Suicide Squad (2016) Film Review

Well, here we are again! Another highly-anticipated DC movie that had a somewhat impressive marketing campaign (strongly highlighted by its sudden tonal shift in early 2016, which later reports suggest lead to numerous reshoots and a new edit) which has now been remarked with mostly negative criticisms – in turn leading to yet another fans v critics scenario (subtle plug to my article here). With the film aiming to be a darker villain-based interpretation of Guardians of the Galaxy; features such popular characters as the Joker (now played by Jared Leto, following an unforgettable performance from the late Heath Ledger), Harley Quinn (Margot Robbie) and Amanda Waller (Viola Davis), and is coming out during a period where there's little competition, you can easily expect a big box opening reception... but with poisonous aspects like Jai Courtney and the current state of the DC brand – not to mention the numerous reports that have come out since production began – one begs the question of whether the film itself is a Suicide Squad for the DC properties or if it's a big win for the bad guys. 

Shortly after the recent death of Superman, intelligence operative and supposed expert in meta-humans Amanda Waller comes up with an idea for a government-run group of villains being made to assist if massive threats were to come of the world. With a file full of potential incriminated members, and a semi-ally in the form of Dr. June Moone (Cara Delevingne) and her alter ego the Enchantress – helping only because her heart is in Waller's guard – she gains permission to use these superhumans for their own purpose for the exchange of time off their sentences and other perks. These people include Deadshot (Will Smith as Hawkeye with guns); Harley Quinn (essentially a female Joker); El Diablo (a fiery Jay Hernandez); Captain Boomerang (the overly crass Courtney); Killer Croc (a reptilian Adewale Akinnuoye-Agbaje), and Slipknot (Adam Beach's assassin) - all kept under control when out on the field by Rick Flagg (Joel Kinnaman) and his protector Katana (Karen Fukuhara) whilst all have small bomb-like devices implanted into their heads. And when a situation involving the Enchantress and her brother the Adversary creates panic in Midway City and an army of faceless soldiers, the self-titled Suicide Squad must put any petty problems with the situation aside to assist the army; all while Harley's puddin' the Joker searches for his missing gal. 

If there's one thing evident about Suicide Squad, it's that it's problematic. With an opening 20-30 minutes devoted to origin story upon origin story (complete with god-knows how many playlist changes that feel incredibly jarring), the remaining 90 minutes goes by at a slow pace despite numerous repeated fight sequences, editing faults and occasionally witty dialogue. Within the lines lies a darker and more serious tale with plenty of character for the likes of Smith, Robbie, and Hernandez, but with the film's brightly-coloured credits and the heavy emphasis on "fun" comes a film that can't decide whether it wants to be Batman V Superman or Guardians of the Galaxy. With its plot starting to feel slightly repetitive in a summer filled with giant portals in the sky (thanks TMNT 2 and Ghostbusters) and with countless moments of "wait, what?" littered across the whole film, it begs the question as to enjoyment can be fully had when the screenwriters can't decide whether the audience should be having an action-packed thrill ride or a dour character piece that just so happens to have a reptile-human hybrid in the main team – and none of this is helped by the Joker subplot, which has little place in the overarching story other than introducing the character in this new universe of movies and adding a small tidbit more for Harley to do. 

And poor Margot Robbie. Despite giving off a strong performance and receiving of plenty classic homages to her character's appearances, director David Ayer has the audacity to fixate largely on her figure rather than her character. Ass shots and bra imagery a-plenty, the camera observes through and around her to the point where one cannot decipher whether or not he's doing it for the fanboy's sake or his own perverted appreciation. Robbie is thankfully showing signs of having fun as the maniacal Quinn, and despite the shortened origin story is perhaps given the best treatment regardless of her looks. Will Smith is given the typical "do anything for his daughter" arc that includes a sudden visual of him looking through a store window (a sequence that feels out of place overall despite the Quinn-handbag moment seen in the trailers), but rekindles his excellent chemistry with Robbie following last year's Focus; Viola Davis is menacing as the stern-faced Waller but does turn into a waste by the time the third act rolls in; Joel Kinnaman proves that his robotic performance in RoboCop was not a decision he made himself and rather his own skill set as an actor; Jai Courtney is at his best as a drunk Australian, but is occasionally barely distinguishable with his line delivery; Jay Hernandez is arguably the best in show as the former gangbanger and reluctant fighter – given proper insight into his psyche; Adewale Akinnuoye-Agbaje is surprisingly underused for a make-up heavy creation that seems ripe for proper focus; Karen Fukuhara is barely noteworthy against the interesting character that lies within; Adam Beach is barely there; Jared Leto makes for a potentially interesting Joker that sadly gets so little screen time that it's hard to really make a proper judgement of.  

And then there's Cara Delevingne. In spite of her early costume design, intriguing character, and interesting abilities, her entire being is almost painful in execution. Her role as villain of the piece is spurred by such a flimsy arrangement that it's more of a surprise she didn't get on with it before a team of good guy/bad guys was even conceived, whilst having her brother be some stranger (Alain Chanoine) in a subway bathroom comes out of nowhere and the final battle being a mix of the middle of Avengers: Age of Ultron and the climax of X-Men Origins: Wolverine is agonisingly disappointing – altogether linked by a casting that doesn't sit right with the rest of this universe's more realistic motif; Delevingne is far too young to be a full-blown doctor (wasn't she a teenager in Paper Towns just last year?). 

Amongst all this is a dark colour palette and a visual feel that, while feels right at home in the world of DC superheroes, is clearly not sitting well with the more light-hearted themes the film attempts to push in there. And with the CG being only okay (the soldiers are thankfully well-designed) and the camera work mediocre, the only thing worth really noting is the mismanaged editing – Quinn teleporting into a moving elevator and meeting the very people she just waved bye to a minute ago at the top; an entire sequence involving the Joker and a helicopter; Waller's purpose in the third act; the entire montage of villain origins... it's all so messy that it's hard to refute the claims of heavy reshoots. 

Suicide Squad is unfortunately yet another failed attempt at the superhero game by Warner Brothers. With a mismanaged tone, underdeveloped characters, and a strange fixation on Margot Robbie's behind, what should have been proof that the studio has an understanding of the characters and the world they live in instead feels like a poorly managed attempt at merging the feel of DC and Marvel movies while taking the worst aspects of both. But it's strange: Batman V Superman: Dawn of Justice may have left people depressed because of how they presented an idea so many wanted to see, Suicide Squad instead disappoints because in the wings lies actual potential – potential that can't fully bloom despite the good will occasionally there. 4/10.