Archive for Extreme Prejudice

Gunn Play

Posted in Comics, FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , on August 14, 2021 by dcairns

Recap: James Gunn made SUPER, a low-budget superhero comedy with drastic tonal problems, and parlayed that into the surprisingly balanced GUARDIANS OF THE GALAXY films, which actually work on the level of fun. (The first movie is about saving Planet Israel, which has not been much remarked upon.) Going from a 2.5 million budget to a 200 million budget. Not bad. Then some tweets he’d made much earlier in his life were dug up (he’d made no effort to hide them) and the Marvel people, after some hesitation, kicked him out.

The tweets were pedophilia jokes, and not only that, none of them were funny (“That’s even worse news,” to quote Norm MacDonald). One of the Twitter personae weighing in against Gunn was Matt Gaetz. When it was pointed out that these tweets were intended as jokes rather than as documentary accounts of Gunn’s day-to-day activities, Gaetz said something like, “But how do we know he’s not just using that as a smokescreen?” I toyed with the idea if asking him whether his own condemnation of the mirthless tweets might be a similar smokescreen, which would have made me fucking Nostradamus, but I didn’t do it. Having any kind of contact with Matt Gaetz, however remote? I would sooner sit on Cthulhu’s face.

Gunn was immediately, I mean indecently immediately, snapped up by DC to reboot their Suicide Squad franchise. (My problem is not that he continued to work after making failed jokes, but that any pretense was made that something was being achieved by having him swap studios for one film.) I never saw the first film, SUICIDE SQUAD, but people seem to have mainly liked Margot Robbie in it. Seems reasonable. Gunn’s film is called THE SUICIDE SQUAD, the use of a definite article to distinguish comic book adaptations having been rolled out by WOLVERINE and THE WOLVERINE. This strikes me as pathetic and unimaginative, but this is a marketing department we’re talking about, so.

I decided to see THE SUICIDE SQUAD, Fiona decided to come to. I was curious.

The concept of the insanely violent, blackly comic comic-book movie was introduced, I guess, by the KICK-ASS and KINGSMAN films, then went more mainstream with the DEADPOOL films. So naturally The Guardian newspaper has a piece about this being a new development signalling the maturity, and imminent decline, of the genre.

Gunn is returning to his roots, making a tonally unsustainable bloodbath with multiple layers of incoherent irony and odd attempts at pathos. Some of these work surprisingly well. The balance of gore and slapstick and action and fantasy and sweetness is definitely better than in SUPER, but still made me queasy all the way through. The emotional moments are predicated on the criminal heroes (this is basically THE DIRTY DOZEN with superpowers, and none of the Aldrich film’s questionable elements have been resolved in the intervening 54 years) having been damaged by their traumatic childhoods, which is Gunn’s favourite theme (he was sexually abused as a child himself).

The jokes are pretty good. Robbie is no longer the best character, since Harley Quinn seems to be incapable of evolution, and the film has to work hard to prevent her psychopathic character from doing anything unforgivable. Idris Elba is pretty fine, and I’m so glad he’s using his own accent and not playing a stereotyped African-American as in PROMETHEUS. Daniela Melchior is his surrogate daughter. There’s no real reason for them to start the bonding process, but once they do it helps rescue the film from just being a relentless mayhemfest.

THE SUICIDE SQUAD is not just a DIRTY DOZEN remake. It’s an EXTREME PREJUDICE remake — someone actually says “Terminate with extreme prejudice!” and the “guys on a mission” plot delivers a twist involving the mission’s true purpose which echoes Walter Hill’s Tex-Mex bloodbath. It’s a SUICIDE SQUAD remake — instead of a humanoid crocodile, there’s a humanoid shark. It’s a GUARDIANS OF THE GALAXY remake — there’s a rodent, a big dumb guy, the aforementioned damaged personalities. Basically, everything Umberto Eco said about CASABLANCA that wasn’t true there, is true here — a bunch of familiar elements have been jumbled together to create a series of nostalgic glows, comforting familiarity, a sense of cultural connectedness. As when you hear a modern pop song and all the chords and lyrics and riffs are recycled, warmly recognizable even if you haven’t heard the originals.

Gunn deserves credit for the grace notes: some Kubrick-KILLING play with chronology, a soundtrack that isn’t just the same old songs (though the “original” score is just the standard set of thumps of w hich I am mightily tired), a reference to Hugo Pratt’s Corto Maltese comics, some good laughs, and a sharp awareness of how Central American countries get eternally shat on by the US. Peter Capaldi gets to say “Unclutch you’re fucking pearls!” when other characters react to his human experiments. Instead of the MCU’s Stan Lee cameos, Lloyd Kaufman is wheeled on, slow-dancing with a hooker. Sylvester Stallone is effective, and we don’t have to look at him because he’s playing an animated shark (the other film is which Stallone works is ANTZ, where he and Woody Allen are the only actors with distinctive voices). This is probably the first time Stallone has been cute. Though he also bites people’s heads off. The lines “Hand,” “Bird,” and “Num-nums,” are the lines he was born to say.

Fans of excruciating violence will find a whole lot to enjoy. It’s almost as exhausting as BRAINDEAD.

I think this kind of thing, or LOGAN’s kind of thing, is destined to remain an occasional subgenre of the world-smashing superhero movie. It’s not going to take over and lead to the downfall of the costumed crimefighter flick. Only the audience demanding more variety from its family-friendly blockbusters can do that.

I’ve never read any Suicide Squad comics but John Ostrander, who rebooted it, also co-wrote, with fellow actor Del Close, the anthology Wasteland, which I admired. And he’s IN Gunn’s film.

When I was a kid, watching westerns on BBC1 Saturday nights, I would frequently get confused when the good guy and bad guy got into a fistfight, and would have to remind myself who was wearing what colour shirt. Same thing happened here.

The final boss villain is a character ripped-off by DC, back in 1960, from the Japanese scifi flick WARNING FROM SPACE. You can buy that on Blu-ray from Arrow, with some liner notes by yours truly.

Borderline

Posted in Fashion with tags , , , , , , , , , , , , , on August 5, 2021 by dcairns

It’s a shame about EXTREME PREJUDICE (1987). As with SOUTHERN COMFORT, the cutting is terrific, the action is well staged (minimal but telling use of slomo), but it’s not as engaging or efficient as a story. Maybe the combination of Hill and John Milius, who’s credited with coming up with the story, is too much macho bullshit for me. (Curious that for a long time Hill and Milius, “right-wing anarchists” — libertarians? — were very popular with liberal UK critics, at least until Milius took it all too far with RED DAWN, a deeply silly film). But there’s also quite a bit wrong with the way the movie interweaves its plot threads, and the central one just isn’t very interesting.

The subplot, which comes on like the main plot and is consistently more interesting, is the illicit activities of a CIA squad consisting of men officially dead, and whose leader (Michael Ironside, yay!) has gone rogue and is using his men to destroy evidence of his corrupt dealings with drug lord Powers Boothe (astonishing, an underused cinematic resource). The main plot is the old one about the cop and crook who grew up together. Here, Boothe is paired with Nick Nolte as a Texas Ranger (the setting is Tex-Mex border) but the trouble is their relationship doesn’t change from beginning to the end, and also Nolte for some reason is playing it like Judge Dredd, emotionless and flat. The two antagonists also share a girlfriend, Maria Conchita Alonso, but she has nothing to do except be objectified. Hill heroines mainly fall into two camps, the leading ladies with unsatisfying stereotype roles, and the characters written as guys in the first draft who he changes into girls — ALIEN’s Ripley, written as a guy by the original scenarists, is the most famous example, but Amy Madigan in STREETS OF FIRE is another. These gals are pretty exciting though it’s occasionally apparent that they’re the writer in drag.

To celebrate Nolte’s recent weight loss (a result of kicking the booze, I think) the movie has him fight a lot of fat guys. One is even called Chub.

These two stories butt up against each other throughout, usually by means of violent action, which is as impressively ouchy, at least at first, as the mayhem of SCOMFORT. But they resolve messily — the Wild Bunch last stand of the CIA guys is a spectacular climax, but it’s followed by Nolte versus Boothe which is tedious by comparison, and the two don’t sufficiently affect or complicate one another. There’s a fun early turn by Rip Torn in perpetual sneer (“State legislature, shit! Only thing worse than a politician is a child molester.”) but he gets taken out of the picture in bloody fashion much too soon, leaving Nolte to interact, or inter-nonreact, with faceless subordinates for the rest of the show.

But the airport scene at the start, setting up the CIA good/bad guys, is one for the books. I haven’t seen Hill’s later westerns but I have BROKEN TRAIL on DVD. Guess I’ll take a look.