SUICIDE SQUAD

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There are things to like and dislike about Suicide Squad. There’s the catchy soundtrack featuring hits from The Rolling Stones, Kanye West, and Creedence Clearwater Revival. There’s Margot Robbie playing a zany brainwashed psychiatrist, a standout performance in a 2016 mainstream movie. For 15 minutes there’s Jared Leto’s Joker—a Joker more reminiscent of Jim Carrey’s Riddler than Heath Ledger’s Joker but mesmeric nonetheless. There’s some slo-mo, though the action is generic and hard to follow. The villain (Cara Delevingne) is uninteresting, although at this moment most superhero movies are plagued with recyclable forgettable CGI lumps, mere McGuffins. A better paced movie would’ve had the Suicide Squad develop a camaraderie or a rapport before sending them out on a mission. A better written movie would’ve involved the Joker in most of the action. Still, Suicide Squad is no less sentimental than any other superhero flick, nor less haphazardly edited. (Have you tried following the action in any of the Iron Man movies?) And if you find the movie too light, blame it on the screen-test audiences who preferred a different version than the director’s. Suicide Squad may be less pleasing than a typical David Ayer film, whose primary mode of filmmaking is the cop drama, but it’s not bad.

By Alec Julian & Carrie White

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