The Suicide Squad (2021): James Gunn’s Gloriously Gory Reinvention of DC’s Damnedest Dozen

In a superhero landscape choked with saviours, one blood-soaked squad of psychos and rejects reminds us that sometimes the baddest guys make the best heroes.

James Gunn’s take on The Suicide Squad blasts through the expectations set by its muddled 2016 predecessor, delivering a riotous blend of ultraviolence, heartfelt camaraderie, and pitch-black comedy that cements its place as a standout in the DC Extended Universe.

  • A meticulously assembled ensemble of anti-heroes, from the deranged Harley Quinn to the shark-toothed King Shark, showcases Gunn’s knack for turning misfits into magnetic forces of chaos.
  • Pulverising action set pieces, infused with practical effects and grotesque creativity, elevate the film beyond standard superhero fare into a visceral spectacle.
  • Amid the gore and guffaws, profound explorations of redemption, loyalty, and the futility of control offer a surprisingly soulful core to this explosive outing.

From Belle Reve to Bloodbath: The Mission That Redefined Task Force X

The Suicide Squad kicks off with a brutal false start, hurling a disposable team of expendables into a South American hellhole called Corto Maltese. Led by Amanda Waller, the iron-fisted handler voiced with chilling authority by Viola Davis, this iteration of Task Force X comprises a wild mix of comic book oddities and fresh faces. Rick Flag, played by Joel Kinnaman with weary resolve, commands the ground operation, while Harley Quinn, Margot Robbie’s unhinged icon, provides the manic energy from the jump.

Gunn wastes no time establishing the stakes: these villains, implanted with neck bombs as insurance, are cannon fodder for black ops too dirty for caped crusaders. The opening assault on La Gatita Amable sets a tone of gleeful carnage, with Bloodsport (Idris Elba) sniping from afar and Peacemaker (John Cena) mowing down foes with patriotic zeal. Ratcatcher 2, portrayed by Daniela Melchior with poignant vulnerability, commands her rodent army in a sequence that blends whimsy with wholesale slaughter.

This incursion fails spectacularly, paving the way for the core team: Flag, Harley (extracted from a dictator’s clutches in a fever dream of animation and mayhem), Bloodsport, Peacemaker, Polka-Dot Man (David Dastmalchian), King Shark (voiced by Sylvester Stallone in grunts of primal fury), and Cleo Cazo (Ratcatcher 2). Their objective? Destroy Project Starfish, a covert experiment from the Second World War era, hidden in the bowels of an abandoned Nazi base.

What unfolds is no mere retrieval mission but a descent into absurdity and atrocity. Gunn draws from the 1987 comic roots by John Ostrander, where the Suicide Squad embodied moral ambiguity in a Cold War context, but updates it for a post-Joker world. The film’s production faced pandemic delays, yet emerged with a $185 million budget that prioritised practical stunts over green screen overload, a choice evident in every exploding beach assault.

Corto Maltese itself serves as a pressure cooker, its fascist regime mirroring the squad’s own volatility. Flashbacks flesh out backstories without halting momentum: Polka-Dot Man’s acid-trip visions stem from maternal abuse, turning his powers into a metaphor for inherited trauma. King Shark’s childlike hunger humanises a monster, while Peacemaker’s “peace at any cost” mantra exposes the hypocrisy of zealotry.

Ensemble Mayhem: Crafting the Perfect Powder Keg of Personalities

At its heart, the film thrives on its ensemble dynamics, a powder keg where egos clash and unlikely bonds form. Harley Quinn evolves from damsel-in-distress tropes, her prison break a symphony of mallet-swinging liberation set to Sweet Freedom. Robbie imbues her with layers of fragility beneath the psychosis, making Harley’s romance with the Joker a footnote rather than a crutch.

Idris Elba’s Bloodsport anchors the group with reluctant paternalism, his Deadshot successor burdened by a daughter who idolises heroes. Cena’s Peacemaker steals scenes as the helmeted fanatic, his bro-mance with Flag devolving into brawls and bromides. The duo’s beach battle royale, fists flying amid fireworks, captures Gunn’s love for meaty physicality over wire-fu.

Then there are the weirdos: Polka-Dot Man, cursed with hallucinatory dots that melt flesh, vents mommy issues in delirious rants. King Shark devours teammates with apologetic shrugs, his design a marvel of animatronics and CGI that feels tangibly terrifying. Ratcatcher 2 bonds with the squad through shared outcast status, her sewer rat summons turning urban decay into an asset.

Gunn’s screenplay juggles these arcs masterfully, using downtime in a Jotunheim camp for confessions over booze. Shared trauma forges loyalty, culminating in mutiny against Waller’s remote control. This anti-authority pivot echoes punk rock ethos, positioning the squad as underdogs against bureaucratic betrayal.

Gore with a Grin: Action That Bleeds Originality

Action sequences pulse with invention, from the starfish factory’s fleshy horrors to a hallway massacre parodying Die Hard. Practical effects dominate: squibs burst realistically, limbs sever with wet snaps, and Starro’s tendrils writhe with puppetry homage to The Thing. Gunn’s horror roots shine in the Thinker’s vivisections, grotesque yet comically excessive.

The final showdown on Jotunheim Beach rivals any blockbuster climax, Starro puppeteering civilians in a kaiju rampage. Ratcatchers overwhelm the beast with a tidal wave of rodents, a biblical plague visualised with thousands of practical rats enhanced digitally. Bloodsport’s portals and Peacemaker’s sonic boom deliver payoff punches, all choreographed for maximum splatter.

Sound design amplifies the brutality: crunching bones, gurgling innards, and a score by John Murphy that mixes orchestral swells with hip-hop drops. Gunn’s camera favours wide shots to capture chaos, rarely cutting away from the carnage, forcing viewers to revel in the repulsion.

Redemption in the Rubble: Themes That Stick Like Starro Spores

Beneath the viscera lies a meditation on free will versus control. Waller’s nano-bombs symbolise systemic oppression, while the squad’s rebellion asserts agency. Harley finds self-worth beyond toxic love, Bloodsport confronts absentee fatherhood, and even Peacemaker grapples with his father’s shadow.

Loyalty emerges as the true superpower, forged in shared near-death. King Shark’s evolution from predator to protector tugs heartstrings, his “Nanaue love you” plea a gut-punch. Gunn infuses optimism amid nihilism, suggesting villains can choose heroism without capes.

Cultural commentary bites: Corto Maltese critiques imperialism, Project Starfish a Frankenstein folly of unchecked science. The film’s R-rating liberates it from PG-13 constraints, allowing mature themes that resonate with comic fidelity.

Legacy ties to Gunn’s Guardians blueprint: found family triumphs over solo saviours. Post-credits teases cement ties to Peacemaker series, expanding this universe with irreverence.

Director in the Spotlight: James Gunn

James Gunn, born 5 August 1970 in St. Louis, Missouri, grew up immersed in horror and sci-fi, devouring films by George A. Romero and Sam Raimi. A precocious child, he wrote his first script at age 11 and studied film at the University of California, Los Angeles. His career ignited with an internship at Troma Entertainment, Lloyd Kaufman’s schlock factory, where he honed a taste for low-budget outrageousness.

Gunn’s directorial debut came with Slither (2006), a body-horror comedy starring Michael Rooker that blended gore and laughs, earning cult status. He followed with Super (2010), a dark vigilante tale with Ellen Page and Rainn Wilson, further showcasing his boundary-pushing style. Writing gigs included Scooby-Doo (2002), Scooby-Doo 2: Monsters Unleashed (2004), and the Dawn of the Dead remake (2004), proving his versatility.

Marvel tapped him for Guardians of the Galaxy (2014), transforming obscure comics into a billion-dollar phenomenon with its ragtag roster and killer soundtrack. Guardians of the Galaxy Vol. 2 (2017) doubled down, grossing over $860 million. Controversy struck in 2018 when old tweets led to his firing, but fan outcry and Disney’s reinstatement paved his return. Guardians of the Galaxy Vol. 3 (2023) bid farewell to the franchise he defined.

DC lured him with The Suicide Squad (2021), a hit that spawned Peacemaker (2022), HBO Max’s top series debut. Gunn co-chairs DC Studios since 2022, helming Superman (2025). His filmography spans: Tromeo and Juliet (1996, writer); The Specials (2000, writer); Slither (2006, dir./write); Super (2010, dir./write); Guardians of the Galaxy trilogy (2014-2023, dir./write); The Suicide Squad (2021, dir./write); Peacemaker Season 1 (2022, dir. episodes/write). Influences like Planet of the Apes and Team America infuse his work with irreverent heart.

Actor in the Spotlight: Margot Robbie as Harley Quinn

Margot Robbie, born 2 July 1990 in Dalby, Queensland, Australia, embodies Harley Quinn with a ferocity that transcends the character’s comic origins. Raised on a farm, she moved to Melbourne at 17 for acting, landing the role of Donna Freedman on soap Neighbours (2008-2011), earning two Logie Awards. Hollywood beckoned with The Wolf of Wall Street (2013), where her unfiltered Naomi Lapaglia stole scenes from Leonardo DiCaprio.

Harley debuted in Suicide Squad (2016), a breakout despite mixed reviews, grossing $747 million. Robbie produced and reprised in Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) and The Suicide Squad (2021), infusing punk anarchy and vulnerability. Voice work includes The Lego Movie franchise as Harley.

Beyond, Robbie shone in I, Tonya (2017, Golden Globe win as Tonya Harding), Once Upon a Time in Hollywood (2019, Oscar nom), and Barbie (2023, producing/directing smash). Her LuckyChap Entertainment champions female stories: Promising Young Woman (2020, Oscar winner), I, Tonya.

Filmography highlights: About Time (2013); The Wolf of Wall Street (2013); Focus (2015); The Big Short (2015); Suicide Squad (2016); Tarzan (2016, Jane); I, Tonya (2017); Terminal (2018); Mary Queen of Scots (2018); Birds of Prey (2020); The Suicide Squad (2021); Babylon (2022); Barbie (2023). Nominated for two Oscars, two BAFTAs, Robbie redefines action heroines with charisma and grit.

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Bibliography

Gunn, J. (2021) ‘The Suicide Squad: James Gunn on gore, Guardians and getting hired (and fired)’, Empire Magazine. Available at: https://www.empireonline.com/movies/features/suicide-squad-james-gunn-interview/ (Accessed: 15 October 2023).

Kit, B. (2021) ‘James Gunn on The Suicide Squad, firing from Marvel and DC future’, Hollywood Reporter. Available at: https://www.hollywoodreporter.com/movies/movie-features/james-gunn-suicide-squad-interview-1234990123/ (Accessed: 15 October 2023).

Robbie, M. (2021) Interview with Total Film, Future Publishing. Available at: https://www.gamesradar.com/margot-robbie-harley-quinn-suicide-squad-interview/ (Accessed: 15 October 2023).

Ostrander, J. (2016) ‘The Suicide Squad: My original vision’, Comic Book Resources. Available at: https://www.cbr.com/john-ostrander-suicide-squad-interview/ (Accessed: 15 October 2023).

Collura, S. (2021) ‘The Suicide Squad review: Gunn’s got another Guardians-esque winner’, IGN. Available at: https://www.ign.com/articles/the-suicide-squad-review-james-gunn (Accessed: 15 October 2023).

Erickson, M. (2022) ‘James Gunn: From Troma to the top of Hollywood’, Variety. Available at: https://variety.com/2022/film/features/james-gunn-peacemaker-career-retrospective-1235156789/ (Accessed: 15 October 2023).

Robbie, M. (2019) ‘Margot Robbie on Harley Quinn evolution’, Vogue Australia. Available at: https://www.vogue.com.au/culture/film/margot-robbie-interview/news-story/ (Accessed: 15 October 2023).

Travis, B. (2021) ‘The Suicide Squad cast on King Shark, Starro and practical effects’, Empire Online. Available at: https://www.empireonline.com/movies/features/suicide-squad-cast-interview/ (Accessed: 15 October 2023).

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