Showing posts with label david ayer. Show all posts
Showing posts with label david ayer. Show all posts

Monday, August 15, 2016

Task Force X!

Suicide Squad (2016): written and directed by David Ayer; based on DC Comics characters and situations created by John Ostrander, Luke McDonnell, Gerry Conway, Paul Dini, Bob Haney, Howard Purcell, and many others; starring Will Smith (Deadshot), Margot Robbie (Harley Quinn), Viola Davis (Amanda Waller), Jared Leto (The Joker), Joel Kinnaman (Colonel Rick Flag), Cara Delevingne (June Moone/ Enchantress), Adewale Akinnuoye-Agbaje (Killer Croc), Jay Hernandez (Diablo), Jai Courtney (Captain Boomerang), Adam Beach (Slipknot), Alaine Chanoine (Businessman/ Incubus), Ben Affleck (Bruce Wayne/ Batman), and Ezra Miller (The Flash):

I'd love to see the David Ayer director's cut of Suicide Squad. Did it include as many music-video sequences? More importantly, did its first 45 minutes seem like the film adaptation of Who's Who in the DC Universe I've been waiting 32 years to see? 

Ayer is a solid, gritty director of manly men doing violent, manly things in movies that include Fury and End of Watch. And Ayer has definitely seen The Dirty Dozen, which did this sort of Rogue's Team-up with flair -- an early death in Suicide Squad bounces right off the first death in The Dirty Dozen in visual terms. Lee Marvin would really help this movie, or even someone Lee-Marvin-esque rather than Joel Kinnaman's somewhat bland portrayal of team leader Colonel Rick Flag. Was Stephen Lang available? Stephen Lang would be a killer Rick Flag.

Dismantled and reassembled by a team of panicked Warner Brothers executives after the widespread vitriol that attended Batman V. Superman back in March, Suicide Squad is a strangely enjoyable mess that seems to be missing vital connective tissue at several points in its narrative. The changes in mood -- from zippy to grim to sentimental to music video to Ghostbusters -- are striking and sometimes off-putting.

But like a lot of DC Comics movie offerings (and very few Marvel movie offerings, regardless of their box-office success), Suicide Squad is stylistically interesting and, at times, visually bold. The plot may sag or jump, but visually David Ayer manages a number of striking moments, along with some awfully good live-action visual adaptations of comic-book costumes. Say what you will about these DC movies, but they've yet to foist upon the viewing public as crappy a superhero costume as Marvel's lame-ass visualization of the Vision.

But people like plot. Plot, plot, plot. And I wish this one was more coherent. Hell, I wish they'd included a scene that actually named one of the two supernatural Big Bads (Incubus) rather than leaving that job to the closing credits. Hmm. Incubus. And another super-villain is named Slipknot. That's some weird musical stuff.

Everyone's already talked about Margot Robbie (pretty good as Harley Quinn, not so good as psychiatrist Dr. Harleen Quinzel) and Jared Leto (underwhelming and underused as the Joker, who really should be stuck trying to save the world at the climax because that really would be funny). I liked Jay Hernandez and his character Diablo, which visually is a crazy gang-banging stereotype but as written and performed is instead the movie's most noble and nuanced character. Viola Davis is pretty much on-point as Amanda Waller, who will do anything to save the world. Adewale Akinnuoye-Agbaje  gets buried under a ton of make-up and a mumble-mouthed Cajun accent as Killer Croc, but he's still pretty good.

And Will Smith does that twinkly Will Smith thing as principled assassin Deadshot while wearing a mostly faithful recreation of Marshall Rogers' striking re-design for the character from the 1970's Batman comics. Why Warner wasted Smith here and didn't get him on-board the Justice League movie as Green Lantern John Stewart baffles me. It seems like a major missed opportunity. Oh, well. 

The last hour is pretty much that Ghostbusters reboot you didn't expect to see in a comic-book movie. And I liked a lot of the visual work on all the monstrous tentacles and crawly, misshapen, monstrous hell-soldiers running around a supernaturally invaded Midway City, (Midway City being the name for Toronto on Earth-DC, at least judging by all the recognizable Toronto locations that make cameos in Suicide Squad). The Enchantress looks creepy in her earlier appearances, though her later belly-dancer get-up underwhelms. Techno-organic hell-god Incubus also has some visual moments, along with an underwhelming death. 

That the movie should end with Harley Quinn killing the Joker seems like a real lost opportunity to freak out the Internet. But it would totally be a great idea. And clear the way to someone better than Leto playing the Joker because that guy never stays dead anyway! Suicide Squad straddles a line between lightly recommended and recommended. Your experience may vary. 

Saturday, May 30, 2015

Perfect Hair Forever

Fury: written and directed by David Ayer; starring Brad Pitt (Collier), Shia LaBeouf (Bible), Logan Lerman (Norman), Michael Pena (Gordo), and Jon Bernthal (Coon-Ass) (2014): Enjoyable WWII tank movie with new-school gore but old-fashioned morality: there are good guys and bad guys, and the job of the good guys is to kill the bad guys. 

Our American heroes, led by Sergeant Brad Pitt and forced to train new addition Logan Lerman on the fly, staff a Sherman tank dubbed 'Fury' in the last month of WWII, somewhere in Germany. They're town-hopping prior to Victory-Europe Day, and things are bloody as all Hell.

The acting from everyone is solid and sympathetic, though maybe we could have used ten more minutes of characterization and ten fewer minutes of apocalyptic battlefield action. Some of the tactical goofs will make military buffs cringe. This is another version of the old story of Horatius at the Bridge. And that story is dramatically sound no matter what millennium one lives in. 

The representation of tracer fire does make some battle sequences look like Star Wars. Especially good is a running battle between four American tanks and one ridiculously (and historically accurately) superior German tank. The final, 20-minute battle at the crossroads is about as apocalyptic as any battle involving only one tank can be. Recommended.


When Harry Met Sally: written by Nora Ephron; directed by Rob Reiner; starring Billy Crystal (Harry), Meg Ryan (Sally), Carrie Fisher (Marie), and Bruno Kirby (Jess) (1989): Nora Ephron penned this romantic comedy and Rob Reiner directed in style and structure as an homage to, or swipe from, a number of Woody Allen movies. It's gentler and less neurotic than a Woody Allen film would have been, however. Can men and women be friends without the sexual element creeping in? The movie actually seems to answer that question 'No.' Recommended.


Stir Crazy: written by Bruce Jay Friedman; directed by Sidney Poitier; starring Gene Wilder (Skip Donahue), Richard Pryor (Harry Monroe), Jo Beth Williams (Meredith), Georg Stanford Brown (Rory), Barry Corbin (Warden Beatty), Craig T. Nelson (Deputy Wilson), Miguel Angel Suarez (Ramirez), and Jonathan Banks (Graham) (1980): Imprisoned for a crime they didn't commit, New Yorkers Wilder and Pryor must escape from a Southern U.S. prison by using... a prison rodeo? OK! 

Sloppy, funny, and occasionally thrilling buddy movie teams Gene Wilder and Richard Pryor at a point when Wilder was at his height as a box-office presence. You can tell the latter because he gets to sing the title song and gets the girl in a completely perfunctory romantic sub-plot. 

Pryor does what he can, though his massive talents are massively under-served by the script. Sidney Poitier directs (!) in an amiable but occasionally sloppy style. And who doesn't love Grossburger? The great Jonathan 'Mike Ehrmantraut' Banks plays a fairly significant role. Good luck recognizing him, though -- he's 35 years younger and hiding behind a cowboy hat and sunglasses. 

A remarkable-for-its-time sympathetic portrayal of a gay inmate gets undercut to some extent by an almost stereotypical confusion of 'gay' and 'transvestite.' I'm pretty sure this movie represents the first time I saw a naked woman's boobies on the big screen. Yay me! Recommended.