Boom and Boom Again: “The Suicide Squad” (2021)

NOT AGAIN!: Margot Robbie continues to interrupt her impressively burgeoning career arc with another pointless exercise as the DCU’s favorite go-to girl for mayhem, just as the formidable presence of the splendidly talented Iris Elba elevates another unworthy vehicle while demeaning his own filmography. Will the next installment be titled “The Career Suicide Squad”?

          “The Suicide Squad”  (2021)

    The first overt merging of deliberate trashy Troma aesthetics with big studio mega-budgeted inevitably trashy content. If there is a confusing similarity to a previous DC Comics-sourced vehicle from 2016, there is more than a deliberate method to a madness calling for the rebooting of yet another comic book sourced franchise when the original is barely old enough for the ink on the original’s opening weekend numbers to dry.

    To dissuade from the inevitable sense of redundancy inherent in the material, the film rapidly introduces a wide roster of new characters, not to introduce a trace of narrative complication, but as an almost immediately revealed feint: a pointless slaughterfest which establishes both the triviality and irrelevance with which the entirety of what transpires is approached. The reliance upon irrelevance appears to be the necessary staple from which all superhero films are nurtured, given the absurdity of most superhero comic book conventions. However, this scarce example of deliberate self-deprecation, rather than the typically favored unmerited gravitas which borders on a genuine celebration of psychotic nihilism, is a refreshing antidote to the strained mythos of the genre which too often flounders in a oppressively dark, if misinformed, psychological weight.

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