The Suicide Squad review

For F*** Magazine

Director: James Gunn
Cast : Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Sylvester Stallone, Viola Davis, Jai Courtney, Peter Capaldi, David Dastmalchian, Daniela Melchior, Sean Gunn
Genre: Action/Adventure
Run Time : 132 min
Opens : 5 August 2021
Rating : M18

In 2016, Warner Bros. released the third entry in the DC Extended Universe (DCEU): Suicide Squad. While that film was a commercial success, it did not fare too well with critics and many fans. Five years later, we get a standalone sequel that reuses certain actors/characters from the first film, but otherwise has nothing to do with it, with the hope that second time’s the charm. 

A military coup has occurred on the island nation of Corto Maltese, off the coast of South America. Corto Maltese is home to the Jotunheim research facility, which houses something known only as “Project Starfish”. Fearing that the military regime could unleash Project Starfish against Americans, intelligence agency director Amanda Waller (Viola Davis) assembles Task Force X to infiltrate Corto Maltese. Led by Colonel Rick Flag (Joel Kinnaman), the squad comprises Harleen Quinzel/Harley Quinn (Margot Robbie), Bloodsport/Robert Du Bois (Idris Elba), Christopher Smith/Peacemaker (John Cena), Nanaue/King Shark (Sylvester Stallone), Cleo Cazo/Ratcatcher II (Daniela Melchior) and Abner Krill/Polka Dot Man (David Dastmalchian). Their mission is to track down Gaius Grieves/The Thinker (Peter Capaldi), an evil geneticist who oversees Project Starfish. With their idiosyncratic personalities and unorthodox abilities, the team must work together and stay on mission, lest Waller detonate the bomb implanted in each of their necks.

At its best, The Suicide Squad captures the tone of its source material, bringing it to big screen life. Writer-director James Gunn understands the assignment perfectly, crafting something chaotic, violent, funny, entertaining, and even a little heart-warming. Drawing inspiration from 80s military action films like Predator and Commando, The Suicide Squad’s central mission is well defined, which is more than can be said of its predecessor’s plot. The film is cast well, and the characters are all used in interesting ways. While the Marvel Cinematic Universe is much more internally consistent and better managed than the DCEU, it is highly unlikely that a big-budget R-rated movie would be released as part of that franchise – at least until they figure out how to integrate Deadpool into the MCU.

All the chaos and anarchy on display can sometimes feel like eating too much candy. The movie also sometimes comes off as too mean-spirited, trading in shock humour that can fall ever so slightly on the wrong side of bad taste. There’s a sequence in which our heroes unwittingly murder a village of innocent people, and Gunn seems to have it out for birds, with more than one sequence involving violence on birds. While the film handles its large cast better than a lot of other ensemble comic book movies do, there still are times when it feels spread a bit too thin. 

The circumstances surrounding Gunn’s hiring are slightly complicated, but it all worked out for him in the end. Riding high on the two Guardians of the Galaxy films, Gunn was fired from the third after old distasteful jokes of his were unearthed. The competition then scooped him up, offering Gunn any project he wanted. It only makes sense, since the first Suicide Squad movie was obviously a reaction to the success of the first Guardians of the Galaxy movie. Then, Gunn was re-hired by Marvel, meaning he would make both The Suicide Squad and Guardians of the Galaxy Vol. 3. Gunn comes from the Troma world, meaning his stock in trade is low-budget, gory horror-comedy. Like Sam Raimi and Peter Jackson before him, Gunn has gone from schlock to blockbusters, but has never really forgotten his roots – Troma boss Lloyd Kaufman makes a cameo in this movie, as he has in several of Gunn’s earlier films. Gunn displays an affection for and understanding of the source material, and works well with his talent, bringing wonderful performances out of the cast.

The premise of the Suicide Squad as re-imagined by comics writer John Ostrander (who makes a cameo in this movie) is that each line-up is comprised of expendable, C-list-or-lower villains. Gunn embraces this, claiming that Polka Dot Man’s inclusion in the film is the result of him Googling “who is the dumbest super villain of all time?”

Robbie continues to be an amazing Harley Quinn, with this movie showcasing her at her most violent. Elba cuts a heroic figure and is an undeniable presence onscreen. He was initially cast to replace Will Smith as Deadshot, but the character was rewritten into Bloodsport should Smith eventually choose to return. Viola Davis as Amanda Waller was arguably the best casting in the first movie, and she remains a force to be reckoned with here, even if most of her scenes are confined to a control room.

Cena portrays both excellent comic timing and brutish physicality as Peacemaker, a character who has decided that the path to peace is to kill everyone, because then there will be nobody to wage war. King Shark is imagined as loveable but intimidating, with Stallone’s voice fitting this design perfectly. Melchior is, unexpectedly, the heart of the film, with Ratcatcher II emerging as the most sympathetic and loveable character. David Dastmalchian, who has portrayed many a creepy character onscreen, is wonderfully unhinged as Polka Dot Man. It’s an A+ lineup of C-list-or-lower characters.

Summary: An ideal marriage of filmmaker and source material, The Suicide Squad is the messy, gory fun that fans have always wanted. This is a great example of what happens when a studio just lets a filmmaker do what they do best. James Gunn takes what he learned making the Guardians of the Galaxy films and ramps up the chaos, violence and anarchy. There are times when The Suicide Squad leaves a bit of a sour taste in one’s mouth, but for the most part, it makes fantastic use of its premise and characters. 

RATING: 4 out of 5 Stars

Jedd Jong

Widows review

WIDOWS

Director : Steve McQueen
Cast : Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Liam Neeson, Colin Farrell, Robert Duvall, Brian Tyree Henry, Daniel Kaluuya, Garrett Dillahunt, Carrie Coon, Lukas Haas, Jon Bernthal, Manuel Garcia-Rulfo, Coburn Goss
Genre : Drama/Thriller
Run Time : 129 mins
Opens : 6 December 2018
Rating : M18

This summer movie season brought us the glittery fun of Ocean’s Eight, but now it’s time for a much more serious take on the female-led heist movie concept in the form of Widows.

Harry Rawlings (Liam Neeson) is a thief who has never put a foot wrong, until one fateful night when he and his crew comprising Florek (Jon Bernthal), Carlos (Manuel Garcia-Rulfo) and Jimmy (Coburn Goss) are killed during a botched job. Harry and his team were stealing $2 million from crime boss Jamal Manning (Brian Tyree Henry), who is running for alderman of the 18th precinct of Chicago. Jamal’s opponent is Jack Mulligan (Colin Farrell), who hails from a political dynasty including his father, former alderman Tom (Robert Duvall), with whom he has a contentious relationship.

Harry’s widow Veronica (Viola Davis) is threatened by Jamal and his enforcer brother Jatemme (Daniel Kaluuya), who want Harry’s debt to them repaid. Veronica decides to undertake Harry’s next job, for which he kept detailed plans in his notebook. Veronica ropes in Alice (Elizabeth Debicki) and Linda (Michelle Rodriguez), leaving the fourth widow Amanda (Carrie Coon) out of the plan because she has a new-born child. Belle (Cynthia Erivo), a hairstylist and part-time babysitter hired by Linda, steps in. Together, the four women must pull off a high-stakes heist that finds them embroiled in a dicey conspiracy involving the city’s powerful politicians and mobsters.

Widows is based on the 1983 ITV miniseries of the same name, and marks Steve McQueen’s first film as director since 2013’s 12 Years a Slave. McQueen co-wrote the screenplay with Gillian Flynn of Gone Girl fame. Widows has plenty of pedigree in front of and behind the camera and is a bit of an odd beast because at first glance, it sounds like the kind of plot one might find in a direct-to-DVD action movie. One could imagine a much cheaper, more sloppily-made version of Widows being something to watch on a lazy Sunday afternoon.

For better and worse, Widows is not that movie. The story is layered with political commentary and does have the sometimes-odd feel of a crime thriller imbued with prestige movie filmmaking. There is a meticulousness to the world-building and how each character’s specific circumstances are established, but this is also a movie that seems to want to tell a story beyond the confines of the genre. That’s not to say that an action thriller can’t be deep or tackle topical issues, but Widows’ approach sometimes calls attention to itself, pulling the viewer out of what could’ve been an intensely engaging story. It’s not the most obvious comparison, but this reviewer was reminded of Ben Affleck’s The Town, also a crime thriller in which the protagonists are thieves, and also a movie about the desperation brought on by socioeconomic inequality in American cities.

The performances are strong across the board, with Viola Davis showcasing the strength and no-nonsense demeanour seen in many of her characters. We see Veronica in her vulnerable moments, but we also witness the full effect of her steely resolve. She is not out to befriend her co-conspirators and is business-like and harsh in her interactions with the other widows, who all need comfort and a listening ear to varying degrees.

Debicki is the standout among the rest of the cast, portraying a character who comes off as just a dumb blonde at first, but who is to be underestimated at one’s peril. A subplot involves Alice’s reluctant ‘sugar daddy’ arrangement with real estate developer David (Lukas Haas). There’s a lot more going on with the character than one realises at first, which gives Debicki quite a bit to play with.

Erivo is an entertaining badass and Rodriguez gets to play a few more notes than the typical ‘tough chick’ she gets typecast as. Colin Farrell and Brian Tyree Henry play warring politicians, both crooked in their own ways. When the film wades into political thriller territory, it loses a bit of the intimacy and urgency that it has when we’re with the widows themselves.

Kaluuya is a brilliant actor, but cast against type as a heavy, he can’t quite muster up what it takes to be truly intimidating. The always-dependable Neeson is used judiciously, making the most of his limited screen time.

Robert Duvall and Colin Farrell make for an entertaining double act as father-and-son politicians at each other’s throats, but their subplots mostly feel like a distraction from the main plot.

There’s also the most adorable dog, a West Highland Terrier named Olivia whom moviegoers might recognise from Game Night. Olivia is up against Academy Award winners and nominees, but handily steals the show.

The violence depicted in the film has impact, and there are many moments that jolt the viewer out of sitting too comfortably in their cinema seat. There are smatterings of comedy which give the audience a reprieve from the overall seriousness of the film, but some of these moments are a little awkward. There is a strategy to how information and back-story details are parcelled out to the audience, and there is merit in McQueen’s approach of a crime movie that offers more than just mindless action. However, the film’s centre often threatens to buckle, and Widows adds up to slightly less than the sum of its parts.

RATING: 3.5 out of 5 Stars

Jedd Jong

Suicide Squad

For F*** Magazine

SUICIDE SQUAD

Director : David Ayer
Cast : Will Smith, Margot Robbie, Jared Leto, Joel Kinnaman, Viola Davis, Jai Courtney, Karen Fukuhara, Adewale Akinnouye-Agbaje, Cara Delevingne, Jay Hernandez, Adam Beach, Ben Affleck
Genre : Action/Adventure
Run Time : 2 hrs 3 mins
Opens : 4 August 2016
Rating : PG13 (Some Violence)

Suicide Squad posterThe heroes of the DC Extended Universe (DCEU) have been pretty sullen thus far, so here we get to know if bad guys really have more fun (spoiler: they do). Government official Amanda Waller (Davis) assembles ‘Task Force X’, a covert team of supervillains coerced into doing her dirty work. On the roster are hitman Deadshot/Floyd Lawton (Smith), the unhinged ex-psychiatrist Harley Quinn/Harleen Quinzel (Robbie), cannibalistic beast Killer Croc/Waylon Jones (Akinnouye-Agbaje), Aussie bank robber Captain Boomerang/Digger Harkness (Courtney), pyrokinetic gangster El Diablo/Chato Santana (Hernandez), assassin Slipknot/Christopher Weiss (Beach) and the possessed archaeologist Enchantress/June Moone (Delevingne). Wrangling the team are elite operative Rick Flag (Kinnaman) and swordswoman Katana/Tatsu Yamashiro (Fukuhara). When a powerful mystical entity throws Midway City into chaos, Task Force X are sent in to mitigate the situation. Between the in-fighting, Waller’s machinations and the intervention of the Joker (Leto), the object of Harley’s affections, it will be anything but smooth sailing.

Suicide Squad group shot 1

This year’s Batman v Superman took quite the beating from critics and while many conceded that the extended Ultimate Edition was a massive improvement, the damage was done. The DCEU has a great deal of catching up to do, seeing as how Marvel continues to rule the roost at the cinemas. A Suicide Squad movie is a step in the right direction: it’s smaller than your typical superhero blockbuster so it won’t feel bloated, DC has a rich menagerie of villains to play with, and it won’t take itself too seriously. Writer-director David Ayer is an excellent get: he has a proven track record of grimy, street-level flicks carried by characters who wouldn’t normally be considered likeable. This is messy fun, akin to splashing about in mud. It’s not always pleasant, nor is it meant to be, but it’s enjoyable in its own way.

Suicide Squad Margot Robbie and Jared Leto

There’s plenty of dark comedy to be mined from the inherent dysfunction of the titular team, and while some of the jokes feel crowbarred in, the tone is generally appropriate for the material. The dialogue occasionally sounds like it’s trying too hard to sound tough, but the interplay within the team is engaging. At 123 minutes, it’s a smidgen too long, with multiple flashbacks required to fill the audience in on the backstories of our many characters. However, it scuttles along at a satisfactory pace and the action flies thick and fast. It’s far from the most aesthetically pleasing comic book film and it’s easy to see why several design choices (most having to do with Joker and Harley) have been decried by fans. However, there are moments that are visually exciting, and the lack of polish belies a healthy amount of visceral thrills.

Suicide Squad Will Smith and Joel Kinnaman

Ayer does a decent job of juggling quite a number of characters, by delineating which ones are worthy of exploration, and which ones just serve to fill a slot on the attendance sheet. The film retains the key component of Deadshot’s attachment to his daughter, and casting Will Smith means no matter how many times the character proclaims he’s a “bad guy”, we’ll have at a least a little sympathy for him. The emotional moments don’t work as well as they should, but Deadshot is appropriately quippy and cocky, with Smith’s charisma serving as a rallying point for the rest of the film. Does his star power pull one out of it? It turns out, not as much as you’d expect.

Suicide Squad Margot Robbie

Harley Quinn is a fan-favourite for many reasons, and when the character was reinvented during DC’s New 52 comics reboot, writer Adam Glass even received death threats. As such, Robbie’s performance won’t fit the ideal Harley in everyone’s heads, but this reviewer feels she displays a good understanding of the character, sprightly physicality and is immense fun to watch. Harley’s twisted joie de vivre is faithful to the source material, even if the outfit she sports for the bulk of the movie isn’t.

Suicide Squad Jared Leto

The Joker is wisely not overused. Leto’s on-set antics, including mailing a severed pig’s head to co-star Davis, raised a lot of eyebrows. He makes for a fine Joker who feels like he fits right into this particular cinematic universe, and it might sound silly, but this reviewer was thrilled to hear Harley call the Joker “Puddin’” and “Mistah J” on the big screen. It’s not as virtuosic a performance as the late Heath Ledger’s, but it fits the requirements of the story. Similarly, the way Batman is used in the narrative is just right – it’s not a sizeable part, but he does make an impact and provides connective tissue to the rest of the DCEU.

Suicide Squad Viola Davis

A key factor in making the audience buy the outlandish premise is by putting someone scary enough in charge, and Davis’ authoritative presence anchors Suicide Squad. Her Amanda Waller is nigh perfect, no-nonsense and manipulative without being one-note, and Davis’ gravitas is a force to be reckoned with. Kinnaman is probably a better fit for the straight arrow soldier than the originally-cast Tom Hardy would’ve been.

Suicide Squad Jai Courtney and Karen Fukuhara

Courtney is a hoot here – he may have had little success as a cookie cutter action hero, but as the crass Aussie thug, he’s right on the money. Hernandez provides a surprising amount of heart as the repentant former gangster, while Akinnuoye-Agbaje competently fills the role of burly big guy (Croc’s head just seems too big for his body). Alas, Delevingne isn’t convincing as an archaeologist or as an ancient witch. The central antagonist, whose identity we shan’t spoil, serves as a formidable physical and psychological threat to the Squad while not requiring too much characterisation, so we can focus on the team members themselves. It’s also convenient that the villain’s minions are faceless monsters, so they can get shot at and hacked apart in graphic fashion without breaking the PG-13 limit.

Suicide Squad group shot 2

Suicide Squad has its flaws, but the film scores a victory in not trying to ape the Marvel Studios formula. Like its central characters, it’s unpolished and rough around the edges. It’s spirited and entertaining without sacrificing too much of the graveness that has become DC’s calling card at the movies. The story is relatively easy to follow even for a neophyte, but fans will be rewarded with a couple of cool cameos and plenty of Easter Eggs, including a respectful nod to writer John Ostrander, who co-created the Suicide Squad team in the comics. Stick around for a mid-credits scene after the main-on-end titles.

Summary: It won’t please everyone, but Suicide Squad is an ideal marriage of director and comic book property. Jump on in and get messy.

RATING: 4 out of 5 Stars

Jedd Jong

 

Blackhat

For F*** Magazine

BLACKHAT 

Director : Michael Mann
Cast : Chris Hemsworth, Tang Wei, Wang Leehom, Viola Davis, Holt McCallany
Genre : Crime/Thriller
Run Time : 133 mins
Opens : 15 January 2015
Rating : NC-16 (Scene of intimacy and some coarse language)

Following the scandalous, crippling hack of Sony Pictures Entertainment, cybercrime is back at the forefront of public consciousness. Director Michael Mann brings us Blackhat, purporting itself to be a techno-thriller for a post-Snowden world. A cyber-attack sabotages a Chinese nuclear power plant, causing a catastrophic meltdown. Chinese cyber-security expert Captain Chen Dawai (Wang) concludes that in order to catch the perpetrator, Chinese and American authorities must call on the expertise of convicted hacker Nicholas Hathaway (Hemsworth). Chen, alongside his sister Lien (Tang) and FBI Special Agent Carol Barrett (Davis) cross the globe in pursuit of the cybercrime syndicate responsible, travelling from Chicago to Los Angeles to Hong Kong to Jakarta.

            Cybercrime, a globe-trotting hunt, a furloughed convict aiding the authorities, geopolitics – it all sounds pretty exciting. Therefore, it’s a shame that Blackhat ends up being pretty dull. It’s not a poorly-made film, just a boring one. Even with the requisite shootouts and chases, Blackhat never fully grabs hold of the audience. There are some surprises, even a few thrills, but each step forward in the plot feels merely perfunctory. Techno-thrillers are an interesting genre because those films often feel really dated really quickly and are mocked for their Hollywood-ised depiction of hacking – try sitting through Hackers or The Net with a straight face. It is after watching Blackhat that we realise a “realistic hacking movie” just isn’t all that entertaining a proposition, and this is something that should’ve been a foregone conclusion.

Hemsworth isn’t exactly believable as a hacker – we get that the film wants to step away from the image of the hoodie-clad teenager with thick coke-bottle glasses but Hemsworth never quite sells it. Part of the appeal of his portrayal of Thor in the Marvel Cinematic Universe is that he’s not the brightest of the Avengers, which only seems fair because he has, arguably, the most impressive physique. Call us insecure, but we refuse to believe anyone would have the brains to go with all that brawn.

            One thing the film has going for it is the Asian characters do not feel forced into the story in an obvious bid for international appeal *ahem*Transformers: Age of Extinction*ahem*. They are integral to the plot and are not depicted in a stereotypical manner. Wang Leehom acquits himself reasonably well and we’d be all for American audiences becoming familiar with his handsome mug. Tang Wei struggles more, her line delivery rather stilted. There’s a forced romantic subplot between her character and Chris Hemsworth’s, which feels all the more unnecessary because they have practically no chemistry together. Viola Davis is the same no-nonsense boss lady she usually portrays. Singaporeans might get a kick out of seeing a well-known local actor in a minor supporting role.

            In addition to being middle-of-the-road all the way through, Blackhat just isn’t that pretty of a film to look at either. Michael Mann has drawn flack for shooting in the digital format with sometimes cheap-looking results and there certainly is no shortage of noise-filled night scenes in Blackhat. Mann also favours handheld close-up shots, which can be slightly nausea-inducing. During a brawl in a restaurant, the film goes into full-on shaky-cam mode, standing in stark contrast to some pleasant sweeping aerial establishing shots.

This reviewer was looking forward to Blackhat and was puzzled to find out it had been given a January release date, since it didn’t quite look dump month-worthy. Now, he has a bit of an idea why. There is a novelty factor in seeing Southeast Asian locales featured so prominently in a Hollywood flick and unlike many films where hacking is tantamount to sorcery, Blackhat never lapses into the realm of the all-out ridiculous. However, coming from the acclaimed director of The Last of the Mohicans, The Insider, Heat and Collateral, Blackhat is a let-down, continuing Mann’s disappointing streak, seeing as how Miami Vice and Public Enemies weren’t great either. At least “Blackhat” works a lot better than the movie’s working title “Cyber”.
Summary: It could’ve been a breathless, high-stakes chase across continents but instead, Blackhatis plodding, boilerplate and decidedly average.
RATING: 2.5 out of 5 Stars

Jedd Jong