Suicide Squad

There were so many hands on the final edit of Suicide Squad, so it is no surprise that it is as disjointed as it is. At least this makes it fascinatingly ridiculous, but only for the first half or so. The classic rock jukebox starts up, letting us know it is time to kick things off. Then a few minutes later, another headbanger picks up the tempo, letting us know it is time to kick things off. Then a little later, is it time to once again introduce our characters to the tune of Led Zeppelin and Black Sabbath? Why yes it is!

Once that pattern sputters out, what are we left with? A race to a fairly ordinary battle royale climax. Could Suicide Squad have found success with more focus? An artistic vision would have been clearer, but the bigger issue is more fundamental. The concept of assembling the worst of the worst to fend off the even worse is ridiculous, and Suicide Squad’s fatal flaw is that it never realizes that. There is not even yet a villain for the squad to fight as it is being formed. Once that adversary emerges, there is no legitimate reason why Batman, the Flash, or Wonder Woman is not available. This may sound like nitpicking, but with its unearned and inexplicable self-seriousness, Suicide Squad invites the criticism.

I take away half of Suicide Squad’s soundtrack, and ask it to reflect upon itself.

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