Tag Archives: DC

“Suicide” ain’t painless, though Margot Robbie nearly saves the day

7 Aug

 

Harley Quinn suicide squad

You don’t have to be mad to work here, but… Margot Robbie as Harley Quinn in Suicide Squad

In further despatches from the Department of Faint Praise (see Star Trek: Beyond), Suicide Squad is not as bad as some reviews would lead you to think. That’s a long way from saying it’s actually good, since some of the reviews are real stinkers, but here’s what works:

* Margot Robbie is flat-out fantastic. Whenever she’s on screen, you feel anything could happen. She also, uniquely in recent DC films, looks like she’s having fun, which gives the audience licence to do so, too.

* And, actually, having set out to write a list of positive bullet points, I can’t think of another. Robbie’s performance alone is worth the price of the popcorn: her Harley Quinn is mercurial, flirtatious, conflicted, funny – and, like Hamlet, she is intriguingly but mad north-north-west . It makes you long for a Bonnie and Clyde-style spin-off movie with her and Jared Leto’s Joker (underused in Suicide Squad).

Will Smith is as charismatic as ever, but you feel his star power has got in the way: he plays Deadeye, the world’s most wanted hit-man, as a slushy sentimentalist who just wants his daughter to be proud of him – got forbid Smith should portray someone actually bad. None of the other characters are sufficiently developed amidst all the shooting and shouting to have much of anything interesting to recommend them.

You realise yet again what a great writer Joss Whedon is, to have juggled all the big personalities of the Avengers films, giving them all story arcs, intra-group conflicts, and some sense of an interior life. In Suicide Squad they are just a collection of characters in search of character.

Even by comic-book movie standards, the plot is banal: magical super-villain The Enchantress is presented first as all-powerful, but in the end is defeated far too easily. Plus Cara Delevingne, whose human alter-ego, Dr June Moon, is about as believable as an archaeologist as Denise Richards was as a nuclear physicist in The World Is Not Enough, is too slight a figure to carry off such a role.

And of course the film is shot in the Zack Snyder palette of dark and darker, whereas the subject matter surely called for something more day-glo.

I could go on. Bottom line, the first half of the film, in which the squad is being assembled, is really quite fun – though the imminent remake of The Magnificent Seven must be peed off at the lift. In the second half, frankly, I began to long for the closing credits to roll.

 

 

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Future Shock! The Story of 2000AD, at the BFI tonight

28 Oct
2000AD characters

A rogue’s gallery of 2000AD heroes, anti-heroes and villains. If you can name most of them, you’re a true “Squaxx Dek Thargo”.

2000AD is the Galaxy’s Greatest Comic. It says so on the masthead. Tonight, as part of the BFI’s Days of Fear and Wonder sci-fi season, a new documentary goes a long way to proving that’s no idle boast.

Future Shock! The Story of 2000AD gathers an impressive array of interviewees from the comic’s history: founder Pat Mills, editor David Bishop, a wide array of artists and writers (Alan Moore, predictably, is the only no-show), plus fans such as Anthrax’s Scott Ian, who wrote a song about Judge Dredd; Portishead’s Geoff Barrow; and screenwriter Alex Garland, who penned the Karl Urban Judge Dredd movie. The documentary is a master-class in editing: though it’s pretty much all talking heads, apart from some semi-animated stills from the comic (“Gaze into the fist of Dredd!”), the interviewees speak with such passion and eloquence that it’s never dull.

Some of the ins and outs, and the admirable frankness with which the loss of direction in the ‘90s is addressed, may appeal more to the 2000AD devotee (or “Squaxx Dek Thargo”, as we are known). But the key points will be of interest to anyone who loves comics:

1. 2000AD was born in 1977 out of punk and a feeling of revolution. It was Pat Mills’s follow-up to Action, the comic that was too violent to live. It used science-fiction not as escapism, but as a device for satirising the present without getting sued or banned (though they came close sometimes, which is why “Burger Wars” is never reprinted). It had four or five different strips in each issue, allowing room for experimentation and the nurturing of new writers and artists, but its one constant was Judge Dredd – a futuristic reboot of Dirty Harry whose brand of legally sanctioned vigilante justice made him popular with lefties who could see the satire, as well as, uncomfortably, others who couldn’t.

2. 2000AD changed the face of American comics. With the honourable exceptions of Warrior (home of V for Vendetta), Deadline (home of Tank Girl) and the odd Marvel UK or Doctor Who comic, 2000AD was pretty much the only game in town. If you were a Brit, and you wanted to work in comics, this is where you did it. The talent pool, therefore, was incredible. America’s DC Comics, under the editorship of Karen Berger, set up the Vertigo imprint specifically to tap into that pool. Alan Moore, Brian Bolland, Kevin O’Neill, Grant Morrison, Garth Ennis, Neil Gaiman, Brendan McCarthy, Pete Milligan – Brits such as these brought a humour, an anarchy, a rule-breaking, risk-taking mentality that shook up American comics and created a new golden age.

3. 2000AD had, and is continuing to have, a big impact on Hollywood. The only two official 2000AD movies so far are both of Judge Dredd, and neither set the box office alight. But the comic’s influence is far-reaching. The sci-fi film Hardware was based on a 2000AD Future Shock (it wasn’t credited at first, until I put two and two together in Time Out magazine and the producers had to settle out of court, full story here). RoboCop was a rip-off of Judge Dredd – the early version of his helmet, shown in the documentary, was an exact copy. The Book of Eli is, to all intents and purposes, set in the Cursed Earth. And it’s wormed its way into the DNA: a whole generation of Hollywood film-makers grew up reading 2000AD, and have absorbed its world-view.

I could go on – but why not see for yourself? There are still a few tickets available now for tonight’s screening, which includes a Q&A with 2000AD founder Pat Mills, artist Kevin O’Neill, and the documentary’s director Paul Goodwin and producers Helen Mullane and Sean Hogan.