Tag Archives: David Ayer

Suicide Squad (2016)

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I’ll be honest: Suicide Squad was probably my least anticipated blockbuster of the year. The trailers didn’t inspire me and expectations dropped even further after the disappointing mixed bag that was Batman v Superman. And so I’ll also give credit where it is due: I actually quite liked Suicide Squad.

Written and directed by David Ayer (Training Day, End of Watch, Fury), Suicide Squad is officially the third film in the DC cinematic universe after Man of Steel and BvS. It is an ambitious project that tries to subvert the superhero ensemble genre by making the protagonists a bunch of “bad guys” who have to save the world. It is essentially a bizarro Avengers of sorts, with Viola Davis  playing Amanda Waller, a government official who decides to bring together a group of the world’s most dangerous criminals, some of whom are “metahumans”, to take down a new threat that has become seemingly unstoppable in the aftermath of BvS (no spoilers for those who haven’t seen it). It essentially the Nick Fury role played by Samuel Jackson in the Marvel cinematic universe.

There’s the hired assassin Deadshot (Will Smith), crazy babe Harley Quinn (Margot Robbie), powerful ancient witch Enchantress (Carla Delevigne), Aussie bandit Captain Boomerang (Jai Courtney), mutant Killer Croc (Adewale Akinnuoye-Agbaje), firestarter El Diablo (Jay Hernandez), and wall climber Slipknot (Adam Beach). Tasked with babysitting the so-called “Suicide Squad” is hero soldier Rick Flag (Joel Kinnaman), along with his sword-wielding Japanese friend Katana (Karen Fukuhara).

That’s already a lot of characters and a lot of stars, but there’s still more. There’s Jared Leto as supervillain The Joker, Common as a gangster, Scott Eastwood as a lieutenant, and Ike Barinholtz as a sleazy prison guard. That doesn’t even take into account cameos from a couple of from Justice League members.

Despite the plethora of characters, Ayers does a fairly good job in introducing us to all of them and in trying to give each their chance to shine, including the use of an assortment of flashback sequences to reveal back stories for key characters. Of course, no one really gets enough time to become a fully rounded character, but I think it was about as good as you could get considering the running time is only 123 minutes. Even had they extended the film to 3 hours it wouldn’t have made much of a difference.

Perhaps burned by the reception to BvSSuicide Squad had a lot more lighter moments and humorous dialogue where audiences could laugh and relax — predominantly thanks to Harley Quinn. There are still plenty of serious/emotional scenes, and even some scary sequences that would be unsuitable for children, but the film is decidedly not as dark or gritty as Ayers’ previous films.

And the performances are very good all around. I had been one of those people who felt Will Smith’s days as a box office A-lister were long behind him, but this movie shows he’s still got the charisma and presence to carry a film. He doesn’t need to do it here, but he’s arguably the best thing about the movie. I had also thought his character, Deadshot, seemed kinda lame, though I was wrong about that too. The film definitely frames his special abilities in the best possible light so that he can be one of the most impactful members of the squad.

The other standouts for me were of course Margot Robbie, who dominates just about every scene she is in as the sexy but nutty Harley Quinn, Viola Davis, who gets a lot of meat to chew in this film, and Joel Kinnaman, who adds a groundedness to all the mayhem and super abilities. He’s proven with this performance and in House of Cards that he is a fantastic actor who deserves bigger, more challenging roles in the future.

And now, the negatives. Truth is, the film doesn’t make much sense at all from a story standpoint. I can’t go into it too much, but even the very reason why the Suicide Squad was set up in the first place, and who was chosen to be a part of it, doesn’t quite add up. Many of the members of the squad — especially the non-metahumans with the exception of Deadshot — don’t really belong there. Captain Boomerang, in particular, basically offers nothing. It’s one of those movies where you have to put logic aside and go with the flow, because some of these metahumans are so powerful that contrivances have to be forced into the plot to balance out the field for the ordinary humans. Logic aside, and while the editing is far near perfect, Suicide Squad is still a more coherent film than BvS.

Another complaint I have — and it’s the same problem many had with BvSˆ– is that the characters bonded too quickly and too easily. I understand that Ayers had to create camaraderie in the squad, but it was jarring to hear them speak of each other in corny terms after a handful of interactions in literally just a few hours of time together.

The final issue I had with the film was Jared Leto’s tattooed, mobster version of the Joker. Some people may love it, but I hated it. My problem is less with Leto’s portrayal and more with the way the character was written and presented. I didn’t find him creepy or scary, and I could tell that’s exactly what they were going for. If Jack Nicholson’s Joker was iconic and Heath Ledger’s was legendary, then Jared Leto’s Joke is “meh”. It’s almost as though he tried too hard and it backfired.

Ultimately, Suicide Squad is not in the same league as any of the Avengers movies or Civil War, and it’s several notches below X-Men: Apocalypse. However, those movies did have the advantage of not having to introduce their core characters for the first time, whereas for Suicide Squad had a whole bunch of characters most regular moviegoers would not have even heard of. It is not great by any means, but at least it delivers good popcorn fun and some solid action sequences.  I personally thought it was better-made and more entertaining on the whole than BvS.

3.5 stars out of 5!

Movie Review: Fury (2014)

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I was surprised to see that Fury has received generally positive reviews and performed very well at the box office — not because it’s a crap film, but because I’ve heard almost zero buzz about it since its release. Indeed, the film has been overlooked completely at the upcoming Oscars, and no one is calling it a snub.

After finally watching the film with tempered expectations, I’m calling Fury a borderline snub. It might be treading on familiar territory, and it’s certainly not be the most memorable war film out there, but the overall production — from David Ayer’s script and direction to the performances from the all-star cast — is simply too good for Fury to be called anything but an A-grade movie.

As with most coming-of-age war movies, Fury is told from the perspective of a young and naive young man not prepared for the horrors of war. In this case the protagonist is Norman (Logan Lerman, aka Percy Jackson), who is assigned to the crew of Don “Wardaddy” Collier (Brad Pitt), chief of the fictional WWII tank Fury.

Together with a veteran crew — played by an interesting ensemble featuring Shia LaBeouf, typically comedic actor Michael Pena and Walking Dead alum John Bernthal –Norman is thrown into the deep end, where he must learn to kill or be killed.

Those who have seen Ayer’s previous films (End of Watch, Sabotage) know they’re in for a gritty, violent experience that puts an emphasis on realism and well-rounded characters. Fury is a visceral affair, with plenty of explosions, ripped limbs, bodies getting shredded by bullets and exploding heads. It heightens the sense of reality and also offers a sobering reminder of how cheap life is in times of war.

Both the Americans and Germans are depicted as humans as opposed to WWII stereotypes, with even individual members of the Fury crew showing shades of good, bad and in between. When it comes to the battlefield, however, there is a camaraderie and trust that allows them to put their differences aside, adding further depth to the narrative and the characters.

As expected, the cast delivers, with Brad Pitt’s Wardaddy standing out as a complex leader hardened by the realities of war, his ruthless exterior mixed in with moments of tenderness and kindness. And as much as he might be a douche in real life, Shia LaBeouf demonstrates once again that he’s one of the most remarkable young actors of his generation, even with that horrible moustache on his face. Logan Lerman has been the lead in coming-of-age dramas before (The Perks of Being a Wallflower), so he’s right at home as the innocent Norman. Michael Pena showed he could do drama in End of Watch, which is probably why Ayer brought him back, and we all know after The Walking Dead that Jon Bernthal can play an a-hole to perfection. It’s a superb cast, with each member of the crew having moments that belong exclusively to them.

The only real knock I have against the film is that it doesn’t tell us anything new or offer anything we haven’t seen before. It doesn’t exactly try to avoid war cliches, though I wouldn’t go as far as saying that it embraces them. It’s as though the film had ambitions to be great, but didn’t quite know what to do to get there. Having said that, I can’t deny Fury succeeds as an engaging war drama fuelled by strong performances and tense, realistic battle sequences. It might not be one of the best war movies of all-time, but it’s certainly one of the better war movies in recent years.

4 stars out of 5

Movie Review: End of Watch (2012)

I initially wasn’t planning on watching End of Watch even though it was directed and written by David Ayer, the same guy who gave us Training Day (as well as SWAT and Street Kings) — which was fantastic but also emotionally draining and exhausting to get through because it was so heavy duty. The trailer made it look like just another gritty cop drama, which I usually prefer to catch on DVD rather than at the cinemas. But in the end, strong word of mouth won me over.

The film stars Jake Gyllenhaal and Michael Pena as two police officers working in South Central LA, which is one nasty place filled with drug dealers, gangs and drive by shootings. Gyllenhaal’s character is doing a film project for class, which requires him to carry around a camera whilst on duty.

I didn’t like how the film started or where it appeared to be heading. I am sick of these “found footage” or faux documentary films made with shaky cameras that make me want to throw up, and End of Watch initially made me think that the whole film was going to be a frustratingly nauseating ride.

Fortunately, although somewhat strangely, the film more or less reverted back to traditional film-making methods with steady shots, interspersed with these film project cams and other police security cams (such as from their patrol vehicle). On the one hand it was a relief knowing I wouldn’t have to feel like vomiting all throughout the movie, but on the other it begged the question of why those shaky shots were necessary at all, given it wasn’t pretending to be real footage anyway.

Like Training Day, End of Watch is gritty and hardcore, with intense action, edge-of-your-seat suspense and confronting scenes that challenge the audience to not avert their gaze. The key difference between the two films is that End of Watch is driven by the close friendship and brotherhood between the two leads. I like Gyllenhaal and I love Pena (I think he is one of Hollywood’s funniest and most underrated actors), so I guess that helped skew things in the film’s favour for me.

The movie is dedicated to police officers, but it’s not a total suck job like say Act of Valor. The characters are presented as believable people with personality quirks and flaws, real hopes and fears. It’s proof that well fleshed out characters can do wonders in terms of engaging the audience.

The supporting cast is also solid, including the recently omnipresent Anna Kendrick and Natalie Martinez, who play the partners of the two leads, as well as America Ferrera aka Ugly Betty, a no-nonsense female police officer. Special mention goes to Yahira Garcia, who was frighteningly convincing as gang member Lala (at least for someone who has no idea what gang members act like).

End of Watch is a film that creeps up on you. In the beginning I was thought I was going to hate it because of the camera issues. Then for a while I thought it was repetitive and wasn’t getting anywhere — it felt like a Cops marathon, with the two officers going on episodic missions, one after another, with no real sense of a progressive narrative.

Eventually, as the various strands began to become tied together, I discovered that it was actually a very well-crafted film. The final climax, in particular, was riveting stuff, as suspenseful as anything I’ve seen from an action or thriller this year. It was also good to see the film not bow down to cliches and finish on a strong note that tugs the heartstrings by just the right amount.

On the whole, End of Watch wasn’t quite what I had expected, but it turned out to be a satisfying experience largely thanks to the genuine chemistry between Gyllenhaal and Pena. I did have some issues with the arguably unnecessary shaky camera and an occasionally stagnant narrative during the first half, but all things considered it’s still a superior action thriller.

4 stars out of 5!

PS: It’s actually a good thing if you don’t know what End of Watch means (its a euphemism) because it gives away part of the plot.