This reboot of a cult comic book ensemble film is distinguished by a parade of sensational casting and visual choices. James Gunn’s The Suicide Squad (A-) is a splattery spectacular madcap adventure with rousing action, vivid effects, ribald humor and idiosyncratic characters. Although its violence is not for the faint of heart, Gunn’s film is tonally and thematically one of the most winning DC Comics adaptations yet. The story revolves around the government sending the world’s most dangerous supervillains including Bloodsport (Idris Elba), Peacemaker (John Cena) Ratcatcher (Daniela Melchior) and Harley Quinn (Margot Robbie) to a remote, enemy-infused island for a search-and-destroy mission related to a science conspiracy. Interlaced into the propulsive plot is a menagerie of exquisite weaponry, human/animal hybrids, throwaway gags, witty asides and just about any treasures Gunn can bury in the cartoonish carnage. It’s a rollicking ride with Robbie again a delightful standout and Melchior a winning find as a pied piper of both CGI rodents and some surprisingly emotional moments. Add in an anthropomorphic shark, stunning stunts and an epic showdown finale, and many will agree Gunn has assembled one helluva Squad.
Cathy Yan’s bubblegum-hued crime saga Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (B-) is another origin story in the DC Extended Universe and follows Margot Robbie’s Harley Quinn as she joins forces with Jurnee Smollett-Bell’s Black Canary and several vigilantes to fight Gotham City crime lord Black Mask, played by Ewan McGregor. The film is chock-full of throwaway gags, gallows humor and cartoonish violence with a tinge of sisterhood power, but it’s rarely as sharp as it needs to be. Yan scrambles the enterprise with flashbacks, animation and witty title cards, but often it feels like a magic trick to disguise a threadbare story. Although McGregor is miscast and not menacing enough, the women in the film are marvelous. Robbie is wonderful as the devil-may-care antihero, and Bell is a sonic sensation. The stunts and wall-to-wall action should please fans of the genre; it reaches mightily but doesn’t quite take the flight it promises.
The DC universe’s fishing expedition for a worthwhile film remains an ongoing upstream journey. James Wan’s foray into surf and turf sci-fi fantasy Aquaman (C+) has all the subtlety of a Super Bowl commercial, with either a tidal wave of action as bait or a dreamboat dilf as its siren call to adult moviegoers over the age of 13. Awash in largely inconsistent or indifferent special effects, the film is basically a palace intrigue barnburner between Jason Mamoa as the quip-happy mer-man hero versus Patrick Wilson as the bland opposing heir to the throne of Atlantis. It’s all underwritten, overlong and underwhelming but not without its occasional charms (although the flowing underwater hair effect is not one of them). Kudos to Nicole Kidman for classing up the joint. Otherwise it’s lots of inconsequential action, some akin to wrestling matches. If the film were a dish at a restaurant, it would ironically need more salt.