hints of the former, but instead the movie often feels tone deaf to itself as it lurches from dark tones to one-liners. This balance can be handled well, but it isn’t here as many of the jokes failed and often the comradely building got lost as the action movie took over.
Ayers’ action is also all over the place. His gritty style would have been a perfect fit for a much different Suicide Squad film, but instead he chops scenes together so roughly that it is hard to keep track of what is going on let alone stay within the momentum of a scene. He desperately needed the R rating to make the movie really work, but instead has to cut around a bunch of bad guys doing violence. The final fight, which is probably the weakest part of the film thanks to a paper-thin villain and plot, never earns its payoff and so the audience is left with a bit of fun, but no emotional conclusion. Meanwhile the most intriguing part of the story involves not the big bad, but Waller and her machinations. Mistakenly, it is pushed aside for a big flashy villain.
Speaking of big and flashy: Jared Leto’s Joker. Early reports were that he had a small part in the film, but he probably gets more screen time and more to do than half of the Suicide Squad. Honestly, the man had the impossible feat of following up Heath Ledger’s masterpiece. I’ll give him credit for doing something different with the smooth, deranged, “pimp” Joker, but the performance lands awkwardly between Mark Hamill in the animated series, Ledger and a hint of the campy Cesar Romero. In short, it doesn’t really land at all. One struggles to see this Joker facing off against Affleck’s deadly serious Batman.
It’s easy to come down harshly on the plethora of problems in Suicide Squad, but it’s also easy enough to enjoy the movie once disappointment wares off. While the plot may feel horribly cliche, it is tried and true and checks all the right boxes. Smith and Robbie deliver enough to keep the rest of the rushed character development feel slightly acceptable and when the jokes hit they actually work. There is just enough here to enjoy yourself, which is more than I could say for BvS.
Suicide Squad feels like a knee jerk reaction to BvS, in fact. After WB was blindsided by the bad reviews and middling box office we know they ordered re-cuts of Suicide Squad to lighten it up. What they fail to realize is that the tone that BvS, a movie about redemption and hope, set was wrong for that movie, but would have worked wonders for Suicide Squad, a movie about bad guys doing bad things. While the Marvel Cinematic Universe is often codified it at least allows the tones of its films to vary with the characters that are in it. Suicide Squad may work as a very basic film, but it isn’t enough to pull DC’s comic films into the light. Next up to bat: Wonder Woman.
Also, stop trying to make a Guardians of the Galaxy type soundtrack happen, Suicide Squad. It’s not going to happen.
