What a time we live in, where a sequel can differentiate itself from its predecessor with the word “the.”
The Suicide Squad is the sort of sequel/almost a reboot of 2016’s Suicide Squad, one of the most disliked movies in the DC Extended Universe. Most people are referring to 2021’s The Suicide Squad as a “standalone sequel” in that it shares some characters and the basic premise of the first film, but is otherwise disconnected from it, similar to the recent Space Jam sequel. In regards to The Suicide Squad, it may be better described as an “embarrassed sequel” given that it actually does share direct continuity with the 2016 film, even though it wants nothing to do with it.
I understand the intent. Given the reception to the 2016 original, it makes sense that the 2021 film would want to distance itself from it. But this also just makes the DCEU an even more fragmented mess than it already is. We are, after all, talking about a franchise that’s trying (quite desperately) to replicate the shared continuity of the Marvel Cinematic Universe, but has seemingly dropped the ball at every opportunity to make a connected narrative between its movies. Man of Steel was originally just a Superman movie, but then Warner Bros. saw the success Marvel was having, and retconned Man of Steel into the first part of their shared universe, and its would-be sequel was mutated into Batman V. Superman: Dawn of Justice (which also featured Wonder Woman). This is a series in which Batman exists but, since Ben Affleck lost interest, just doesn’t show up anymore, and the upcoming film The Batman (there’s that “the” again) has lost all connections to the DCEU during its production. This is the movie universe of DC comics, and yet the Joker has become nothing more than a name whispered by other characters ever since Suicide Squad, and the 2019 movie Joker had nothing to do with the DCEU version of the villain (I’m sensing a theme here). And now we have a sequel to Suicide Squad that feels like it wants nothing to do with Suicide Squad, with that “the” in the title indicating they want to start over, instead of continue from where they left off with a Suicide Squad 2.
My point being that DC and Warner Bros. should either scrap the DCEU and just focus on the individual films, or actually care about continuity and cohesiveness. The DCEU is so full of starts and stops that it makes the Star Wars sequel trilogy look like it had a coherent narrative thread.
Against all odds, the DCEU has managed to produce a few good standalone movies (Wonder Woman and Shazam! come to mind), so even if The Suicide Squad does no favors for the greater DCEU, it still has a chance to stand on its own two feet. After all, it’s helmed by James Gunn, the director behind the Guardians of the Galaxy movies, with Gunn being given this gig during the interim of his firing and re-hiring by Disney (DC was all too happy to pick up what Marvel discarded).
It seems like the whole controversy of Gunn’s firing from Disney and Marvel has strangely lionized the director, whom people now talk about like some kind of creative visionary (Guardians of the Galaxy may be one of the best MCU movies, but I think that’s due to a number of factors – not least of which being the characters Marvel themselves created – as opposed to some auteurship on Gunn’s part). And I feel that has played a large part in the acclaim that The Suicide Squad has received. It is admittedly an improvement over the 2016 Suicide Squad film, and a good number of the DCEU movies for that matter. But that isn’t exactly a high hurdle to jump, now is it?
The truth is that The Suicide Squad is just kind of okay. It provides some fun moments while you’re watching it, but you may forget all about it as soon as it’s over. The whole “misfit superhero team” sub-genre has been done so many times now, that it’s more or less indistinguishable from “proper” superhero movies by this point (1999’s Mystery Men pioneered this trend, and that was years before superhero movies became the omni-genre they are today). So unless you consider excessive violence as original, The Suicide Squad doesn’t exactly introduce anything new to the proceedings.
One of the returning characters from the 2016 film is Amanda Waller (Viola Davis), the corrupt government official who operates “Task Force X” (or the titular “Suicide Squad”), a disposable task force comprised of gifted criminals and convicts. Each member of the squad is implanted with an explosive device, should they go against orders, leaving them at Waller’s beck and call.
The story here is that the nation of Corto Maltese has been overtaken by an anti-American regime. Corto Maltese happens to house an old laboratory called Jötunheim, which is the source of an extraterrestrial experiment dubbed “Project Starfish.” So Waller sends in the Suicide Squad on a mission to destroy Jötunheim before Project Starfish can fall into the new regime’s hands.
Well, in actuality, Waller sends in two Suicide Squads. The first group includes returning characters Harley Quinn (Margot Robbie), Rick Flag (Joel Kinnaman) and Captain Boomerang (Jai Courtney). It turns out this Suicide Squad is intended to live up to its name, and simply serve as a distraction as its members are brutally killed one by one (except for Harley and Rick Flag, of course. The former being taken prisoner and the latter being found by rebel soldiers. Captain Boomerang dies unceremoniously though, so if you happened to be one of the few people who liked the first Suicide Squad movie, screw you I guess). I don’t know why three characters who helped saved the world in the 2016 film were considered so expendable by Waller, but I guess this was supposed to be a bait-and-switch and subvert the audience’s expectations (the doomed team also consists of actors Nathan Fillion and Guardians of the Galaxy’s own Michael Rooker in a further attempt to throw us off). But all it really ends up doing is steal a joke from Deadpool 2.
Anyway, with the terrorist regime believing they completely disposed of Task Force X, the real Suicide Squad can enter the nation undetected to continue their mission. This team is captained by Robert DuBois/Bloodsport (portrayed by Knuckles himself, Idris Elba), a mercenary who is a perfect marksman. Basically, he’s Deadshot from the first movie (he even has a similar backstory with a daughter he desperately wishes he could take proper care of). In fact, he WAS going to be Deadshot, with Elba initially being recast in the role as Will Smith had a scheduling conflict. But since the studio (wisely) wanted to leave the door open for Smith to return, they just swapped the character name and called it a day. While that does seem a bit halfhearted, it does make me want to see a Deadshot meets Bloodsport movie down the road.
The other members of Bloodsport’s squad include Cleo Caza/Ratchatcher 2 (Daniela Melchior), a woman who can command rats, an ability passed down by her father (Ratchatcher 1, of course). Christopher Smith/Peacemaker (John Cena), a jingoistic mercenary with similar abilities to Bloodsport (that makes three). Abner Krill/Polka-Dot Man (David Dastmalchian), a man who throws destructive polka-dots. Finally, Nanaue/King Shark (voiced by Sylvester Stallone), is a half-man, half-shark who is dimwitted but seemingly indestructible.
Most of the film is comprised of the group’s misadventures through Corto Maltese: how they end up allied with the nation’s rebels, become reunited with Harley Quinn and Rick Flag, and the many bloody battles that ensue between them and the regime’s forces.
One thing the film does really well is representing each character that comprises its oddball team. The 2016 Suicide Squad movie gave something of an effort to make each member of its team feel important, even if it was ultimately a showcase for Deadshot and Harley Quinn. Birds of Prey didn’t even give a damn about its titular group, and focused so heavily on Quinn I wonder why they even bothered making it a Birds of Prey movie. But here, each member of the main Suicide Squad gets a distinct personality, backstory, and moments to make you care about who they are (even Pola-Dot Man, albeit the running joke of his hatred towards his mother becomes a bit one-note after a while).
Further praise has to go to the cast who help bring these characters to life. While they all deserve credit, particular praise goes to Elba, Robbie, Cena, and Melchior: Despite the glaring similarities between Bloodsport and predecessor Deadshot, Idris Elba’s performance is what really separates him from Will Smith’s character (Smith put Deadshot’s more human side front and center, but kept the ruthless villain aspect at the ready for when it was necessary, whereas Elba does something of the opposite with Bloodsport). Margot Robbie’s Harley Quinn feels like she’s had a proper growth from her previous appearances. Cena makes Peacemaker simultaneously dead serious and comically naive. And Melchior gives Cleo/Ratcatcher a sensitivity that makes the character the heart of the film.
On the downside of things, I find myself having trouble remembering the finer details of the main plot and the action scenes that take us from one point to the next. Said action scenes are really more about the violence than they are any kind of structure, which leaves them all kind of blurring together (though there is a fun scene where Bloodsport and Peacemaker find new ways to one-up each other with how they take out their targets). There’s a lot of faces being blown off, dudes getting ripped in half, and people being otherwise crushed, splattered and eaten. The violence certainly separates the action scenes here from those of the 2016 film, though I wouldn’t say that the action is any better than what was in that film, either.
James Gunn seems to revel in this splatterhouse approach. And with the film’s R rating, I’m sure many would argue that The Suicide Squad has allowed the filmmaker to take the gloves off, and go crazy in a way he never could with Marvel’s PG-13 limits. But I think, if we compare this film to Guardians of the Galaxy, it’s a good example of limitations opening the door to creativity. The first Guardians of the Galaxy was released back in 2014, and I can still remember the big action-filled moments, because they had a sense of structure to them. The Suicide Squad barely came out, and I can’t really remember the details of the action scenes. They’re all just kind of a blood-soaked blur. This gratuitous violence may work for B-movie shlock horror, but it doesn’t make for very fun or memorable super hero action.
I know I’m supposed to view something like The Suicide Squad as some kind of subversion of the superhero genre. That it’s supposedly upending the genre’s rules and conventions, and holding a big middle finger to superhero norms. But this kind of attitude actually feels commonplace now. It would actually be more original these days to see an upfront superhero movie, with a competent main character who actively wants to do good, than it is to see another group of sarcastic, superpowered misfits and anti-heroes (is it really any surprise that Wonder Woman is still the most acclaimed film in the DCEU?).
The Suicide Squad thinks itself some kind of rebel standing high above the crowd. In actuality, it’s just kind of standing somewhere in the middle of it.
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