If the trailers are to be believed, Suicide Squad, which opens on August 5, is an edgy skewering of the sticky-sweet, overly-earnest genre of superhero movie that's dominated the box office for nearly a decade.
Sadly, it is not that movie.
It does not release us from Captain America's tired but necessary internal struggle about whether punching dudes indiscriminately is a good thing. According to many film critics, Suicide Squad, a film that stars a cast of supervillains, falls into the same tropes of the very same superhero movies it's trying to subvert. Like most anti-heroes, it doesn't save the day.
It's A Bad Movie And Not In An Exciting Way
Suicide Squad is bad. Not fun bad. Not redeemable bad. Not the kind of bad that is the unfortunate result of artists honorably striving for something ambitious and falling short. Suicide Squad is just bad. It’s ugly and boring, a toxic combination that means the film’s highly fetishized violence doesn’t even have the exciting tingle of the wicked or the taboo. (Oh, how the movie wants to be both of those things.) It’s simply a dull chore steeped in flaccid machismo, a shapeless, poorly edited trudge that adds some mildly appalling sexism and even a soupçon of racism to its abundant, hideously timed gun worship. But, perhaps worst of all, Suicide Squad is ultimately too shoddy and forgettable to even register as revolting. At least revolting would have been something.
[Vanity Fair]
But folks, this is a lousy script, blobby like the endlessly beheaded minions of the squad's chief adversary. It's not satisfying storytelling; the flashbacks roll in and out, explaining either too much or too little, and the action may be violent but it's not interesting. At this point in 2016 America, if there's one thing I could vote out of all movies, permanently, it's the drooling slow-motion close-up of hundreds of assault weapon bullets bouncing off gorgeously lit pavement.
[The Chicago Tribune]
It Fails Miserably At Being Edgy
Having now attended a press screening, we can put the rumors to bed: Suicide Squad is, for the most part, not a funny movie. That’s not to say it’s necessarily a bad movie — that kind of judgment comes from an entirely different set of criteria. But for those of you expecting, understandably, a lot of laughs out of your trip to the theater this weekend, you’ll find that the film isn’t going for that.
[Volture]
Like “Deadpool” earlier this year, it’s entertaining insofar as it allows the characters to crack wise and act out, though they can only go so far within the confines of MPAA guidelines and the rigid DC mythology. On paper, this could have been the antidote to an increasingly codified strain of comic-book movies, but in the end, it’s just another high-attitude version of the same.
[variety]
Margot Robbie And Viola Davis Are The Only Bright Spots
The second biggest role goes to Harley Quinn, played by Margot Robbie, who’s actually the exception that proves the rule. Thanks in part to Robbie’s memorable performance, she’s flighty, she’s unpredictable and when she’s having fun, so is the audience. She adds to every scene she’s in, and when she’s on screen, Suicide Squad is at its best.
[Gizmado]
Robbie steals the movie from most of her co-stars, but the real scene-stealer is Viola Davis, playing soberly dressed federal apparatchik Amanda Waller: it’s an excellent, coolly menacing performance. Waller has a duplicitous plan to use the Suicide Squad to cover up another plan. If only Davis were involved a bit more; if only we could scale down the inevitable FX-driven action finale involving slightly tiring supernatural forces, in order to beef up the dialogue and the chemistry.
[The Guardian]
Jared Leto's Joker Is Largely Absent And Isn't That Good
After months of online hype that threatened to bring the internet to its knees, Jared Leto’s Joker (while somewhat creepy and menacing) doesn’t come close to scraping the surface of the memorably spine-chilling work done by Heath Ledger in “The Dark Knight.”
[Chicago Sun-Times]
[I]t’s nothing compared with how wasted Leto’s scene-stealing Joker is. With his toxic-green hair, shiny metal teeth, and demented rictus grin, he’s the most dangerous live wire in the film. But he’s stranded in the periphery.
[Entertainment Weekly]
Unfortunately, Joker never feels properly integrated into the storyline but rather seems like a special guest star on hand to enliven the show when needed, which is increasingly often. Sporting tats, green hair and metal teeth, Leto brings a measure of the requisite unpredictability and evil glee to the role, but his Joker doesn’t threaten the big-screen hold on the public imagination that Jack Nicholson and then Heath Ledger established.
[The Hollywood Reporter]
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