This article deals with the plot of The Suicide Squad
When James gunn announced that he was going to bring Guardians of the Galaxy from energy to the moving (and arguably failing) DC Extended Universe, it felt like a killer soundtrack was a given. Gunn’s poptimist approach to superhero movies had an influence on the first Suicide Squad‘s supposed to re-edit, leading to a film filled to the brim with forced needle drops that couldn’t find its rhythm. Say that Suicide Squad Missed Gunn’s mind and taste would be an understatement. DC and Warner Bros. failed to recreate the success of the first Guardians movie, so why not just go with the genuine article with movie two?
Gunn’s ability to place pop perfection amid the carnage and exhilaration of the superhero show is one of his great talents, and nowhere is this more explicit than in The suicide squadopening credit sequence of. The scene leading up to the credits is a bait and a switch. Gunn builds up energy through a standard show secret beach battle, generic superhero score, cast of fan favorites (including players from the Gunn Company Nathan Fillion and Michael rooker), And one on the nose Johnny Cash hit. But when the film’s first CGI creation, Weasel-who could very easily have been a star at the Groot Where King shark– dives from a plane and drowns, the audience learns that no one is particularly safe in front of Gunn’s camera. Like every member of this Suicide Squad is torn, the opening credits take up the purest expression of the director’s vision: a graveyard of supervillains who died to the sounds of the “Jim Carroll Band”People who died. “No track could be more perfect. Like Carroll’s song, The suicide squad deals with the horrors of human life and the violence of the modern world with exuberance, joy, and fun, a fitting commentary on the end-of-the-world theater of superhero cinema if there is one. Gunn is more willing to delve into our bloodthirsty predilections than other superhero filmmakers.
The late poet, writer and musician Jim Carroll is probably best known as the author of the memoirs Basketball newspapers, who later became one of the first Leonardo DiCaprio vehicle. Basketball newspapers chronicles Carroll’s life between the ages of 12 and 15, as a promising basketball player, little miscreant, and heroin addict on New York’s once grubby Lower East Side. In 1980, Carroll released his first album, Catholic boy, a loud punk gem that has found fans in Keith richards, Lou reed, and Patti smith. Playing on the same themes of his memoirs and his poetry, which for the most part detailed his hectic adolescence, Catholic boy is sometimes referred to as the “last great punk album” – however, it’s unclear who said this or why someone, including this writer, keeps repeating it. But “People Who Died” sounds like that could be the last great New York punk song (even if it wasn’t). “The people who died” exhaled a whiff of Taxi driver at a time when New York was starting to feel a little different. In a 1981 review for Rolling stone, critic Ken Tucker wrote: “[Carroll] let the group set the pace, then rush after them, shouting out a list of the names of his comrades who pulled out that hot plate coil: ‘They were all my friends, and they’re dead!’ he swallows. The absence of both sentimentality and ornamental imagery gives the song a touch of shocking humor. ”
The suicide squad is far from the first film to use the song. One of her first appearances came just a few years after her release when Steven Spielberg included her in HEY. While this foreshadows the danger Elliott (Henry Thomas) and his friends would face later in the film, the charming tale of a boy and his beer drinking alien may not be the best place for the melody. Honestly, the song, for all of its direct messages, is rarely used appropriately. It was even wasted in the Carroll movie. Basketball newspapers drops an abridged version of “People Who Died” in an expressionist, rain-soaked scene on the pitch. Unlike Gunn, the movie director Steve Kalevert opted for Catholic boyThe more low-key title track from as the opening credits soundtrack and pretty much doomed the film as a result. Mr. Robot, an underrated show in terms of needle drop, pulls a lot of mileage out of the song, using it to play over it a cast iron burning proof fixture. It works best because “People Who Died” is more comfortable with mischief and murder.
Just as the song pays an unsympathetic tribute to the dead, so does the same. The suicide squad. At the start of the credits, the guitars ring, the drums roll, and Carroll begins to sing, “Teddy sniffing glue, he was 12 / fell off the roof on East Two-Nine.” Gunn’s whirling camera pans and circles the dead and dying bodies littering the beach, turning the brutalization of many of the film’s supposed lead actors into a house party. As the director turns the camera TDK (Fillion), who spits bubbles of blood, Gunn walks by Amanda waller (Viola Davis), where its employees watch the massacre on console screens and point fingers at dead supervillains, literally and figuratively. Meanwhile, Waller is just upset about having more headaches before the mission ends. These are people (and weasels) who died, but they are completely consumable. Gunn’s use of the song upsets what audiences might think the film will be, who is playing it, and what we should think of the characters. He explains that not only are these characters disposable, but we should be happy about their disappearance.
The opening credits of the film riff on Gunn’s previous film, Guardians of the Galaxy Vol. 2. Praised for its soundtrack, GOTG Vol. 2 opens with Baby Groot dancing to “Mr. Blue Sky” as Groot’s partners are crushed by a space monster just out of frame. Or Guardians distracts us from the violence with an adorable CGI creation (one based on Gunn’s own movements), The suicide squad does the opposite. Instead, the director reveled in the chaos he created, using “People Who Died” as the mission statement for the rest of the film. Violence is entertainment. This is the reason why we are watching. This is the reason why Waller employees have so much fun. That’s why we settle in for another two hours. Dancing Groot is funny against the backdrop of chaos. In The suicide squad, violence is the joke.
The suicide squad is pure when he sings in showers of blood, and no place is truer than the opening credits. As Carroll names every teenager he knew who died, turning their obits into entertaining and cathartic punk perfection, Gunn does the same. The director takes the time to introduce the characters to us, lays the foundation for future callbacks that will never be remembered, and gleefully kills them all. No one is safe in their world, regardless of the billing. And it’s in a good mood because we don’t necessarily want to see these people live anyway. They are supervillains, after all. Gunn challenges us to take advantage of the violence for herself and hope Superman doesn’t show up to stop the insanity. Then, with “People Who Die” in the soundtrack, he delivers an opening that kills.