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Here’s one sign among many of how the world of movie franchising has expanded over the past 20 years. It’s not as if there weren’t 20th century sequels—hundreds of ‘em!—but there was a time where the idea of a follow-up to a movie called Suicide Squad, especially one that inspired such mixed reactions, would be a cheap premise for a joke about Hollywood’s bankruptcy. Whaddaya call it, Suicide Squad 2: Still Not Dead? Suicide Squad: This Time We Mean It? Now the central idea behind Suicide Squad, wherein bad guys are forced onto impossible missions with low probability of survival, feels ready-made for sequels. If an actor gets too fussy, kill ‘em off. If the whole thing goes sideways, start over with a new squad. And if people love it, well, no one in comic book movies really stays dead, anyway.
People did not love 2016’s Suicide Squad. It was a mess, taped together by a great concept, the star power of Will Smith, and the allure of the popular DC Comics character Harley Quinn, making her live-action debut. It was then slathered in gluey, trailer-ready pop songs—only this time, the trailer figured out the playlist first and the movie was forced to follow suit. It still made a tonna dough, as Harley Quinn might say, and a sequel was being developed around the same time that James Gunn, director of the Guardians of the Galaxy movies over at DC’s rivals Marvel, found himself with some free time. Parent company Disney had recently been tricked into firing him for some untoward old tweets and DC, apparently being the place for reformed villains, scooped him up quickly enough to get the Squad rolling again. (Gunn was since rehired by Disney and Guardians 3 is in the works again.)
Continue reading THE SUICIDE SQUAD is a gory, beautiful reboot of the same old thing