THE SUICIDE SQUAD

Margot Robbie     Idris Elba     John Cena     Viola Davis

Daniela Melchoir     Sylvester Stallone (voice)     Joel Kinnaman 

            It takes a creative, fanciful mind to dream up a story about such a motley group of characters (all prisoners) charged by the U.S. Government with dismantling a Nazi-like prison and laboratory in a foreign country, Corto Maltese.  Although The Suicide Squad does have drama, it’s also very funny.  Amanda Waller as director of the Suicide squad and researcher of human powers has a testy relationship with the squad she has formed to take down the Nazi-like prison of Jutenheim and its project named Starfish.  In the squad, there is a definite rivalry—sometimes boyish—among leading men Bloodsport (Elba), Peacemaker (Cena), and Col. Rick Flag (Kinnaman), for instance.  And there is Ratcatcher 2’s (Melchoir) attachment to rats and Bloodsport’s phobia about them.  On top of these dramas, we see examples of aspirations for political power, U.S. involvement in other countries’ politics, and the ethics of human research.  But… it’s more of a comedy in its buffoonery, japery, and craziness, with a shark (voiced by Stallone), a woman attached to rats, and a weasel (Sean Gunn) as part of the crew, along with the use of “super-powers” such as polka dots, starfish, and King Shark’s sheer bulk as weapons.   Thank James Gunn as writer and director for all this zaniness.  The trailer refers to “the Horribly Beautiful Mind of James Gunn”, so I think he deserves the credit.

            The first squad sent out to Corto Maltese doesn’t make it, the details of which are shown in a silly but amusing way.  Similarly, even though the second squad makes it, they come to find Col. Flag happily engaged with a woman in a tent.  He’ll have explanations for this, but then he joins Harley Quinn (Robbie), Peacemaker, Bloodsport, Ratcatcher 2, and King Shark in a plan to capture the chief scientist of the Jutenheim Laboratory and release all the citizens imprisoned by the government.

            “Do they succeed?” you might ask.  To find out, you must experience all the hi-jinks  along the way.  Actually, it doesn’t really matter, because the action is highly entertaining.  For instance, Peacemaker and Bloodsport get into a heated argument about some of Peacemaker’s remarks.  In reply, he says, “I cherish peace with all my heart, and I don’t care how many men, women, or children I kill to get it.”  You can enjoy Harley Quinn getting engaged in a heated affair with the president of Corto Maltese (one of their love trysts destroys a whole room), after which, she is persona non grata in the country and tortured to give up the names of her squad…until…

            Another entertaining part for me was to see Ratcatcher 2—first being seen sleeping much of the time with a rat resting on her shoulder—have a clear sense of justice and be able to use rats to effectively defend the team and the city.  I understand that Daniela Melchior had to audition with a rat to be sure she was comfortable with it.  Rats—some of the most abhorred species on the earth doing something heroic?  James Gunn makes it sensible—and endearing—somehow.

            Margot Robbie goes way out in portraying Harley Quinn, showing she can be a fine actress in action-comedies just as well as a bad girl in tense dramas (I, Tonya), a tragic Hollywood figure (Once Upon a Time in Hollywood), a queen (Mary Queen of Scots), and the voice of an animated rabbit (Peter Rabbit, Peter Rabbit 2:  The Runaway).  She is an arresting figure who can be as powerful as any in vanquishing enemies, but her cohorts can be super impressive as well.  A stand-out is John Cena portraying a well-intentioned strong arm, Peacemaker, who is effectively held in check by more grounded Bloodsport (Idris Elba).  The cast is strong, perfectly matched to their characters by Yiniva Cardenas and John Papsidera.

            All in all, I would say this is a very successful movie in its genre—several notches above most.  In addition to making a female one of the most central figures, it extends the irony to men having big plans to rescue a woman who had already escaped and putting rats in an elevated position for a grand finale.  I did note that mothers are put down as a theme in the story, and dads as well, although not nearly as much.  Note the last gripping hilarious(?) scene.

            I would think that anyone with a playful sense of humor and an interest in quirky characters would enjoy Suicide Squad.

 

Get on board for an adventure plunging you into a world that will take some getting used to, you’ll have but lots of fun along the way.

 

Grade:  A                              By Donna R. Copeland

MA RAINEY'S BLACK BOTTOM

Viola Davis     Chadwick Boseman     Glynn Turman     Colman Domingo     Michael Potts

Jeremy Shamos     Taylor Paige     Jonny Coyne     Dusan Brown

     In this presentation, Viola Davis is completely transformed from her normal Hollywood public appearances—stylish, well spoken, and winner of Triple Crown Acting (Oscar, Emmy, Tony) awards, into a character called Ma Rainey, a flashily dressed, deep-voiced blues singer in the 1920’s known as “Mother of the Blues” who could invariably captivate her audience.  She was somewhat a mentor to the legendary Bessie Smith (“Empress of the Blues”) who would come after her, and between the two of them their music helped usher in the popularity of the Blues genre.  

     This story is about an attempted new recording of Ma Rainey’s Black Bottom Band and the internal and external struggles they endure as they interact with one another, the recording studio, and ever-sinister threats from the white community.  You see the force of Ma Rainey’s personality in her demands (repair of her car in a minor accident, Coca Cola, a fan, etc.), knowing she has the trump card of her and her band’s presence.

     That part of the movie is tense and still somewhat entertaining, but the part that really glued me in is when different men in the band describe their encounters with racial injustice, the all too often Black experience in America. This is when you know the movie is not simply about a funky band.  It’s telling us—once again!—about the importance of racism in our country. Yes, we can say this movie takes place in the 1920’s, but when we see the protests and behind-stories associated with them in 2020, the points hit home.

     Davis shows us again that she is a wonder in acting by fully embodying her character and keeping the viewer honed in on her.  Chadwick Boseman—as irritating as his character is, even though he may be right in what he is arguing—is one of the elements of the movie that makes it work, simply by his sheer ability.  (We will miss the actor for many years hence.)  The other supporting actors are impressive in their portrayals, and bring authenticity and emotional valence to the film.

     As significant and touching as I see the arguments among the band members and those between Ma Rainey and between the white agent and studio head from a social standpoint, as a viewer I found it hard to watch for such long scenes in the movie. I kept wanting to leave it and go do something else.  This may be my whiteness coming through, but such incessant arguing is never productive—as we will see by the end.

     The “Staginess” of the production was a distraction for me.  The movie is based on August Wilson’s stage play (Broadway, Royal National Theatre in London), which was very successful. But as so often happens, converting a stage play to a movie unfortunately shows it as a replication of a stage play.  For much of the time I was watching, it really seemed like a film of the play. I’m not sure exactly why this is a drawback, but I’ve seen it so many times before, as in Fences.  Movies need to look like movies.  

      I am mixed in my reactions to Ma Rainey’s Black Bottom, about which I find both positive and negative aspects.

 

Ma Rainey’s Black Bottom is to be seen as a chronicle of Black experience in American music.

 

Grade:  C+                                    By Donna R. Copeland 

WIDOWS

Viola Davis     Liam Neeson     Robert Duvall     Colin Farrell     Michelle Rodriguez

Elizabeth Debieki     Cynthia Erivo     Brian Tyree Henry     Daniel Kaluuya

     Hold onto your seat; despite the leading title, this movie will keep you on edge—and on your toes—throughout the two-hours-plus time.  Rapid cuts between love scenes and major crime in the beginning shake you and disorient you, and then you must figure out who are all the characters thrown at you in the first few minutes.  

     Basically, if you’ve seen the previews, you know that the widow of a slain criminal contacts the other widows of her husband’s accomplices with a plan to secure their future after she finds the notebook he made sure she would get. As happens a lot in this film with men and women, he has underestimated her feminine wiles and will.

     In a role made for her, Viola Davis as Veronica uses her head after she is threatened by a rival gang, the Manning brothers (Henry and Kaluuya), who demand money from her that her husband Harry Rawlings (Neeson) stole.  Jamal Manning is determined to join the wealthy of the world, using his brother Jatemme as a fearsome hit man with no limits as to what he will do.  

     Corruption in city government is intertwined with criminal elements, assuring that interconnections among the characters will inevitably occur.  For example, Tom Mulligan (Duvall) and his son Jack (Farrell) are corrupt city officials who mete out city contracts to their friends.  Jack is currently running for city comptroller against Jamal Manning. All of them were well acquainted with Harry Rawlings when he was alive.  

     The main characters in this well-conceived plot are after the money that is now missing (burned up?) from the Rawlings caper that went down.  You will know who, if any, will end up with it only after many thrills and chills along the way.  The women occupy the stage most of the time, and actually, the men don’t come across well at all.  We see honor and care among the women who are following in their husband’s footsteps, but not in the same way.  The male characters are shown to be duplicitous, violent, and reactionary. 

     Writer-director Steve McQueen (12 Years a Slave, Shame) and screenwriter Gillian Flynn (Gone Girl) based the movie on the popular British television series written by Lynda La Plante of Prime Suspect fame.  With this much talent, it’s not surprising that their production is of such high quality.  No cheap thrills here, every inch of it is solid and has internal consistency and believability.  Hans Zimmer’s score and Sean Bobbitt’s cinematography provide an additional degree of excellence.

     Quotable quotes:  “You reap what you sow”; the reply:  “I hope so” and “If something goes wrong, I want my kids to know that I didn’t just sit there.” 

For an exciting, invigorating, suspense-filled evening go see Widows.

Grade:  A                                                  By Donna R. Copeland

FENCES

Denzel Washington     Viola Davis     Mykelti Williamson     Russell Hornsby     Jovan Adepo     Stephen Henderson

          This passionate tale about a black family’s experience at home and with the outside world is heart wrenching, enlightening, and funny.  The film is the third iteration of an August Wilson story, which was a multiple Tony Award-winning play, first on Broadway in 1987 then revived in 2010, and now a film directed by Denzel Washington.  He has played the role of the patriarch Troy in both plays and the film.  Viola Davis played Troy’s wife in the 2010 play and again in the current film. 

           Troy is a very authoritarian father with a past that would predict his adult personality—maternal abandonment and paternal abuse.  So Troy ran away from home when he was 14, and got involved in stealing.  Eventually, he ended up being tried and convicted for murder, serving 15 years in the penitentiary.  Soon after, he married and had a son, Lyons, but the marriage didn’t last, and the boy was brought up by his mother.  Lyons has a conflicted relationship with his father now.  Troy belittles Lyons’ playing in a band and not having regular employment, but grudgingly gives him money from time to time.

           When Troy met Rose (Davis), he had gained steady employment as a trash collector, and he attributes her with helping him make something of his life.  He reveres her, and she is a good foil for him, standing up to him occasionally, but mostly going along with whatever he wants.  Their love for one another is apparent, but they have a son Cory (Adepo), and Troy continues the father tradition in their family of providing little reinforcement but much instruction and criticism. 

         Cory is in high school and doing well in football, but his father wants him to work instead of playing sports and going to practice.  He even has a chance for a football scholarship for college.  But here is where the negatives of authoritarianism and “the father’s sins being visited upon the children” rear their ugly heads.  Troy tells Cory that he needs to learn a trade so he won’t have to be a trash collector.  Cory is enraged (potently expressed by Adepo) by his father’s forbidding him to play football, sensing that Troy doesn’t want him to have what Troy missed out on. 

       These relationships between Troy and his children illustrate the mistakes of an authoritarian, but it also shows up as a drawback in Troy’s marriage.  When he makes a major transgression, Rose lets him have it when he tries to explain how deprived he has been in sacrificing for his family.  “You talk about how much you give, but you take too!”  And her remarks emphasize his self-centeredness and his “bubble” in thinking he has been the only one wanting more in his life. 

          Eventually, the sins of the father are visited not only upon the sons but on the wife as well.  Rose must rescue him once again, not that he doesn’t also pay for his mistakes. He is now persona non grata at home, and he learns the bitter lesson and outcome of failing to foster his relationships with his children. 

       Fences is impressive in its portrayal of an American family in the 1950s, their challenges and issues, and part of their history that got them to this point in time.  It can’t quite overcome its “Broadway play” look, which is distracting at times, although this isn’t a major drawback.  The performances of Washington, Davis, Adepo and the screenplay (still imminently current) more than compensate for any downsides.

          A curious theme (to me) throughout this play/film is the theme of death.  It comes up from time to time, the song “I had a Dog Blue” (which dies) is sung, but Troy dismisses death out of hand.  He denies the eventuality of his own death, although after his own brush with it, the devil has become his adversary and we hear him challenging it right up to the end. 

Fences:  A way to keep things out and to keep things in.

GRADE:  B                        By Donna R. Copeland

SUICIDE SQUAD

Will Smith   Margot Robbie   Viola Davis   Jared Leto   Joel Kinnaman   Jay Hernandez   Jai Courtney  

Robin Akins Downes   Adewale Akinnuoye-Agbaje   Karen Fukuhara   Cara Delevingne   Adam Beach   Common

          Writer/Director David Ayer has effectively turned a comic book into a fairly good motion picture—something not so easily accomplished.  Colorful, entertaining characters—most of whom are bad guys—comic antics, and a dastard plot will keep you engaged for the full two hours (and ten minutes) if your expectations are not too high.  Some of these are more than cardboard characters; for instance, one has turned to yoga/meditation to try to overcome his past behavior; one has a daughter begging him to give up his kill-for-hire service, one is a psychiatrist brought under the spell of a criminal she was supposed to be counseling, and so on.  We get the back-stories on almost all in a rapid flash, which will be fine for those familiar with the DC Comics and movies, but a little too fast for people like me.  Even though Amanda Waller’s (Davis) character is a re-tread of Will Smith’s previous role, I would have liked to hear much more about her and how it is as a government agent she dreams up a cockeyed plan to recruit incarcerated criminals in a black-ops assignment to fight a war against invading aliens in exchange for reducing their sentences.  (Note this is not a “get-out-of-jail-free card.”)   

           Oh, by the way, Batman (Ben Affleck) does make an appearance.

       Appearing as the main characters are Deadshot (Smith), Harley Quinn (Robbie), Boomerang (Courtney), The Joker (Leto), El Diablo (Hernandez), Katana (Karen Fukuhara), Killer Croc (Adewale Akinnuoye Agbaju) and Slipknot (Beach).  They all have their special skills/powers, and deliver a swaggering, action-packed drama with plenty of hi-jinks and bravado.  But to have a PG-13 rating, the drama is pretty tame.  It’s very unclear how “suicide” got into the title.

        Suicide Squad is like many action movies, loaded with CGI and battles that go on interminably, always ending in car chases and hand-to-hand combat.  If that’s your thing, go for it.

A squad of hardened criminals out to save the world.

Grade:  C                           By Donna R. Copeland