I saw the Justice League...

Questions regarding "Justice League'"s critical outcome have been discussed, predicted and debated over the past few months. People have wondered if the film would be as polarizing as “Batman v Superman” or as charming as this summer’s leading blockbuster, “Wonder Woman?” Others have speculated on whether it would be dark and brooding in the Chris Nolan vein or light and/or soap-opera-ish like CW’s television shows. Directed by both Zack Snyder and Joss Whedon, “Justice League” turns out to be a union of nearly all these things and isn't in the least bit polarizing. Well, okay, that's just the sound of wishing thinking, but still...

When it comes to villainy, however, we're dealing with the straight-and-narrow again, thanks to Ciaran Hinds' chilling, Lucifer-like Steppenwolf (CGI-enhanced pursuer of world-conquering boxes), who intends (as if we couldn't guess) to dominate the world. We've witnessed his coming through Bruce Wayne's "Batman v Superman" premonitions, of course; and with this larger-than-life villain comes a horde of larger-than-live, locust-like demons. There are so many, in fact, that it would prove hard, if not impossible, for any superhero/metahuman alliance to overtake them; and yet our champions are ever determined to bring the invaders down. 

The cast is familiar and effective: Ben Affleck as Bruce Wayne/Batman; Gal Gadot s Diana Prince/Wonder Woman; Erza Miller as Barry Allen/The Flash; Jason Momoa as Arthur Curry/Aquaman; Ray Fisher as Victor Stone/Cyborg; and (yep, here it comes!) Henry Cavill as Kal-El/Clark Kent/Superman. I don't believe I'm spoiling anything by acknowledging the Man of Steel's return. Warner Brothers hasn't in the least tried to conceal the Kryptonian's Christ-like return. It's more a matter of exactly how he re-enters that counts, but I won't spoil that juicy tidbit here. (BTW: a number of supporting characters also return: Amy Adams as Lois Lane; Jeremy Irons Alfred Pennyworth; Diane Lane as Martha Kent; and Joe Morton as Silas Stone. They're joined by new members J.K. Simmons as Jim Gordon; Billy Crudup as Henry Allen; and Amber Heard as Mera.)

At any rate, all of the film's predominating, saw-it-coming/old-turf stuff doesn't make or break the story one iota. You see, “Justice League” isn’t merely another superhero teaming, but rather the story of sought redemption, particularly on Wayne’s part, but also a story of guilt, again on Wayne’s part (and in a precise Judus-based way, I might add). The script, penned by Chris "Batman v Superman" Terrio and "Marvel Avenger'"s Whedon, spews an almost religious zeal in its hope that Superman will gain his predestined, second coming and from there, help the league save the world from Steppenwolf's explosive, demonic possession.

Beyond the Biblical allegory, the film stresses the importance of individuality coupled with partnership. Oh, yeah, folks, one can still shine as an individual and help a greater cause without slipping into some Nazi-ish, conformist shade of gray. (Sorry, snowflakes, but that’s just the truth of the matter, but then those of your myopic ilk aren’t apt to view “Justice League”, even though you damn well should.) 

With these elements acknowledged, “Justice League” is, above all, a fun film. It still may be dark in its heart, but on the whole, it reflects its character mix. Batman is anguished and brooding; Wonder Woman, warmly glowing; Flash, a spree of crimson glee; Cyborg, shiny yet gritty; Aquaman, redesigned for sure, but when he bursts from out of the sea, soothing and calm. The styles of the two directors (though more an accident than a get-go intent) lends wonderful variance to the adventure, with some parts in tune with “Batman v Superman” and others reflecting the breeziness of most Avengers movies.  

The wavering styles also act as (if I may be so flag-wavingly bold) a reflection of the United States. I realize that may strike some as corny, but U.S. inhabitants are, in fact, part of a big melting pot, or make that a great, experimental salad, wherein each morsel holds a different flavor, but under the blanketing dressing, each tastes equally good. And “Justice League (of America)”, for all of its insinuated patriotic and religious seasoning, is exceptionally delicious. 

On another level, “Justice League” echoes an older and more admirable form of storytelling. The holier-than-thou, “social justice” writers of current DC and Marvel will surely degrade the film, since they've already taken contemptuous pride in dismissing all the fine attributes that once made their companies so inspiring. 

On the other hand, some "fans" will simply reject "Justice League" without even seeing it, assuming it's hip and cool to do so. A number of folks (mostly adolescents) will be too timid to give it a shot. Others will view it, but in the aftermath claim it's either too dark or light. Personally, I see the film as striking a swell balance, but enjoyed the experience mainly because I became involved with its heartfelt, human concerns. (Danny Elfman's score is also a blessing, considering that he incorporates traces of his Burton/Batman theme throughout. Ah, nostalgia!)

So, say what you will about good ol' "Justice League". Even persuade others to avoid it, if you want. No matter the result, it's here to stay and who knows? Maybe, by golly, if those dandy, post-credits sequences are any indication of the shape of things to come, it'll spawn a few sequels. Now, wouldn't that be somethin' to discuss, predict and debate? 

I saw Suicide Squad...

Writer/director David Ayer's “Suicide Squad” is a comic-book refashioning of “The Dirty Dozen”, as is its animated companion piece, “Assault on Arkham” and its competing series, Marvel’s “Sinister Six”, which would have beat “Squad” to theaters if not for “Amazing Spider-man 2’”s embarrassing dissension. "Squad'"s leads, of course, are bad buys, with the hope that somewhere down the misguided line, they’ll do some good, but this gimmick also proposes a head-scratching dilemma: When dealing with villains this iconic, do we really want them to change? Depending on how one perceives it, the result can be either a blessing or a curse.

The story begins in "Batman v Superman's" melancholic wake, with concerns for safety erupting in Kal-El's absence. As a result, government employees Amanda Waller (Viola Davis) and Rick Flagg (Joel Kinnaman, who plays significantly in the film's long haul) dispatch a makeshift (and villain-based) squad to snuff out problems that others are unable or unwilling to tackle. In this instance, we have a demonic plague (triggered ironically by one of the recruits) that's turning a city's inhabitants into "Attack of the Mushroom People" type creatures. The squad, in a nod to Snake Plissken, is forced to quell the infectious spread (of course, with promises offered).

The characters (mostly Batman and/or Green Arrow linked) consist of the sexy yet insane Harley Quinn/Harleen Quinzel (Margot Robbie); the sensitive assassin-supreme Deadshot/Floyd Lawton (Will Smith); the pugnacious Captain Boomerang/Digger Harkness (Jai Courtney); the fiery El Diablo/Chato Santana (Jay Hernandez); the hulking Killer Croc/Waylon Jones (Adewale Akinnuoye-Agbaje); the stealthy Slipknot (Adam Beach); the mysterious Katana (Karen Fukuhara);the mystical Enchantress/June Moone (Cara Delevingne); and of course, our always jubilant Joker (Jared Leto), a crime boss in this instance, who interferes with the mission in hopes of regaining his beloved Harley. (Ike Barinholtz is also on hand as memorable, wise-cracking prison guard.)

Throughout the adventure, there's ample action; a heavy layering of comic-book violence; hit tunes; snappy dialogue; and fascinating characterizations. (The first portion, a flashback lead-in, is reminiscent of "Deadpool'"s early phases in its manic, if not disorienting pace.) Batman (Ben Affleck) and the Flash (Erza Miller) make significant appearances, tying the excitement not only to "Batman v Superman", but the upcoming "Wonder Woman" and "Justice League". 

Performance-wise, everyone excels (and this is the film's indisputable strength), with attention devoted mostly to Leto, Robbie and Smith, who by their characters' designs and generous screen time, can’t help but steal most scenes. Smith, in this regard, is traditionally cordial, despite his character's austere past. In Leto’s case, we’re given the expected, prevailing creepiness: in essence, an extension of what Heath Ledger commenced, with some of Jack Nicholson, Mark Hamill and Cesar Romero thrown in. In Robbie’s instance, it’s a non-stop combination of kooky sensuality and limb-twisting theatrics: her presence potentially iconic on a number of levels.

The film's weird, magnetic nature sets it high on the comic-book adaptation stack, but it also differentiates the film from others of its kind, including “Deadpool”, which still plays up the hero-at-large angle. “Squad” doesn’t have much of a traditional, moral base, therefore. How could it? This relegates the film to a questionable category. Yes, we end up rooting for the principals, but only within its monsters-attack context. We could never hope to elevate these folks above Batman, Flash, Superman and the like, and it's therefore impossible to latch unconditionally onto the group’s nature or cause, especially at those times when they reference their dismal deeds. In truth, these expendables operate for no other reason than to defeat a greater evil, which under any other circumstances, some might very well have joined. 

As a “Clockwork Orange”-meets-“Escape from New York” hybrid, "Squad" succeeds, but as much as it’s an official part of the DC theatrical Multiverse, it’s also a big-time odd-man-out. Don’t get me wrong, I damn well enjoyed the movie, but I’d have preferred these characters making appearances initially in solo Batman films, where good is good and bad is bad. 

On the other hand, we're introduced to individuals, who regardless of their immense flaws, work toward (albeit inadvertently) rehabilitation, with most risking their lives to achieve that goal. That element alone, I suppose, makes "Squad" worthy of appreciation and beyond what some might argue, the film still stands as a morality tale, even if an unorthodox one.