Review: ‘the Suicide Squad’ sends the franchise in the right direction


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Faithful to the proud tradition of The predator and The final destination, The suicide squad is a slash-reboot of an underperforming franchise with nothing but an “the” to distinguish its title from the original. contrary to The predator and The final destination, he sends his frankness in the right direction. Walking away from the confused dudebro grunginess of Suicide Squad, Warner Bros flew guardians of the galaxy director James gunn after Disney fired him (temporarily), working with him to makeover the Suicide Squad mark into something dumber. The change in tone is paying off, but even more successful is their strategy to retroactively treat the first Suicide Squad: they made it into an episode.

A bad movie is a roadblock, but a bad episode is a speed bump. With the latter, you just have to wait until next week (or, in the streaming age, through five seconds of credits) for the show to give it another try. The suicide squad does her best to reproduce this feeling. He immediately eliminates the dots from his concept: These criminals fight crime at the behest of the US government because Agent Amanda Waller (Viola Davis, terrifying) will blast their heads from a distance if they don’t. Here is the new mission; here is the current programming; OK, let’s go. In an age of connected intrigue across endless universes, it’s surprising to see The suicide squad cares so little about his place in the world. It doesn’t look like a building block of a franchise, it looks like a Saturday morning special. Who cares how last week went?


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It’s the one where the team travels to South America to fight a giant alien starfish. The new team members are wonderfully distinctive: From costume design to performance whims, these characters are so specific you could imagine how they would pose in a fun opening credits sequence. The cast is dead everywhere. Idris Elba’s magnetic presence on screen makes him an excellent ensemble leader, and his chemistry with John Cena’s jingoistic Peacemaker is one of the film’s strongest comedic pillars. It’s the huge, slimy, and anthropomorphic King Shark that’s sure to be the favorite, however. Gunn snatches a surprising amount of pathos from the literal shark-man. DC is animated Harley quinn the series reimagined the character as a lovable goof, which made any pain a punch in the guts; The suicide squad makes him friendless, naive, and misunderstood, which does exactly the same thing. And he’s voiced by Sylvester Stallone. What else do you want?

A little dramatic structure would be nice, actually. The suicide squadThe light-hearted vibe of is welcome, but the film doesn’t have any impetus beyond “I wonder what the crazy stuff is going on in the next scene.” It’s outrageous and unpredictable in a happily bizarre way, but not so fascinating. The story is not designed to ask the question of where it is going. Until the third act, it’s practically a series of hyperviolent comedy sketches. But the ideas are inventive and the execution hilarious, so it’s an explosion of guilty pleasure, even as the dialogue tends towards that constant, flippant, deadpan joke that threatens to homogenize all Hollywood humor. Gunn and his team pump the film so full of color and vivid camera choices that there’s usually something else to enjoy when the jokes don’t land.

What Is the land is gory, and a lot, with several loud splats. Studios have generally been more relaxed about R-rated superhero rates since the success of dead Pool, but the things Warner Bros let Gunn get away with are baffling. The suicide squad is horribly cartoonish. It is reminiscent of Gunn’s early work with Troma Entertainment, a studio specializing in crude comedy so provocative that YouTube pulled their movies after Troma uploaded them for free. The suicide squad is not only Troma-esque in the severity of its violence, but also in the brevity of its special effects – one of the funniest pieces of the film thrives on its small budget compared to the CGI polish that surrounds it. . Warner Bros let Gunn turn their property into a gonzo exploitation flick. Perhaps even more atypical for the superhero genre these days, the film is also a crass but clear indictment against US imperialism – the Marvel industrial complex never would.

Every now and then, the insanity merges into a sentimental ode to the nuts, seizing the emotional weight that is often sucked into franchise work. It’s serious, but inelegant, trying a little too hard to prove itself. This indicates some insecurity on Gunn’s part: he always harangues Scorsese for saying that superhero movies are more like themed rides than art, apparently because he wants his job to be. taken seriously. Maybe when Gunn realizes his job is just great because he works in a theme park registry, he will make his best blockbuster yet.

★★★★ (4/5)

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