On paper Suicide Squad sounds a dream. Talented cast? Tick. Capable director? Check. Tried and tested Box Office formula? Should be. It was meant to be really good. Since its release last Thursday we’ve quickly come to learn that it’s actually not as good as we had hoped. It is fun though; the type of fun that Tim Burton’s Batman achieved, the so-bad-it’s-good type that we like to loathe. Suicide Squad is far from loathsome but it’s even further from the cinematic perfection that its audience were promised.
In hindsight the film’s woes began with its overwrought marketing campaign. Too many trailers, too much teasing – it made us look forward to a feature we weren’t delivered. We were promised bad guys forced to do good and we expected Christopher Nolan style grit, but grittier. David Ayer seemed a good choice as director, too. He wrote Training Day, directed Fury, and now was his opportunity to turn comic book antiheroes into cinema’s favourite foes, and he scratches the surface but never attains the greatness he strives for.
The film is driven by an almost constant soundtrack made up of everything from Eminem to Queen and if you are wondering whether the pair should be put together in the same movie, the answer would be no. At times the score is completely effective in setting a particular tone, but more often than not it’s misjudged and poorly timed. Dialogue is written with any lack of realism and the comic book cliches are clear and present. Ayer directs and writes with such force in other instances, even if they aren’t as appreciated as they should be, but as a director o
f the DC universe he seems to become a filmmaker without a clear vision.
Thus far the main criticism has been aimed at the clunky nature of the narrative, and the whole run time is a series of episodic scenes that don’t fit together as seamlessly as they could. Predominately set over just one night, there’s potential for a flowing plot-line but it gives way to scene after scene of badly-shot action that doesn’t hold our focus. The finale isn’t easy on the eyes and the main villain (who is only really given real screen time at this point) looks a lot like he belongs in The Cabin in the Woods – only it worked there and it doesn’t here.
It’s not all bad though. The ensemble cast works well together and Margot Robbie, Jared Leto and Jai Courtney are fantastic. Viola Davis is on form, as always, as the sinister government official who is keen to let the bad-guys do her bidding. Leto isn’t featured as much as he should be, but he’s electric as a mob-style Joker who seems to be running a successful criminal empire. For the first time we see the cult foe in love, and it’s a sub-plot that is both intriguing and rather concerning as we see him plunge into an acid bath with his partner-in-crime Harley Quinn. He’s her Puddin’. Robbie is sensational as his female counterpart; she’s cheeky and alluring, yet vulnerable as she quietly portrays emotion, successfully sparking a reaction. There’s a whole Joker/Harley backstory that is captivating in itself and with a little more development it could have been a stellar addition to the narrative. It’s the same for any of the Squad’s stories, the timeline of their imprisonments and abilities are mentioned but never fully acknowledged which would do to lift the story tenfold if time were taken to get to grips with our meta-humans.
Despite its flaws, of which there are too many to state here, Suicide Squad still holds its audience. We rant about how disappointed we are, yet most of us want to run back to the cinema to see it again. There’s a definite style to the antihero flick, David Ayer just isn’t sure what he wants that style to be. Some moments are unintentionally funny, and others are cool as hell, but as one flowing piece of cinema it just doesn’t work. Yet, I want for more.
One thing is for certain: Suicide Squad is entirely captivating, even if it’s for the wrong reasons.