DCEU, chronicle of a disaster: Suicide Squad (2016)


The first two installments of the so-called DCEU resulted in a noticeable division between fans, critical reception and commercial. In 2016, just a few months after Batman v Supermanarrived Suicide Squad (Suicide Squad), to achieve the first consensus: the first bump the qualitative course of the universe and, however, its success is more resounding. And that the film David Yesterday he suffered the demands of Warner in search of a lighter tone and the need to remake the film in the months leading up to its premiere.

In 2016, the DCEU came to his third film, and second of the year, with this Suicide Squad that broke dramatically with the tone seen in Man of Steel and Batman v Superman to go towards a direction more light, humorous, and group. The comparisons with the publishing house of the neighbor seem to us unjust, of entry, due in good part to the recreation of something which is devastating when your own publisher account with the unique arsenal of characters similar is not copying anyone: it is common sense (and it should be remembered that this superhero film was started by Warner and DC with that wonderful Superman of Richard Donner). But the arrival of Suicide Squadand of course the whole litany of information, photographs, and other (these films emerged in an era in which the process of filming was gutted mercilessly in networks, forums, etc), they suggested a similarity with the successful output of tone which was Guardians of the Galaxy (James Gunn, 2014). Reviewing this Suicide Squad we can not deny that Warner is, perhaps, still chasing that tone. Failing completely in this, of course.

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It is amazing the bet of Warner by Suicide Squad. Not so much by betting on the film, which-like so many others of the genre – has been in development, but by its integration into the new universe they were building. After two films led by Zack Snyder (the first next to Christopher Nolan) and bathed in the gloomy air, of contained emotion, and a clear intention to move away from embellishments pulp that remain specific weight to the message, Warner bros. announced a film with Harley Quinn, Joker, Killer Croc… The result, also, was altered by a few reshoots lateand after Batman v Superman and its controversial reception, which according to Warner intended to to lighten the film. The result was that after about five hours of rictus full of sorrow it gave us about two hours of humor, emotions (unsuccessful), and a certain air of pulp. And all about what he senses was an initial desire for something more contained. Unfortunately the end result, except in a surprisingly large box office, it was disappointing.

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Suicide Squadas a final product, want to sell as a film, rogue, and business (the indiscriminate use of rock classics that stick with almost any thing he is not expecting anything positive, given the impersonal of the bet), in which a group of theorists villains are recruited by a cold government agent to perform this type of missions, which by their condition of target human and obedient prisoners, accepted without question too. The presentation of the characters according to their histories and abilities, mode of recruitment on the part of the government, almost Ocean’s Eleven, anticipates the problem of all Suicide Squad: is paste a good piƱazo in all of your intentions cool. Neither of these characters have charisma, or command respect as villains, nor provide a prior history or a personality that we import, and, what’s worse, the usual travel group of the genus (we are friends, we understand the mission, recapacitamos etc), it runs without emotions, or the development of the characters to be able to go beyond the written word. A good example is when the character of The Devil (Jay Hernandez), a moment of sudden epiphany, breaks out with a cry emotional alluding to the group suicide as her family. The problem, and the feeling of shame of others, comes when you remember the null relationship of this character with the rest so that the scene fails from beginning to end. To a lesser extent, this problem returns before and after with the relationship between Deadshot (Will Smith) and Harley Quinn (Margot Robbie), the first one with her daughter (who is a girl mona and a good student is not enough) or, again, the first one (we imagine Will Smith was intended as an axis, emotional of the film) with Flag (Joel Kinnaman).

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In what is supposed to film a group of villains molones is presented to us the worst union of supervillanos view in the cinema: powers unequal, and some of zero practicality when we talk about face forces that require a special team of meta humans to overcome big threats. Splashing all of this, these attempts at emotional connection, and that action, without more, appear Joker (Jared Leto) and Harley Quinn by combining the worst and the best of the film. The mere presence of the Joker, whose character is linked to the major milestones at the box office of “Batman” (Batman, The Dark Knight and Joker), anticipates a possible disaster when the memory of Jack Nicholson, Heath Ledger and now Joaquin Phoenix, cross in our memory. Not only or about them but rather the interpretation of Jared Leto bordering on the shame of others or an attempt to (another more) claim crazy that is in the over nothing of the wrapper.

Harley Quinn (Margot Robbie) has the same problem that the Joker and all of the film: an attempt, in a vacuum, be cool, in this case a sort of queen of low background tacky which is very crazy and we must believe it because it is releasing lines, as well as daring. However, it is the best of the film because Margot Robbie is one of those hit casting that saves the mess at the expense of true charisma (not by much), and above all his brief scenes as dr. Harleen Quinzel. And that, in those moments, the character pisa fully ground Joel Schumacher in Batman Forever and Batman & Robin.

The only attraction of this Suicide Squad is that they are two hours of action almost uninterrupted. Of course that’s not good news but in this case avoid the tedium in favor of the hustle and bustle (although it is much less well defined and juicy that, also, excessive action scenes of Snyder Man of Steel and Batman v Superman) although we are not escaping the obviousness of a plot that verges on the leaden for the flag: the meeting of the group and a couple of mega moments of action descerebrada to end up with a witch and his brother that meant, of course, end up with everything and everyone. Or something like that. The end has its point of messing around involuntary (we think) when they make a sort of tribute to Ghostbusters, including the time Dana (here, June) coming back, alive, after finishing with Zuul (here the Witch). Total.

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The feeling of belonging to the DCEU relies to a couple of occurrences of “Batman” (Ben Affleck), as well as the Flash (Ezra Miller) and Aquaman (Jason Momoa), in a film that doesn’t end of feeling so much outside of that universe, as a candidate to oblivion for sheer lack of substance. Its equivalent in the house of ideas had someone who based their work on the characters and the dialogues, precisely the same kind, James Gunn, who will direct the sequel, but that is not a sequel, of Suicide Squad. Up until that point brings us to the comparison.

Suicide Squaddespite some criticism of the level of such nonsense (in the famous Rotten Tomatoes did match with Batman v Superman and achieved a percentage below 30%). However at the level of box office was a success: managed to 746 million without being released in China. That data is the one that gives you the title of the most successful of the DCEU so far, not only by the amount of more you could have accomplished, but by speaking to equals to Batman v Supermanor far surpass Man of Steelbeing… Well, that, the Suicide Squad!