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Suicide Squad Review (2016) | Entertaining But Falls Bland

A whole lot of bang with no deafening noise to cover it all up. Suicide Squad might not be that DC movie you have been impatiently waiting for, and it is highly probable that we are never going to hit that old Nolan high ever again, but it still manages to rope you in with entertainment galore. What is important that we are joining DCEU pieces together, and trying our level best to build something beautiful in the long run. Aren’t we really looking up to it?


The problem with David Ayer’s direction is that he doesn’t retain focus. The guy wouldn’t let you pivot on anything. His direction gallops like a speeding steed, and by the time you are trying to put sense into something he canters around to imminent frames to cloud his shoddy direction, without caring about how spectators feel. That’s where he goes wrong. What we need is depth, a gorgeous profundity to hold onto something serious, so that we have something to reflect, and possibly tag along to a frequency that keeps us on our toes to meet those elusive frames. Sadly, Ayer doesn’t have that tranquility and he storms like Usain Bolt.


Without wasting any time, let’s delve into the good the flick had to offer. The best thing about Suicide Squad is hands down Harley Quinn. A one woman show that swallows everything in its wake of perversion. Margot Robbie does justice to our good ol’ Harley successfully creating a stunning persona that is probably the most cherishable character we take from Suicide Squad.

still of margot robbie as Harley Quinn in Suicide Squad movie

Another powerful one is that of Will Smith’s Deadshot. He has some of the best lines and he delivers too. But still I wished he was built as memorable as the animated character in Batman: Gotham Knight. Watch out for that one man army show though with his unmissable headshots.

Joel Kinnaman as Rick Flag was a confident affair too. He carries a comportment that will have you believe things were actually serious. Amanda Waller was magnificently built with Viola Davis placing things in perspective. But she melts into immaterialism with a vapid story to back her.


David Ayer fails to stun us with a Zack Snyder like theatrics when it comes to depicting fighting sequences, but he still manages to create memorable bits keeping Joker under the wraps. There are cameos of him that are absolutely dazzling, as Jared Leto masters that notorious Joker laugh, thrilling every frame with his occasional presence. There are theatrics entailed, no doubt, but I wished he was given more screen time to create an enchanting scene all for himself. His occasional visits with hooligans in dramatic veils sizzle the screen with pizzazz nevertheless.

still of Jared Leto as the Joker in Suicide Squad movie

Enchantress was gorgeously carved in the beginning. The part where Amanda Waller introduces her will have you mesmerized by her ghastly transition. But then as the movie progresses on its thinly built plot, she loses the charm and dread of enchanting us, and withers away like a dead flower. The worst part is when you see Cara Delevingne actually dancing as she performs her bewitching acts. Terrible!

Another good part was ephemeral Batsy cameos. Wish he had some more unexpected eye-popping bits at odd hours and we would have the whole hall erupting with his occasional presence. The part Zack Snyder shot for Flash was there too and will have you bite your nails for that Justice League movie build up.


Other characters in the movie have not been helmed properly. They fall like dominoes without having a proper focus on their abilities except for Diablo played by Jay Hernandez, who gets to have his proper super-villain moment. Incubus walks in strong with his outrageous annihilation in the beginning, but where it all mattered, he succumbs to one of the easiest victories ever.

still of jay hernandez as diablo from suicide squad movie

I am afraid, the screenplay has nothing much to offer. There were moments inscribed wherein you would be impatiently waiting for a funny one-liner, and then end up realizing it was already advertised in the trailers before. Side stories to the tale were like inevitable bits that didn’t have us feeling sorry for the characters. Those were the things that were highly plausible, and don’t reek of enough melodrama to sieve things in perspective.

For the better half of Suicide Squad, we have songs that play in the backdrop, that we all have been forever accustomed to. The flick has limited score strewn across that will make you feel how steep the fall really is, coming from Hans Zimmer’s gorgeous music in Batman v Superman: Dawn of Justice.


Suicide Squad has fabricated bits too. Like that scene when Harley takes the elevator. It seems a deliberate attempt to create just one scene. To be honest, we could have lived without.

Killer Croc and Boomerang get shadowed beyond limit. I can’t believe they made Captain Boomerang so forgetful here when in animation he was so superbly sculpted. I can’t forget these memorable lines by Harley for him till date.

Anyone who throws boomerangs has some real issues letting go.

Slipknot is literally added just for one scene. Is he that expendable?

To put it out there candidly, you should watch the animation to witness how beautiful comic helming is done. To experience what the original Suicide Squad was capable of doing you must read the comic or watch the Batman: Assault on Arkham version.

Introduction to characters fell far away from the tree as well. It felt sped up as if you were playing some kind of game, and that time was the key factor. With such teensy moments to spare, there was a whole team to cover and it is understandable too. But really we needed some calm there too.


It goes without saying, DC has a lot of ground to cover. Whilst Suicide Squad might have come out a dud, it was entertaining nevertheless. At the end we still wait with dilated eyes to see what DCEU has in store for us in future.

You can check out the trailer of Suicide Squad here:

Terminator Genisys Review (2015)

Terminator Genisys falls apart circling bland horizons.

If you have been following the Terminator saga closely, which as a matter of fact I have, and which of course is hard for people to keep track of given the humongous year gaps, you would be thrilled to see the beginning sequence of the movie. The untold prologue gets told. What James Cameron had hinted in the first installment gets displayed. But the question goes: was it perfect?

What James Cameron had ignited long ago was a spark of sci-fi awesomeness. The cast then was stellar, their acting prowess unmatched! What Alan Taylor has with him is a bunch of renowned actors, some of them can’t really plunge into the sentient topnotch emotions that the then Sarah, Kyle and Connor had sparked amidst the Skynet terror stricken world. (Daggers intended at Jai Courtney!)

Genisys has a brilliant plot too, but unfortunately it negates everything James had built in his timeline. The time theory just gets trudged upon big time and little explanations of justification make things even more difficult to understand. If you aren’t up to speed with the Terminator timeline, you might as well miss it.

The powerful drama of the franchise gets lost into mediocrity. Gravity in the characters is nowhere to be found. There is no impending dread like there used to be. It fails to milk on hard-to-defeat robot fear factor.


All that had happened in ‘The Terminator’ is made to rest in dust, as Sarah encounters another Arnie (whom she calls Pops, and boy does he behave like one!) in the year 1973, who had come to save her from a Skynet cyborg sent from the future just like the first installment. Now the meeting with Kyle Reese in the year 1984 happens but this time with an already prepped Pops (who knows everything about the future) and Sarah who intercept Kyle and kill Arnie from The Terminator. What is the next logical thing to do? Avoid the judgment day. So that is what Kyle and Pops are in for, but Kyle breaks in with a memory he had in the time machine saying they have to go to 2017 as that is when the judgment day was bound to happen and not 1997 (Kyle and Pops don’t know that as they haven’t seen T-2 :P). So what appears to be a recalcitrant Kyle coaxing Sarah to go to 2017 (that looks horrible btw) was basically based on a memory Kyle had. Trusting that they reach 2017 where Genisys aka Skynet is about to go live.

What makes the story even more intricate is the fact that John Connor in the future gets affected by Skynet something that Kyle witnesses when he was about to time travel to 1984. The affected John Connor is then sent some years prior to 2017 to see to it that everything goes fine and that Genisys goes online without a hiccup (so primarily to stop Kyle and Sarah).

Along with Kyle, Sarah time travels to 2017 only to find the future bad John and of course Pops still up and running. What follows are some brilliant action sequences in an effort to stop Skynet/Genisys from going live. I know it’s one hell of a hotchpotch. Things were simpler when there was only one timeline to follow.

Jai seems literally absent with emotions. (Was he just chosen for the naked time travel scenes or was he really supposed to act?) He looked more cyborg than Pops! Emilia could have been a good Sarah, but sometimes it is really hard to read her. The Kyle and Sarah romance and the right chemical vibes are literally absent from the movie which makes it hard to relate to their commotion. Movie lacks profundity something that its predecessors had mastered. Arnold is showing too many expressions for a cyborg. The inclusion of J.K. Simmons looks dispensable. Jason Clarke doesn’t look that great as John too.

On the good side we have some pretty dope action scenes, like the one where Pops holds a T-1000 in the acid. Or when he rams a rotor into John, the bus action seq, and the final action bits that look pretty great. Other than that, mediocre!

The Water Diviner Review (2014)

Russell Crowe’s first big directorial venture isn’t a fiasco. It is good but there are so many things that stop it from being great.

The Water Diviner is a movie that starts off with exceptional score, awesome direction and then later dwindles into mediocrity in its main course, only to resurrect again in the end. Screenplay is good, sometimes covering great words brilliantly spoken by the cast. Score is enthralling. Plot is beautiful and well directed at times.

Movie is all Russell. Carrying a thoughtful face and wet eyes, he portrays a man in pain perfectly. You can almost feel for his loss, when the plot unfurls with a terrible tragedy that compels you to wear his shoes. With a big fatherly heart, Crowe carries the movie with his sheer emotions.

Olga is a disappointment. Her face lacks the much needed thoughtful lustre. Sometimes you can perceive her forceful put-on acts with a lot of unwanted animation to her features. Even Jai doesn’t get enough screen time. His addition to the tale ends up going to waste.


Some of the greatest bits of the movie lie in its starting act where we see Connor finding water, and then digging a well to find the cold. Even before that, the war bit is also quite beautifully shot. It carries along with it an apt climax that delivers subtly a brooding thought. We are soon thrown into the pits of tragedy when we find Connor reading out stories to three empty beds.

At one point the movie loses its seriousness where the score changes to comic like undertone. Even though grim frames follow, something seems amiss and you cannot take anything that pursues seriously.

The gravity of the movie however lies at the war grounds where Arthur lies in mud along with his brethren, helpless, and also at Russell’s brows. The chaotic war aftermath is captured beautifully with all the wailing and crooning that shatters the quiet myth.

Eventually the flick narrowly escapes the jaws of mediocrity owing to the gloomy theme it runs on and revives with Arthur’s big conundrum and a happy-ending.

Good stuff! Worth a watch!

Insurgent Review (2015)

Insurgent is a fast paced thrilling joyride!

Good thing we have gradually stepped into the dark in this one. Roth isn’t afraid to kill people any more, and we don’t mind watching the dead!

With the release of Divergent last year, and the mediocrity it skimmed on, Insurgent seemed like a long shot. But boy does it prove everyone wrong. The flick comes in strong with a lot of action and thrilling acts of defiance. It is one hell of a joyride wrapped up beautifully in one fine editing thread of awesomeness.

Plot runs gorgeously complementing the acting prowess of Shailene Woodley and Kate Winslet. Theo James still lacks the gravity of the extraordinary but works just fine with Shailene in the vanguard. Miles Teller is an exceptional and inevitable element to the tale and is still amazing behind the lens. Jai Courtney is ruthless as ever and Zoe, well she hasn’t been given much screen time here.

The time that has been squeezed out of action is well spent on drama, where Shailene simply blows you away. She is relatable and does manage to weigh in on your emotional heart with her breaking voice and concerned countenance. Dream sequences in the movie are quite exceptional. Withering buildings and bodies look really badass when fragmenting.


There are several instances in the movie where the direction seems to be abruptly gliding towards dodgy. Like the unrealistic direction when Edgar finds out about Four’s true identity. Also, Caleb’s reluctance to continue the sojourn spoiled by Ansel’s drab acting and Shailene and Theo’s shallow comeback. Missing gravity on Theo’s face would occasionally compel the movie to circle mediocre flames. The flick also misses out on character development for some crucial elements, for instance, introduction of Uriah to the tale was pretty bland and abrupt. Also, we don’t get a proper glimpse into Johanna’s life either.

Wrapping up a book in two hours is hard. To what Robert Schwentke managed in a flick is worth commendable. If only the franchise grated itself on a fully fledged TV series, it would be a whole different story to show every bit from the book in an amplified manner. But whatever we have on the big screen is still pretty dope. We can work with it. Go watch this beauty!