The Suicide Squad (2021)
132 min|Action, Adventure, Comedy|05 Aug 2021
7.2Rating: 7.2 / 10 from 451,304 usersMetascore: 72
Supervillains Harley Quinn, Bloodsport, Peacemaker, and a collection of nutty cons at Belle Reve prison join the super-secret, super-shady Task Force X as they are dropped off at the remote, enemy-infused island of Corto Maltese.

The Suicide Squad is the sequel to Suicide Squad (2016), currently directed and written by James Gunn. The conflict between Gunn vs. Disney/Marvel that used to be big resulted in Gunn finally working on this project. With a budget of USD 185 million, this giant film is the 10th series in the DC Extended Universe (DCEU). The film stars some of his regular cast from the first series, including Margot Robbie, Viola Davis, Joel Kinnaman, newcomers Idris Elba, John Cena, and Silvester Stallone (vocals).

In short, The Suicide Squad, now led by Bloodsport (Elba), must now infiltrate the Starfish laboratory in the Corto Maltese region, whose scientific experiments are considered to be harmful to the US and humanity. On the other hand, the overthrow of power (military coup) that took place there made their mission no easier to accomplish.

Suicide Squad, which used to be a joke, now certainly doesn’t have high expectations, and it turns out to be true! The sequel, now even worse than before. One glaring weakness is the absurd and implausible script. This film seems to have been designed purely as an entertaining comedy that is an anti-logic plot. This makes the story never look serious throughout the film so that empathy for all the characters is almost none. Even the figure of Harley that we already know well (two films), it’s as if we don’t know her anymore, and the character has no fundamental role.

It must be admitted, Gunn does give a different touch from the first series. He made this film into the DCEU’s version of “The Guardian of the Galaxy.” The side of humor and silly jokes dominate the dialogue, and the chanting of songs almost appears in every scene. From the script side (which he wrote), like Birds of Prey, this film plays with time, like in the opening segment. Gunn also creates chapters in each of his parts uniquely written in comic style and the “tone” of old film. So does Gunn’s touch make this film any better? With a script that is so absurd and looks playful, it’s not to me.

Baca Juga  Body Brokers

The action segment is undoubtedly what the fans expect the most. In a way, there is not a single action sequence that makes an impression, and the CGI also looks so bad. The script is not serious, so the action does not feel intense; there is never any significant threat and no tension. Human life also seems to have no value in this film. I was just stunned in one moment when I saw the two main characters show off each other by killing their “enemies,” who turned out to be the wrong targets. Hah?! Then the final segment, The Suicide Squad vs. Kaiju, completes the joke.

The Suicide Squad? What a joke! I could never understand how this could all happen for films of this magnitude (DCEU). The achievements of the DCEU manuscript have never been consistent. Last year, Birds of Prey’s script was presented so fresh through the timing and appearance of the star, who was full of charisma. Next, in WW84, again, the script is presented so ridiculously and unreasonable. It’s about time the DCEU overhauled the concept, and its home video animated films (most recently, Batman: The Long Halloween) have provided excellent samples. Still, want to compete with the Marvel Cinematic Universe (MCU)?

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PENILAIAN KAMI
Overall
30 %
Artikel SebelumnyaMimi
Artikel BerikutnyaBumi itu Bulat
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

1 TANGGAPAN

  1. Mau melawan MCU yang sudah menginjak ke saga kedua dengan kisah-kisah serialnya yang makin briliant?! Serasa ngos-ngosan DCEU mengejar ketertinggalannya.

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