Again comic book films take a hit from the critical firing squad as the latest DC installment premieres in theaters this week. With a heavy one two punch of salty reviews pouring in, SUICIDE SQUAD’s scrambled story gets a not-so welcoming reception, yet still the box office reflects high numbers of ticket sales with hordes of movie goers eagerly waiting to get in on the next internet punching bag fad. It’s another disappointing response from critics and fans alike after the controversy that was Batman v. Superman earlier this year. The convoluted plot laced with sporadic editing is a deadly concoction when paired with character heavy narratives helmed by timid studio decision-makers. This band of misfits aspire to the same repartee as the reluctant do-gooders of GUARDIANS OF THE GALAXY, but the disjointed story-telling proves too big a hurdle to clear, and the rest of the film suffers for it. And yet, with all the wrong turns and ill-fated cutting room clearances, SUICIDE SQUAD is still fun while laying the foundation for what’s to come further down the Cinematic Universe slate of films.
The ol’ movie-lovin’ gang gets together again for the CINEMATIC UNIVERSE ULTIMATE podcast, where we throw down some truth bombs on the current DCEU blockbuster, SUICIDE SQUAD. Take a listen as we discuss how this colorful adaptation stands trial against all the flaming accusations trying to burn it down:
*** SPOLER ALERT GOING FORWARD ***
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NADIA’S REVIEW:
SUICIDE SQUAD is a penultimate ‘hot mess’ – mostly pretty to look at, but it’s a cinematic ratchet of a film that’s got a lot of wanna be style but lacks the togetherness to pull it off. Director David Ayers appears to be capitalizing on the dangerously dark, pop candy aesthetic of films like SPRING BREAKERS and THE NEON DEMON—Asylum lead guard, Griggs (Ike Barinholtz) even says “Spring Break!” when snapping a selfie with the restrained Harley Quinn, which feels like a nod to Harmony Korine. The film benefits from the enhanced visuals offered in IMAX 3D, and the special Suicide Squad IMAX intro before the movie is a fun, unexpected treat.
Where SUICIDE SQUAD flops most notably is the disorienting editing combined with the uneven delivery of information. Character development is presented in the wrong spots thereby interrupting the flow of the pacing, making the plot all the more challenging to follow. The cringe-worthy, on-the-nose musical choices add too much fluff, while Steven Price’s moody and rallying score better captures the spirit of a more polished soundtrack. It’s a neat touch to have Eminem’s “Without me” as the squad’s come back anthem, as it’s not only a song about a return to form, but also Eminem’s original music video features the singer romping around dressed as Batman’s sidekick, Robin. A highlight of the film’s track list is Skrillex’s “Purple Lamborghini” feat Rick Ross, which provides not only some sweet Joker boss ass images, but is the newest line of music videos associated with the Batman series following Prince’s “Trust” & Seal’s “Kiss From a Rose” amongst others. There’s even an audio clip from SPRING BREAKERS inserted in the beginning of the song, which further adds to the Korine referencing, as Skrillex collaborated heavily on the SPRING BREAKS soundtrack as well.
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There’s a mix of movie references peppered throughout; the use of “Spirit in the Sky” when the squad is flying in the helicopter to their supposed doom is perhaps a tip of the hat to the irreverent lyrical irony found in the use of “Fortune Son” during Forrest Gump’s wartime helicopter scene—though “Fortunate Son” is specifically used during Killer Croc’s intro. There are some Snyder-like compositions here and there, with a WATCHMEN homage smiling at you through the department store display window as Deadshot looks sullenly at an outfit he pictures his daughter in. The Bruce Wayne theme from Batman v Superman is remixed during moments where Deadshot is making a choice between a life of crime and doing the right thing, such as the scene when Batman arrests him in front of his daughter and when he shoots the dynamite to destroy Enchantress’ spell. Speaking of Harley’s gun, the LOVE / HATE symbolism, which was first used as tattoos on the menacing Robert Mitchum’s knuckles in THE NIGHT OF THE HUNTER, and then later as racially radical bling in Spike Lee’s DO THE RIGHT THING, is utilized effectively as Deadshot pulls the trigger and the bullet chamber turns over from ‘Hate’ to ‘Love’—a reflection of his choice to uphold righteous values over selfish desires. John Carpenter’s THE THING comes to mind as the unsuspecting physician attempts chest compressions on the soon to be possessed man who becomes Enchantress’ brother, Incubus, and ends up being eaten alive instead. Enchantress, with her booming voice and brightly lit magical powers, conjures the GHOSTBUSTERS vibe to the point where you expect Zuul to join the party and demand to speak with a god.
The Joker is not without his deliberate movie references as he channels James Cagney with his scary smooth delivery, and Klaus Kinski’s Nosferatu performance with the off distance, sunken eyed stare that mirrors his monstrosity while he stink eye’s Common watching Harley at the club. Some are finding it difficult to embrace this flashy new version of The Joker, but as a modern day adaptation whose traded dealings with the mafia for associations with pimps, this ‘gangster’ turned ‘gangsta’ portrayal is a successful reflection of contemporary street crime.
But where would this variant on the Joker be without his queen of calamity, Harley Quinn? The chemistry between this match-made in hell is hot and heavy, and clearly calls upon the fiery passions of tween viewers as they plot their next Joker/Harley fan fiction. She has tamed the most unattainable man to do anything for her as he literally growls with a ferocious desire that can hardly be contained. He’s viscerally drawn to her in a way that changes him, even influencing a total wardrobe alter ego as he goes from baller to beau in anticipation of their reunion. In her absence he mourns with a violent, chaotic shrine, tears staining his dulled face as he searches for her whereabouts. It’s a romance that is meant to intoxicate us as much as it does them.
But elements of this tainted love have been woefully removed from the theatrical release, and the overall character arch of both the Joker and Harley is jeopardized in the process. The film offers up some iconic imagery such as the Alex Ross’ Harley Jester / Suited Joker dance and the aerially dynamic Harley hanging aromatics during her escape scene, but their relationship has been narrowed down to a very specific highlight reel that overshadows their most important psychological turmoil. In SUICIDE SQUAD, Harley & Joker are slaves to their sick love, which ultimately enables their mental madness and harmful co-dependency on each other. Joker sees a beautiful, intelligent, logical, accomplished woman, and becomes obsessed with breaking her spirit to transform her into a demented, conflicted villainess hellion. A recent post reveals the deleted scenes throughout the film, and unfortunately all of the post-Dr. Quinzel relationship conflict was left on the cutting room floor.
Deleted Scenes Revealed!!!!: http://comicbook.com/dc/2016/08/06/suicide-squad-rumored-list-of-deleted-scenes-revealed/
Despite being self aware of her just “another textbook socio-path” state of mind, Harley Quinn is loyal to the Joker with deadly devotion. In other versions of the character, it gets her seriously injured as he delivers copious physical and emotional violence towards her despite constantly throwing herself at his feet. Here in SUICIDE SQUAD, Harley apparently was meant to have several verbal altercations with her lover, and it supposedly would sow the seed of a future storyline where she separates herself from him. As she finds companionship with the members of the squad, it becomes apparent that she’s just as strong, fearless and thoughtful as she ever is with the Joker, and a sense of independence shines through. Feeding off the controlling manipulated nature of their relationship, the Joker can’t stand for any decisions being made independently from him, and he and Harley become at odds. Despite the utter importance of this facet of the character’s backstories, alas such an abusive depiction of one of the most famous couples in fictional history would not be a moral stance to advertise to the youth market, but more to the point wouldn’t sell as hotly.
Even though this omission is aggravating, there are still some nice touches Warner Brothers has included. Harley’s enchanted vision sequence is a testament to what’s at the core of her Joker fantasy. Although she mocks Diablo for wanting a life of little league and car payments, it’s actually what she longs for the most and how she ultimately sees the Joker in her dreams. The velour tracksuit, hair rollers, cherub children, classical music with diamond rings and roses—it’s the quintessential housewife mentality where the doting husband dons a perfectly pressed suit and everything is clean and serene. And yet, it couldn’t be further from reality. However, as the joker writhes with joyous laughter in the center of his depression circle of objects as Harley’s location has been discovered, several baby onesies are splayed out as part of his Harley tribute and its unclear if perhaps the joker shares her idea of children or not.
The colors that make up Harley’s appearance come from the dissolved dye seeping off her blue blouse and his maroon shirt as they both dive into the chemical vat. The blue and pink that now act as her color scheme swirls around their entwined bodies, enveloping them in a heart shape, one side made up from each color to make a whole. It’s a symbol of their relationship that she not only carries around with her, but also has now become her identity represented as the two of them becoming one cohesive yet contrasting persona. An intriguing comparison is made between this and the car chase arrest sequence as both the Joker and Batman dive in to retrieve Harley. An exact mirror image of one another, both men enter in frame at the same top right to bottom left angle. Yet, sadly it’s really Batman who is trying to save her, as the Joker prevents her death in lieu of a life of damnation. Of course Harley thanks Batman’s brutal chivalry with a sneaky kiss.
The Joker may only have eyes for Harley, but the homoerotism has not been lost in SUICIDE SQUAD as he mounts the lap of head hauncho of the mental compound, and Griggs seems to almost enjoy the attention. Ike Barinholtz, a comedic goldmine of an actor is well known for his skeezy feau-slickness and taps hard into that for his role as Griggs, adding some understated laughs to the film outside the more crafted comedy from the main cast.
While the movie falters in tone, there is emotional resonance that truly sells the character’s inter-relationships and backstories to create a responsive narrative to latch onto. Viola Davis absolutely nails the ruthlessly tunnel vision determined Amanda “The Wall” Waller who is arguably the most badass gansta of them all. Without even going into her history, she emotes the tribulations she’s endured without us having to be told exactly that they were. It’s apparent she’s fought hard to get power she has, and she’s had to play the game that much harder as a commanding black woman trying to dominate the political system. Her bedroom is dressed to tell a story, that she’s not living in a lavish mansion, but rather a modest room, which would look normal if not for the piles of takeout, towers of soda cans, and post its on the mirror reminiscent to the obsessed late nights of a deranged homicide detective. Sleeping in a partially unmade bed with the case containing the witch’s heart in arms reach calls upon the overly paranoid lifestyle of a mobster fearing his own whacking. She’s an unstoppable force to be reckoned with, and questionably just as amoral as those she locks up for life.
There’s a justification for her actions, as she believes it’s necessary to manipulate who she needs for what she needs in the name of public safety against the meta-humans. This means wrangling a group of known psychopaths and criminals to perform tasks at will, deceiving order abiding solders into fake operatives and murdering an entire control center’s staff. When she gives the group their mission, it’s to retrieve the “only person in this city that matters,” and of course it’s her she’s referring to. The woman’s got balls, and she’s not afraid to use them to crush her opponents. But where is the line drawn between her reactionary response to Superman and say Luthor’s plan to weaponize kryptonite? The fear of fear causes powerful people to react violently, selfishly and without hesitation.
SUICIDE SQUAD isn’t what many people were hoping for or expecting. The erratic editing is as artfully adolescent as a TWILIGHT movie and the film no doubt falls prey to a once again doubting studio afraid of meany critics and fanatic fans. It would do some good for the next DC installment to take a more auteur approach of confidence in their craft. These lively anti-heroes deserve an unwavering platform for which to express their true selves in all their grim and glory. They’re ugly and damaged and deeply flawed lost souls, never intended to be a role models to the youth of tomorrow. They’re supervillains, not superheroes. Some are throwing shade at the racism, sexism and notable mischief managed by these ruthless roughians, but they seem to forget one crucial factor in all this: “We’re bad guys, it’s what we do.”
Meanwhile, the Joker lives beyond the screen:
https://www.thrillist.com/entertainment/nation/jared-leto-suicide-squad-joker-pranks-margot-robbie-will-smith
READ MORE OF NADIA'S REVIEWS ON 1931PRODUCTIONS.COM
More deleted production stills: