One of the problems in film, generally, is being able to present a cohesive story with backstory, arcs, character development, conflicts to resolve and loose ends to tie up within a limited window of time. Now, the more characters you have in the story, the less time you can give any one of them, so that their stories get condensed and abridged until they aren’t really robust anymore.
Suicide Squad suffers from this problem in scads. With the DC comic villains each having their own origin stories and arcs from the comics, it’s hard to transpose those into a coherent narrative, and instead the overarching story feels like it’s cobbled together with a handful of random metahumans doing what they’re good at, with the writers being ordered to make a comic book film more like Marvel’s. At least they tried, I guess. Continue reading
Mouse Smash 