SUICIDE SQUAD review

After the events of Batman Vs Superman, government agent Amanda Waller (Viola Davis) puts together a task force of criminals and sociopaths that she believes can do some good in the fight against these new unknown entities.

In the long fought war between Marvel and DC, two things have become abundantly clear; Marvel make the better cinematic versions of their characters, and DC have all the best bad guys. Put those two things together and Suicide Squad was always going to be a risky project. From the title alone this film was different, and the first of the current wave of superhero films to ask the audience to directly identify with the bad guys (Guardians of the Galaxy were always more charming rogues, so they don't count). Of course, bringing in film stars such as Will Smith, Jared Leto and Margot Robbie all but guarantees a high level of exposure, but apart from the Joker, who are these characters?

Leading the pack is Will Smith's Deadshot, a deadly assassin with a code of ethics and a daughter who gives him a reason to live. He's not a widely known character outside of the comics, but provides Smith with enough internal conflict to make his choice of this film over the Independence Day sequel an easy one. The poster girl for the group is Margot Robbie's Harley Quinn, delivering the first live action iteration of Joker's former Arkham Asylum psychologist turned girlfriend. All agreed, with her impossibly wide smile and manic eyes she's perfect casting for the role, and brings a lot to a character that is severely under-written.

Keeping Waller's team in check is Joel Kinneman's Rick Flag; a soldier who has been brought into the fold thanks to his romantic interest in Cara Delevigne's June Moon (aka Enchantress). Flagg is sadly quite a one note character, obeying his orders dutifully and having zero reaction to witnessing his employer murder a bunch of innocent agents; but he's Liberace in comparison to the other soldiers (including Scott Eastwood's GQ), who are so bland they could have been rolled into one character and still be lacking. The most interesting thing about Flagg is that he appears to stop and get a drastic haircut once the shit starts to hit the fan, although this may be explained away by the extensive reshoots and new material that make up the first act.

But, I suppose this is a film about the bad guys, and that it does have. There's something quite hypnotic about Leto's Joker, although that may just be that there's so much dazzle about his appearance it's hard not to stare at him whenever he is on screen, which isn't much. Unlike the much lauded big screen interpretations that have come before him Leto ups the gangster aspect of the character, depicting him as a crazy gangland kingpin/club owner. It kinda works, but the character needs to be better explored when he inevitably reappears to face off against Batman.

Joker's relationship with Harley Quinn provides ample opportunities for some lovestruck lunacy, but their scenes together are mostly limited to flashbacks (oh god, there's far too many flashbacks) and do little to flesh out their connection. It's a shame as there's clear chemistry between the actors, but little chance to let it develop. The same goes for Joker and almost all of the cast. For all the highly publicised disturbing artifacts and live rats Leto sent to his co-stars, he spends almost zero screen time with them. Again, it's a shame, as there appears to be an interesting dynamic between him, Harley and Deadshot that will have to wait to be explored another day.

As for the rest of the Skwad, they're a collection of poorly drawn caricatures and borderline racist stereotypes that know their place is to stand behind Smith and Robbie as they walk down the street in their (anti-)hero poses. Some characters are introduced purely to be killed off or be a walking weapon, whereas others such as Jai Courtney's Captain Boomerang are left with nothing to do but tick a number of bogan stereotypes of the list. Boomerang is a jovial presence and is honestly the best Jai Courtney has ever been; but he's sidelined by the finale and not given much to do.

The most pleasant surprise of the film is Jay Hernandez's Diablo, who despite barely appearing in the trailers and also conforming to a whole checklist of unfortunate stereotypes, ends up being the best character in the entire film. He's the only one with any fire to him, and has a backstory that has given him real conflict about his abilities. The quiet man of the group, he has the depth that characters like Killer Croc and Slipknot could only dream of from their cells.

Having too many characters and not enough 'character' is not Suicide Squad's only issue. Once again the world is threatened by an underwhelming big bad that turns their mission into a game of capture the Flag as it descends into generic action (there are THREE separate helicopter crashes that people walk away from unharmed) and CGI madness. Edited to within an inch of its life, it's clear that Suicide Squad has gone through a few changes on its journey to the big screen; but with his background writing films like S.W.A.T. and Training Day and directing End of Watch and Fury, David Ayer seemed like the perfect director for this film. If he couldn't bring Suicide Squad to us unscathed by the negative response to Batman Vs Superman, no-one could.

Yet, despite all the negative reactions this film has garnered from critics and some audiences, it would be wrong to say I didn't still enjoy it as a generous helping of dumb popcorn entertainment. A masterpiece? No. A let down to everyone who thought this could be the film to put the DCEU finally on the right track? Undoubtedly. But it's still a fun but heavily flawed film, and without the weight of an entire cinematic universe on its shoulders, it could have been brilliant.

Verdict
3/5

AUTHOR: THE JT LEROY STORY review

Screened at last month's Sundance London Film Festival and now on general release, who was the real JT LeRoy? 

THE NEON DEMON review

Starring Elle Fanning as a young woman eager to make it in the cutthroat world of modelling, Refn's divisive commentary on the fashion world arrives in cinemas.

After receiving a reception at Cannes that can be described as mixed at best, The Neon Demon hits our cinema screens in typical Nicolas Winding Refn fashion; sharply tailored by master craftsmen and sealed with a monogram.

The Neon Demon begins with the startling image of Elle Fanning's Jesse lain across a chez lounge with blood across her neck. However, this isn't the scene of a gruesome murder; this is a fashion shoot. It's a cold, often heartless world we're introduced to. In the waiting room for Christina Hendricks' powerful executive, she points at a girl and tells her to go without any pleasantries, just an off hand dismissal that could destroy the hopes and dreams of a young girl.

Taking its cues from other slightly barmy, hyper stylised takedowns of their respective industries like Black Swan and in particular Showgirls, what at first appears to be all surface soon flips the page to reveal something much darker hiding in the centrefold.

Like Refn's Drive and Only God Forgives before, The Neon Demon uses a lurid colour palette to paint its picture. Among the reactions from Cannes was the accusation that this was little more than sumptuous wallpaper, but it's a truly beautiful film to look at with undeniable substance under the surface. Refn's influences are clear to see, with David Lynch's Lost Highway and Dario Argento's Suspiria being obvious touchstones.

Fanning has an almost ethereal quality about her, and exhibits beauty in an almost alien way. She deserves praise for creating nuance in her performance. With her impressively long, swan like neck and skin like milk, she could easily fit in with the more vacuous people this film depicts. Like the film itself, which could have been just shallow and pretty to look at, she adds layers and hidden depths to Jesse's seemingly innocent small town girl in the big city. When one of the more fragile of her contemporaries comments that "nobody likes the way they look", she takes her down with a simple "I do".

Among the supporting characters is Jena Malone's Ruby; a seasoned pro who's seen how the industry can chew up fresh meat and spit them out again. Malone is outstanding in the role, bringing forth a palpable sense of desire in an often cold and uncaring world.

There's gender politics at play here too. Although the cast is almost completely female, the roles occupied by men are those of abusive power. They are the photographers that demand that Jesse strips naked. They are the designers who refuse to watch some models as they walk for them. They are the motel owners who take advantage of people in a vulnerable situation.

One would assume this was a knowing wink to the audience from Nicolas Winding Refn about his role as director. After all, this is a film full of mirrors.

A poison pen love letter to the fashion industry with some beautiful imagery, as it pushes forward into its horror infused final act The Neon Demon is a hallucinatory nightmare that needs to be experienced to be believed.

Verdict

4/5

SING STREET review

When Connor is forced to move schools in 1980's Dublin, he finds himself struggling to fit in until he meets a girl that gives him a reason to make friends; he's going to need other members for the band he's just told her he's in. Director John Carney made a splash with Once back in 2007, leading to Oscar glory and a popular stage musical adaptation. Since then he has dipped his toe into Hollywood filmmaking with the similarly musical Begin Again, and has now reached some sort of middle ground with Sing Street.

Based on the Christian Brothers Synge Street school in Dublin that Carney himself attended (with the lead character of Connor clearly semi-autobiographical), it's a trip down memory lane looking at the fashions, friendships and fun times that helped shape his love of music. Musical teenagers is certainly not a new concept for the big screen, with School of Rock and the under-rated but excellent Bandslam being obvious comparison points. It also brings to mind the long forgotten but influential 1998 Channel 4 series The Young Person's Guide to Becoming a Rockstar, featuring similarly pre-naturally talented teens making their way into the music industry.

Forging friendships with his classmates as a means to create the band, apart from a couple of scenes with Eamon his chief songwriting partner, Connor's relationships with his other band mates are under explored. His first interaction with Darren leads to the formation of the band, but that character is sidelined and sadly under used after that. It's a potential mis-step by John Carney, but it could be read that this is less about the formation of a band than it is about the creation of a frontman.

The songwriting process is often skimmed over or summed up in a montage, but to not include the trial and error stage of this band's journey through The Cure to Hall and Oates and beyond is to paint an unrealistic picture of musical creativity, a problem that beset Once and Begin Again too, but to a lesser degree. Thankfully, not only are the songs competently written and performed but they're real earworms without a dud among them. In that respect Sing Street is a complete fantasy; but this is a teenage romance. What's wrong with a bit of fantasy?

Set in 1985 at the heyday of John Hughes' output, it shares a lot of his themes and romantic idealism. Crucially, it isn't just music Connor wants to make about/for the girl that's entered his life, it's a film; or more accurately, a music video. This is particularly relevant during the performance of Drive it Like You Stole it, where Connor's romantic ideals spill over from fiction and into fantasy. Moving from real world to studio based production values, it's constructed so that the clip can be used as an actual music video, but actually says a lot about Connor's world view.

In this autobiographical nostalgic fantasy Carney isn't quite sure what ending to give it, torn between giving his lead the girl of his dreams (Lucy Boynton makes for a impossibly perfect muse for Connor, although she looks waaaay too old for him) or making him follow his newfound career path. Likewise Connor's parents, who are completely oblivious to their son's newfound skills as a performer and are under developed. He does have a great relationship with his older brother, Brendan (a pot smoking college dropout with an extensive record collection and a habit of spouting wisdom but not taking his own advice), and Jack Reynor is able to bring a much needed family connection to the film. The scenes between him and Ferdia Walsh-Peelo are among the best in the film.

Despite some minor niggles, Sing Street is a fun journey through musical styles and influences; a thoroughly charming film that will leave audiences with an overwhelming sense of joy and nostalgia, and quite a few songs swimming around in their head. One for romantics and New Romantics everywhere.

Verdict

4/5

GREEN ROOM review

Starring Anton Yelchin and Alia Shawkat as members of a band who find themselves fighting for their lives against a gang of skinheads. Jeremy Saulnier's tense new thriller is out now in cinemas.

BAD NEIGHBOURS 2 review

After the events of the first film, Mac and Kelly Radner are expecting another baby and are planning on selling up and moving to a bigger house. Unfortunately for them, a sorority has just moved in next door and are being guided by Zac Efron's Teddy in the ways of partying and college life.

ALL THINGS MUST PASS review

Charting the rise and fall of Tower Records, Colin Hanks' All Things Must Pass is out now on DVD.

BASKET CASE TRILOGY Blu-ray review

In what may well be the ultimate story of the bond between two brothers (where one of them lives in a basket), out now on Blu-ray is the Basket Case trilogy.

RE-ANIMATOR Blu-ray review

Starring Jeffrey Combs as H.P. Lovecraft's Dr Herbert West, out now as a 2 disc special edition Blu-ray is the splatter classic Re-Animator.

CRIMINAL ACTIVITIES review

Directed by Jackie Earle Haley and starring John Travolta, Dan Stevens and Michael Pitt, Criminal Activities is out now on DVD and VOD.