Reel Recap: January 2021

I still have several Reel Recaps drafted to share for March-December of 2020, but I thought it would be beneficial to share these more regularly. I'm still not ready to unveil my Top 10 Films of 2020 because I'd like to watch more films and catch up on reviews beforehand. I'm writing them in reverse chronological order to get the ones fresh on my mind finished first. Therefore, I've completed December 2020 and am about halfway through November 2020. Luckily, those were the months I watched the most, so it shouldn't be much longer before I finish the rest. However, I will share them chronologically, so I'll start with March-April before tackling the rest. This will be a tedious process behind-the-scenes, so thank you for bearing with me. I've also decided to write a review for WandaVision once the first season ends. 

Reel Recap: January 2021

The Departed - Watched January 9, 2021 (Netflix)

Nominated For: Best Picture, Best Director; Martin Scorsese, Best Supporting Actor; Mark Wahlberg, Best Adapted Screenplay, and Best Film Editing.

Won: Best Picture, Best Director; Martin Scorsese, Best Adapted Screenplay, and Best Film Editing.

Synopsis: An undercover cop and a mole in the police attempt to identify each other while infiltrating an Irish gang in South Boston.

Runtime: 151 minutes

MPAA Rating: R (for strong brutal violence, pervasive language, some strong sexual content and drug material)

Who should see it? Adults interested in crime dramas and Martin Scorsese's filmography.

Adapted as an American remake of the Hong Kong film Internal Affairs, The Departed is directed by Martin Scorsese and features a script from William Monahan. Given Scorsese's affinity for crime dramas, it's a no-brainer that he would be drawn to this project and the right filmmaker for the job. Many of Scorsese's trademarks are present, including breakneck pacing, voice-over narration, violent crime, and a rocking soundtrack. These elements culminate nicely in one of Scorsese's liveliest motion pictures. Scorsese's longtime editor Thelma Schoonmaker continually delivers astounding results, and her Oscar-winning work here is no exception. It's impressive how much information is communicated quickly without overwhelming the viewer, and then the film moves at a perfect pace. The parallel undercover storyline between Billy and Sergeant Sullivan serves as a fascinating focal point for the narrative, adding an element of tension and suspense as their paths begin to interweave. I was also impressed by how often the film took me by surprise with sudden significant plot developments. The star-studded cast of Leonardo DiCaprio, Matt Damon, Jack Nicholson, Vera Farmiga, Martin Sheen, and Mark Wahlberg all deliver terrific performances, lending a sense of realism to their varied characters. I'm still in the process of viewing all of Martin Scorsese's acclaimed filmography, but The Departed rightfully ranks towards the top. It's no wonder this was the film to win him the Oscar for Best Director. 

 

Film Assessment: A+

Pieces of a Woman - Watched January 11, 2021 (Netflix)

Nominated For: Best Actress; Vanessa Kirby.

Synopsis: When a young mother's home birth ends in unfathomable tragedy, she begins a year-long odyssey of mourning in this deeply personal story of a woman learning to live alongside her loss.

Runtime: 126 minutes

MPAA Rating: R (for language, sexual content, graphic nudity and brief drug use)

Who should see it? Adults interested in grief-driven dramas.

Rooted in the personal experiences of director Kornél Mundruczó and his partner and screenwriter Kata Wéber, Pieces of a Woman explores the multitudes of grief. Anyone who's experienced difficulties during childbirth or a miscarriage should be forewarned that Pieces of a Woman may be tough to watch. Some scenes involving Shia LeBeouf were especially uncomfortable to watch, considering the recent allegations against him. Warnings aside, the film really only has a few things going for it. Most notably, Vanessa Kirby is exceptional in the lead role. There's a raw vulnerability to her performance that's never stretched to the point of feeling overdone. You buy into her trauma because it's genuine. The opening thirty minutes that precede the title card are the most compelling, and the film rarely matches those heights in the remainder of its runtime. The birthing scene is shot in an extended one-take, and I was impressed at how organic the camerawork felt when it could have easily come across as a flashy gimmick. Benjamin Loeb's cinematography and Howard Shore's score proved to be the film's most reliable aspects. Aside from the aforementioned elements, the film was hollow and lifeless. Pieces of a Woman is naturally a bit of a downer due to the subject matter, but the ensuing melodrama often felt contrived. The script seems unsure of itself and its grander point beyond the idea of communicating a woman's struggle to match her grieving process to others' expectations. And uneven performances from the likes of LeBeouf and Ellen Burstyn didn't help matters. While I applaud Mundruczó and Wéber for their bravery in telling a story so personal, the intended emotional beats failed to really resonate with me. 

Film Assessment: C+

One Night in Miami - Watched January 16, 2021 (Prime Video)

Nominated For: Best Supporting Actor; Leslie Odom Jr., Best Adapted Screenplay, and Best Original Song "Speak Now" (written by Leslie Odom Jr. and Sam Ashworth).

Synopsis: A fictional account of one incredible night where icons Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown gathered discussing their roles in the civil rights movement and cultural upheaval of the 60s. 

Runtime: 114 minutes

MPAA Rating: R (for language throughout)

Who should see it? Adults interested in a dramatization of the night Cassius Clay became the world heavyweight champion, and the gathering of Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown that followed.

One Night in Miami is Regina King's feature directorial debut and an adaptation of Kemp Powers' 2013 stage play, with a script from Powers himself. Like most stage adaptations, One Night in Miami's limited scope continually reminds the audience of the medium its story was initially intended. King imbues the story with some visual flourishes and the occasional change of scenery to escape this feeling, but the dialogue-heavy affair never quite feels cinematic. A substantial chunk of the runtime is dedicated to a night-long conversation. Though the four lead performers ran away with the material, the relatively anti-climactic events left much to be desired. Conflict naturally accompanies the gathering of such culturally significant and strong personalities, but the ruffled feathers are quickly tidied, so it veers more toward passive-aggression. As previously mentioned, Kingsley Ben-Adir, Eli Goree, Aldis Hodge, and Leslie Odom Jr. each step into the shoes of four larger-than-life cultural figures and measure up to their respective legacies. The four actors also had a very lively rapport with one another, so their friendship felt authentic. The shifting topic of conversation and differing viewpoints regarding 1960s race relations are compelling, but there's little else of interest in the grand scheme of the story. However, I especially liked the narrative's central idea that a simple discussion behind closed doors would empower its participants to further leverage star power in the service of civil rights. 

Film Assessment: B

Wayne's World - Watched January 24, 2021 (Fubo)

Synopsis: Two slacker friends try to promote their public-access cable show.

Runtime: 94 minutes

MPAA Rating: PG-13 (for sex-related dialogue)

Who should see it? Fans of the SNL sketch.

Based on a Saturday Night Live sketch, Wayne's World was directed by Penelope Spheeris and written by Mike Myers and husband-wife, Bonnie and Terry Turner. As I watched this for the first time, only one thing came to my mind: "This is so stupid." While I'll admit there were occasionally some clever gags and fourth wall breaks, the over-exaggerated characterization and outlandish plot elicited more eye-rolls than laughter from me. Expanding on an SNL sketch is challenging because sometimes humor works best in an abbreviated timeframe and doesn't translate well to pad out a feature-length film. In that sense, Wayne's World is a comedic time capsule. It may have been considered hilarious when released, but it hardly holds up almost 30 years later. It's so obnoxious that it's almost amusing, but not quite. 

Film Assessment: C+

The Little Things - Watched January 30, 2021 (HBO Max)

Synopsis: Two cops track down a serial killer.

Runtime: 127 minutes

MPAA Rating: R (for violent/disturbing images, language, and full nudity)

Who should see it? Adult fans of crime thrillers and Denzel Washington.

John Lee Hancock's The Little Things has lingered around Hollywood for nearly 30 years. Clint Eastwood, Danny De Vito, and even Steven Spielberg were each attached to direct at separate points, but alas, Hancock wound up helming his own screenplay. With the hindsight of watching The Little Things, it makes sense why each of those high profile directors would have chosen to walk away. Though The Little Things was written before Se7en, the number of similarities between the two is astonishing, especially considering a little over 25 years to revise the script. The difference being that Se7en makes for an enthralling viewing experience, whereas The Little Things is a tedious watch with little payoff. The film's pacing and structure were puzzling, as the story calls for a slower tempo, but Hancock repeatedly jolted ahead to the next scene before earning your interest. Circling back to the script, there was so much uninspired police jargon and unnatural human interactions that you'd think the dialogue was generated by artificial intelligence that'd been shown several police procedurals. Despite being headlined by three Oscar winners, the performances hardly register. Denzel Washington naturally possesses an intense gravitas, and that stoicism is here in spades. Still, Joe Deacon barely has any personality otherwise. Meanwhile, Rami Malek persists in having an awkward screen presence in what should be a serious role. Playing the prime suspect Albert Sparma, Jared Leto's a certified creep, so brilliant casting, I guess? In the end, it's the little things, like the lack of enticing mystery and intrigue, that hindered The Little Things from delivering a compelling narrative and made the proceedings that much duller. 

Film Assessment: C-

'Blade Runner 2049' Review

It's difficult to discuss Blade Runner 2049 without diving into spoilers. However, I have the luxury of publishing this review well after the theatrical release date, so I will indeed be including a spoiler discussion in this review. In order to preserve the plot for those who have yet to watch Blade Runner 2049, I'll indicate the beginning of the discussion with a clear spoiler warning. I'll be detailing specifics of the performances inside the spoiler section, because it's tricky to dance around that aspect of the film without simply saying "Ryan Gosling was really good" or something like that.

[This review was originally written in October 2017 and is now being published to coincide with the digital home media release. For an explanation of this, visit my Fall 2017 Important Update post.] 

Nominated For: Best Cinematography, Best Production Design, Best Visual Effects, Best Sound Editing, and Best Sound Mixing.

When Blade Runner 2049 begins, it has been thirty years since the events of the 1982 sci-fi masterpiece Blade Runner. The older replicant models are still being hunted down and retired by the Blade Runner task force. While on assignment, the youthful Officer K stumbles across a long-buried secret that sets him on a path of self-discovery as he's forced to locate a long-retired runaway Blade Runner, Rick Deckard, for answers. 

Legacy sequels are a hot commodity in Hollywood right now. For those that don't know what a "legacy sequel" is, they're basically sequels that pick up several years after the last film in the context of the franchise with a new core cast of characters taking the torch from the previous protagonists (think Jurassic World, Creed, Star Wars: The Force Awakens, and Independence Day: Resurgence). Blade Runner 2049 easily falls into this category, although it stands apart from the aforementioned examples because it doesn't attempt to lay groundwork for future franchise entries.

Anytime it's announced a beloved film will be receiving a sequel, it's understandable that fans will have their fair share of skepticism. It's a tall order to release a sequel thirty five years after the original that's strong enough to stand toe-to-toe with the first, especially when that first film is Blade Runner. However, Denis Villeneuve, whom you may be familiar with for directing the fantastic films Sicario and Arrival, takes the reigns from Ridley Scott to solidify himself as one of the greatest working directors today. It's simply remarkable how Villeneuve was able to recapture the futuristic science-fiction noir's tone, style, and sensibilities without retracing any steps.

For those readers who have kept up with my blog for some time, you may recall me making a comment in my Arrival review that Denis Villeneuve had the potential to be the next Christopher Nolan... Well he's gone out and proven my point... Blade Runner 2049 cements Villeneuve as a master filmmaker. It'd be an understatement for me to say I anticipate buying a ticket for every film spanning his directorial career.

On a technical level, Blade Runner 2049 astounds from beginning-to-end with an exquisite aesthetic. Roger Deakins' sensational cinematography seamlessly integrates with the exuberant neon-flourecent lighting, peak production design, and extraordinary visual effects to bring audiences one of the most visually-arresting productions ever made. Deakins has been nominated for thirteen Oscars, but still doesn't have a single golden statuette on his mantle. However, I suspect Deakins will get his due next February because it seems absurd not to award someone at the top of his craft.

Speaking of sneaking suspicions, I'm guessing general audiences will say Blade Runner 2049 is "slow," "boring," and "too long," but I think that'll only be the case if you a) aren't a fan of the original Blade Runner or b) refuse to put your thinking cap on. Blade Runner 2049 isn't a popcorn movie. Don't expect to see copious scenes of mind-boggling action, or you'll probably be enormously underwhelmed. While I can agree that the two hour forty-three minute runtime seems lengthy, it didn't feel three hours long because I was absolutely engrossed in all the events unfolding onscreen.

Everything about Blade Runner 2049 is quite mesmerizing for that matter. The film escalates at a slow burn, but the developing story (which I'll touch on in a second) is totally transfixing. This is only enhanced by the spellbinding score accompanying said events. On that note, there's an interesting story behind this soundtrack. Villeneuve's frequent collaborator Jóhann Jóhannsson was first attached to compose the score, but wound up being entirely replaced by Hans Zimmer and Benjamin Wallfisch about a month before the film's release. Zimmer and Wallfisch were already on-board throughout the post-production process, but it alarmed me to see a composer depart the project considering how much I loved his Arrival compositions. It's needless to say I absolutely adored the end result though, because it was reminiscent of Vangelis' electric ambiance yet sounded entirely unique.

Like Star Wars: The Force Awakens, Blade Runner 2049's marketing campaign was shrouded in mystery and offered no clues as to what the actual plot was. At press screenings, Warner Bros. and Villeneuve even issued a statement requesting critics to refrain from including revealing specific plot details in their reviews. I absolutely adore this approach, because oftentimes we as an audience know way too much about movies before we've even seen it because of some spoiler-inclusive marketing material and indifferent journalists. Anyways, if you want to get the most out of Blade Runner 2049, I would actually advise to watch Blade Runner beforehand to have a better understanding of everything that's going on. Although it's certainly possible for to glean from the surface level without watching it, you'll get a better grasp of the true significance if you've seen it.

**Spoiler Warning**

The screenplay whipped up by Hampton Fancher and Micheal Green offers an incredible expansion on the ideas Blade Runner often came across, taking things a step further in regards to the blurred lines that separate man and machine. This is mostly achieved through Officer K, who's almost immediately revealed to be a replicant. K clearly has a beating heart, soul, and conscience beneath his synthetic skin, mechanical motors, and proven programming as evidenced by his reluctance to hunt down the miraculous replicant child. The concept is further fleshed out by K's wishful thinking and inner desire to be special as K projects the idea that he is the child in-question due to his implanted memories.

I'll say that K's conviction totally tricked me into thinking I had predicted the "huge twist" at the center of Blade Runner 2049, but Fancher and Green threw a huge curve ball instead that took me completely off-guard by revealing that the child was actually Dr. Ana Stelline. I especially appreciate how the turn-of-events deepened K as the aspirant replicant who was disappointed to learn he's just a replicant. Instead of going to kill Deckard as commanded, K realizes his potential to help reunite the father and daughter, and his commitment to doing the right thing causes him to sacrifice his own life so he can make a difference for others. The selfless nature of K's actions in the face of crushing adversity and Ryan Gosling's subdued performance only made his arc more impactful. 

Another fascinating exploration of these ideas is rooted in the romance between K and his holographic Artificial Intelligence Joi. Since Joi is an intangible visual projection, the romance is strictly relegated to an intellectual level similar to the storyline spread throughout Spike Jonze's Her. However, Blade Runner 2049 examines the material with enough of a unique spin to differentiate itself because it asks viewers the existential question of how agonizing it would be to fall in love with consciousness you could see, but never truly touch. To me, that idea is an entire level above the Her dynamic and even the romance central to the original Blade Runner.

What truly sells the relationship though is how Ana De Armas and Ryan Gosling authenticate the complex connection between an artificial consciousness and an android lover who are just longing for a physical connection. De Armas projects so much depth to a seemingly shallow character and establish the pivotal love scene to be a beautiful moment. In regards to that scene, I'm sure someone will come out and say it's sexist and demeaning, but it's really not... I felt the moment meant so much more. Joi is restricted from being able to foster a physical intimacy with K, so she hires a surrogate pleasure replicant model to step in as a vessel so she can merge herself and achieve just that.

Then I couldn't possibly complete this review without bringing up Harrison Ford's return as Rick Deckard. He doesn't show up till about two hours into the film, but Ford leaves a lasting impression with every second onscreen. Much like his reprisal of Han Solo in The Force Awakens, he steps right back into the shoes of the character he left behind thirty-five years ago. He especially astounded me in one particular scene where he's forced to encounter a replicant resembling Rachel. The mere reaction from Ford in this moment positioned him as one of the film's stand-outs. 

In the antagonistic camp, Jared Leto's suitably strange as technical tycoon Niander Wallace and had substantially less screen time than I was expecting, but honestly gave a great performance. It's his underling android assistant Luv that truly terrifies though. Sylvia Hoeks latches onto the menacing demeanor with complete conviction, and I hope this role perks the eyes and ears of many casting directors so I can see her play another villain once more.

It was also nice to see familiar faces Robin Wright, Dave Bautista, David Dastmalchian, Barkad Abdi, Edward James Olmos, and Sean Young show up and provide strong supporting turns, regardless of screen time.

**End of spoilers**

Blade Runner 2049 is the scarce spectacular sequel that brilliantly builds upon the wonderful world and profound philosophical pondering of the original, while maintaining the first film's integral atmosphere and standing strong on its own merit. I know it's been said-to-death at this point, but there's no other way to articulate it, Blade Runner 2049 is a master work of science-fiction that won't be soon forgotten and will inspire entire generations of filmmakers to come.

Film Assessment: A+

Alternate Cut Review: 'Suicide Squad- Extended Cut'

Nominated For: Best Makeup and Hairstyling.
Won: Best Makeup and Hairstyling.

Suicide Squad was just as controversial as, if not more divisive than Batman v Superman: Dawn of Justice. Many fans were stoked because of the killer marketing material and incredibly-cut trailers but let down that a lot of the coolest moments from the trailers didn't show up in the finished film. Then it was reported that supposedly Warner Bros. hijacked the production in post-production giving creative control to the trailer company that cut the Suicide Squad trailers rather than David Ayer in response to the split reaction to BvS. 

Fans then hoped to hear about a director's cut similar to the Batman v. Superman: Dawn of Justice- Ultimate Edition or at least a version with more footage and fans had their prayers answered in October when the Suicide Squad- Extended Cut was announced for a release in November on Digital and on Blu-Ray in December. I think I was a little too forgiving of Suicide Squad's shortcomings when I first saw and reviewed it so I've gone back and changed my initial score a little and I've just recently made time to watch the Extended Cut that sticks an additional fourteen minutes on the runtime so here are my thoughts on the Extended Cut and if the extra footage makes any difference whatsoever.

Theatrical Cut Review- Suicide Squad Review

"Extended Edition" Review- If you're looking for Suicide Squad's Extended Cut to fill in plot-holes and repair some of the theatrical cut's flaws ala the BvS-Ultimate Edition, then you will likely be very disappointed with it. This alternative version of the film plays out almost exactly like the theatrical version, just with the deleted scenes stitched back in. That's not to say it didn't slightly improve the film because I did find some refinements in terms of the characters. Most of the footage added back into the film is interactions amongst the squad and some more character drama. Both go a long way to further fleshing the characters out beyond what we saw in theaters last August and make the squad feel like a more tightly knit group as you see more of their bonding over the course of their journey. I also think I saw some additional footage for the film's main action set pieces and the additional footage definitely makes these scenes feel more substantial but they're no more memorable. 

If you're interested in the Extended Edition for more footage of Jared Leto's Joker, you'll find probably about a minute or two more but not much and it will do little to change your mind on his performance. I still feel he nails the insanity of the character but also think Jared Leto was just a little too weird with certain mannerisms as he would occasionally snort like some kind of hog and that's just not very Joker-like in my mind. 

The enchantress still looks stupid dancing around and none of the effects look all that different. I personally didn't really like the CGI in this, and I say that because I'm not sure if I included that in my theatrical cut review or not. 

The other performances and cast still shine as a beacon of hope nailing their respective characters (If you really want more detail on that just head over to my theatrical review linked above). One noticeable difference I really liked about Harley Quinn in particular was that there's some dialogue of her inner psychiatrist diagnosing some of her squad members as I felt that was very true to the character and something that almost flew out the window in the initial cut, a minor addition but a welcome one. 

Any character you felt was underserved in the theatrical cut gets some additional footage with the exception of Slipknot and Batman & Flash's cameos but don't expect any significant alterations. 

Overall, the extra footage goes a little ways towards improving the film for me personally. I can say that I liked the additional character-driven scenes and seeing more interactions amongst the squad that make their chemistry feel more authentic later on down the line but didn't find it to significantly change my opinion on anything. If you liked the theatrical cut you'll find more to love here, if you disliked it this won't be enough to change your mind.

Film Assessment: C+

'Suicide Squad' Review

Suicide Squad seemed like the dream DC film from the day it was announced. With David Ayer behind the camera and an all star cast in front what could possibly go wrong? Suicide Squad's marketing campaign has been nothing short of stellar, I can't believe that the same studio marketed Batman v Superman: Dawn of Justice. On Tuesday when the embargo for 'Suicide Squad' dropped and I saw a majority of reviews were negative I became concerned. This has become a trend with DC releases since Man Of Steel and generally I've come to agree that those films had problems. I found Man of Steel to be ok, while Batman v Superman was enjoyable but severely disappointing as a result of poor technical execution and odd creative decisions. Both of those previous entries into the DCEU were helmed by Zack Snyder so I had hoped he was what was holding the DCEU from reaching it's full potential, that is till I saw the Batman v. Superman: Dawn of Justice- Ultimate Edition, the director's cut, that made remarkable improvements to the lacking theatrical cut. 

That along with several reports of studio interference on Suicide Squad made me increasingly more anxious that the reason the DCEU hasn't burst the bubble is that Warner Bros. is holding it back. Well, I'm glad to report that I no longer have those worries after viewing Suicide Squad at an early screening last evening as this is the one time I don't feel the negativity is justified. Also, there will be spoilers for Batman v Superman and on that note the film itself spoils a major plot point from Batman v Superman since it takes place afterwards in the DCEU timeline. With that out of the way, it's probably time I started actually reviewing Suicide Squad. 

'Suicide Squad' Review

Nominated For: Best Makeup and Hairstyling.

Won: Best Makeup and Hairstyling.

Suicide Squad picks up with a shady intelligence organization head Amanda Waller assembling a team of criminals that she believes are capable of defending humanity from the next big meta-human threat now that Superman's in the grave. The catch, these bad guys are the worst of the worst and Waller has some contingencies in place in case they don't want to play nice (Those familiar with the squad will know exactly what I'm referring to). After a mysterious threat arises, Waller brings together Task Force X (the covert name for the squad) and send them to handle the situation. That's the basic premise of Suicide Squad and it's unique in the sense that there are no heroes around, our protagonists are bad guys and the antagonists are even worse. 

While Marvel has a scarce library of compelling villains to pull from, DC has the motherland with plenty of great options and so it seems only right that they would bring them all together for a team movie like this to showcase them off and if Batman v Superman: Dawn of Justice brought us our first glimpses of the Justice League it's only right that Suicide Squad shows off some of their baddies. 

As I stated in the prologue, Suicide Squad has had some terrific marketing material that was very promising so once the negative reviews poured in I started to feel a little concerned but remained determined I would keep an open mind while watching it and not let the venomous critiques alter my opinion. With that being said, I loved Suicide Squad despite what I've read. While I understand the critics' complaints, I don't feel they are as bad as they're being made out to be. I had too much of a good time thanks to the electric chemistry from the remarkable cast and Ayer's pizazz. 

Coming straight off Fury, I was stoked to hear David Ayer would be in charge. Ayer wrote the screenplay in addition to directing the picture and, while I have a few gripes I'll discuss in a moment, he did incredibly well in both departments. Ayer pulls off an interesting mix of grounded and gritty while instilling a sense of levity making for a unique tone in the DCEU's bleak library. FINALLY, someone in the DCEU can tell a joke from time to time.  

I've seen many complaints about the editing but I didn't have a problem with it since it's much better than the atrocity that was Batman v Superman's cobbled together theatrical cut. In other technical areas, the visual effects were well done with a flashy mix of grit and bright aesthetics for roughed up look throughout. The costuming department also had a bit of fun giving each character their unique charm and flavor through their choice of attire, while the makeup and prosthetics used to make Killer Croc were just darn incredible. The action on display is fun to watch with terrific fight choreography but none of the sequences were particularly memorable in comparison to other comic book movies. 

My qualms with the film were essentially that some elements were typical generic plot devices and story points we see in almost every comic book movie these days. I kid you not, the antagonist feels so similar to X-Men: Apocalypse's titular big bad in that their motivations are murky, their plan seems contrived, and they're just weird. Since Suicide Squad's ad campaign didn't disclose the antagonist I will refrain from lifting the veil from your eyes and when discussing performances will try to be generic so that it's difficult to determine just who is opposing the squad. It wasn't the least bit surprising to me but I'd like to keep up the ambiance if possible. Also there's quite a few cliché moments that were predictable and not as emotionally impactful as they were probably intended to be. One other issue was that the soundtrack didn't always vibe with what was going on during the film and I actually would have preferred an actual score throughout with maybe some of the greatest pop songs interspersed less often more akin to Guardians of the Galaxy, a clear inspiration for the project. Steven Price's score is great when utilized but the classic pop hits are turned up too loud and too often that it was a slight annoyance. 

What really made the film click was it's illustrious ensemble and their tortured team dynamic. Margot Robbie's beautifully twisted Harley Quinn and Will Smith's expert marksman Deadshot take the spotlight as the characters with the most focus of the group and they steal plenty of scenes.  Robbie makes for a terrific Harley Quinn though as she borrows from the character's longstanding history to incorporate many of her infamous mannerisms while managing to make the role her own. Harley's arc is primarily tied in with Leto's Joker, don't worry I'll get to him soon enough, and the two work wonders together on screen thanks to some phenomenal chemistry. 

Smith gives the most likable performance he's provided in some time now with charisma aplenty and his Floyd Lawton has a nice emotional touchstone arc involving his daughter that brings out his heart of gold despite his willingness to kill basically anyone. Jay Hernandez has a breakout role as Diablo, a hothead meta-human with the most relatable backstory and one of the more emotional arcs out of the squad. Jai Courtney is finally given substantial role in Aussie Captain Boomerang that he excels in, serving as effective comedic relief throughout the film. 

Cara Delevingne plays June Moon who's possessed by a strange witch named Enchantress. Delevingne's movements and mannerisms are very strange as the character crawls about scantily clothed and made for the weirdest of the performances on display. As for other squad members, Adewale Akinnuoye-Agbaje's a creepy reptilian Killer Croc, Karen Fukuhara plays samurai Katana, and Adam Beach is the slick Slipknot. The three have the least material and screen time but each member of the squad gets at least a few standout moments to shine. 

Now I bet you want to know what I thought of Jared Leto's Joker. Well he doesn't have a lot of screen time but when onscreen he invokes what a modern psychotic Clown Prince of Crime would be like with swagger, mental instability, and a sense of purpose. With that being said, I didn't see enough of his Joker to warrant a proper comparison to previous incarnations, but while he's certainly no Heath Ledger he was fine as the character and I'd love to see more of his unique take and hopefully  opposite Ben Affleck's Batman someday. 

Viola Davis makes Amanda Waller a woman who means business and any sane individual would definitely want to mess with and she plays it with remarkable conviction. Sure some of her action's don't make sense but they make her all the more fearsome. Her stooge Rick Flagg is played by Joel Kinnaman who gives him enough southern militaristic twang to be somewhat relevant but was probably the character I cared the least about. He's the one leading the squad in their mission and responsible for dishing out punishment if they deviate from the mission's parameters. 

Overall, they made for an incredible well rounded cast that dish out one-liners with charisma, gusto, and heart. Be sure to keep your eyes peeled for easter eggs, cameos, and there is in fact a mid-credits scene. While Suicide Squad has it's flaws, it's harmless fun and what joyous entertainment it is! I found it more difficult to dig out flaws than strengths as the pros are abundant thanks to the terrific performances and fun tone. I highly recommend Suicide Squad and can guarantee you'll have a great time, Suicide Squad is a blast and don't let Rotten Tomatoes tell you otherwise.

Film Assessment: B C+ (Revised)