Superhero fatigue is one hell of a thing. I was feeling it ahead of the release of Avengers: Endgame before the pandemic ravaged the entire world for almost two years, and I felt it again when Disney+ became inundated with shows that are seemingly essential to understanding the trajectory of Marvel’s cinematic universe.
I’m completely lost at this point, and will likely need to set aside a decent amount of time to catch up. It’s exhausting to keep your finger on the pulse of pop culture, especially when it comes to something as ever changing and evolving as superhero films, shows, comics, and whatever else is considered canon in the grand scheme of things. Compared to my masterful colleague Stacey Henley, I’m an amateur, which is why my reaction to James Gunn’s The Suicide Squad came as such a pleasant surprise. This ultra-violent caper understands the strengths and shortcomings of the genre, using them to subvert viewer expectations and pull us into an adventure that doesn't give a shit about continuity.
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Well, I suppose it kinda does, but it frequently abandons the greater DC universe in favour of a film that never takes itself too seriously, but always knows when to double down on the drama in service of poignant scenes and character development that always manage to land amidst the mayhem. It’s a beautiful combination, and one that even manages to build upon the (admittedly very few) positive aspects of David Ayer’s 2016 film while making sure its weaker parts are left to rot. It was a bad time, and James Gunn is eager to leave it in the past and never look back. There’s no Jared Leto to be seen, but Margot Robbie’s Harley Quinn steals the show with every scene she’s in. I haven’t seen Birds of Prey, but now I’m so tempted to backtrack and see what all the fuss is about.
DC and Zack Snyder tried to depict the likes of Batman and Superman as dark and gothic, but so much of it comes across as unintentional comedy. Man of Steel, Batman vs Superman, and Justice League have all aged terribly, regardless of what the hardcore stans will try and tell you. I’m not the biggest fan of Aquaman or Wonder Woman, but they recognised what the MCU was doing right and tried to replicate it. The Suicide Squad feels like a mixture of the two that pokes fun at both while forging its own path forward. This is probably the most violent superhero film since the Blade trilogy, with John Cena and Idris Elba tearing off limbs and killing hundreds without a care in the world. They’re bad guys, yet the narrative is able to paint them as far more than the black and white forces of evil so many other films in the genre are known to do.
Idris Elba’s Bloodsport is the heart of the film. He’s stoic, sarcastic, and has a basic motivation that’s easy to understand and empathise with. He’s embarking on a suicide mission to ensure the safety of his daughter, and is willing to work with a squad of discordant, homicidal maniacs who could murder him at any moment. We watch him grow into a leader, the only person in the entire film able to corral his comrades and figure out what each of them are fighting for. He’s still in it for himself, but is far more than just a villain, he’s a character with enough depth to rival the likes of Bruce Wayne and Clark Kent, even surpassing them at points. The Suicide Squad is filled with characters like this, which is quite an achievement when you consider the size of its cast. I won’t spoil anything, but when compared to its MCU rivals, there’s a raw, almost visceral honesty here that so many modern superhero films lacked. Maybe that’s why it resonated with me so much, and James’ Gunn’s unpredictable tone shines far brighter here than it ever did in Guardians of the Galaxy.
I hate Deadpool, but it single-handedly justified that superhero movies can work with mature audiences, indulging in deeper themes and bloodier violence without risking box office success. The Suicide Squad is that vision reaching its true potential, even if the narrative proves predictable and some of the characters I wanted to see more from ended up being little more than a playful cameo. But these letdowns are so minimal in the grand scheme of things, with the wider message the film hopes to deliver landing with satisfying impact. The US government are painted as the bad guys, an authority willing to throw these people to their death just to cover up inhumane experiments that could ruin their reputation in the eyes of the world, and watching Idris Elba and company slowly figure out how to overthrow those with their finger on the trigger is such a treat.
This is also John Cena’s best performance to date. The man is never going to win an Oscar, although Peacemaker’s comically over-the-top seriousness and his utter disregard for human life combined with an aura of satirical patriotism make all of his lines land with just the right amount of groan-inducing cheese. I’m not going to turn around and suddenly stan everything DC and Marvel, but The Suicide Squad was shown me that superhero films can still surprise, and perhaps their future in cinema has more potential than I originally realised.
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