I saw Suicide Squad '21...

The Suicide Squad ('21) is a sequel/reboot to David Ayers' '16 hit, featuring all new baddies-forced-to-do-good, with Jai Courtney's Captain Boomerang and Margot Robbie's Harley Quinn returning for the embattled gusto. Writer/director James (Guardians of the Galaxy) Gunn now helms the brash, DC/WB/Atlas concept.

For this new misadventure, the motley crew (coined Task Force X) is jettisoned onto steamy Corto Maltese, under the command of Joel Kinneman's Colonel Rick Flag and Viola Davis' Amanda Waller (each from different, strategic vantages) to eradicate the dictatorial Luna regime and the island's colossal extraterrestrial inhabitant, Starro the Conqueror. (The intent here is to squash the Warning from Space thingamajig before it infects the world through mind manipulation and/or unleashes unsavory, Project Starfish secrets.) 

Comprising the longer-haul Squad (since there's an ill-fated, prelude team led by Michael Rooker's icy Savant), we're awarded Idris Elba's Bloodsport; John Cena's Peacemaker (the label is sardonic); Peter Capaldi's the Thinker; David Dastmalchian's Polka Dot Man; Daniela Melchior's Ratcatcher Jr; and King Shark, motioned by Steve Agee and voiced by Sylvester Stallone. (To strengthen the cause, Alice Braga appears as spunky freedom fighter, Sol Soria.) The Squad's semblances and personalities are diverse, thus enhancing their expendable uniqueness, while adhering to DC's titular, comic-book tradition. 

Robbie, of course, steals the show whenever she's given the chance. (Alas, she does fall out of the plot for a lonesome spell; oh, well.) At this point, it would be impossible to replace her as Quinn. It's also Robbie's time to shine as the big screen's compulsive sex symbol/actress extraordinaire. She can play anything really, and her attractive nimbleness bleeds through her many roles: Clownish Quinn being no exception.

As with the first Squad, the members are likable, even if unorthodox in their (anti)heroic relegation. Indeed, they're all flawed to some dangerous degree or other, but handled in such a way that one might say, "There but for the grace of God, go I."

Incidentally, this entry's tone is more rambunctious (i.e. amusingly splattered and thickly tune-tooled) than the first, which fits Gunn's style. This grants Squad '21 a Dirty Dozen/Kelly's Heroes meets Guardians/Ragnarok aura, in contrast to Ayer's chapter, which leans more on irreverent, monster-movie mysticism and Joker-fueled fright. 

Squad '21 is far from profound or earthshaking, but so what. (Who desires pretentious fodder, anyway?) Enjoy this visceral jaunt for what it is, and with that, satisfaction saves the screwed-up day. 

I saw Harley Quinn & the Birds of Prey...

"Birds of Prey" (not to be confused with the DC/WB television series: see April '19 overview) is a "Suicide Squad" sequel, directed by Cathy Yan and scripted by Christina Hodson.  It's a spectacular showcase for Harley Quinn or more precisely, the super-hot, super-talented thespian of a potential new, sex-symbol age, Margot Robbie. 

The treatment in this instance, subtitled "And the Fantabulous Emancipation of the One Harley Quinn", is surreal and wry, with Harleen Quinzel on the outs with the Joker and crossing paths with a few of Gotham's hearty heroines to fight (of all ironic things) villainy. In the interim, the grim manifestation of Black Mask/Roman Sionis (Ewan McGregor) occurs, along with face-slicing henchman supreme, Victor Zsasz (Chris Messina).

Because of its violent, irreverent slant, the plot places emphasis on the Deadpool-ish, narrative intricacies of evil-doing, brushed by a hope for redemption, which in the process pushes the good gals to the side, even though their presence remains constant. 

Those good gals consist of Black Canary (Jurnee Smollett-Bell); Huntress (Mary Elizabeth Winstead); Renee Montoya (Rosie Perez); and Cassandra Cain (Elle Jay Basco). If the truth be known, Cain is a questionable, if not reckless good lass, who's got a price on her head for snatching a secret-harboring diamond from the grasp of Mr. Mask. 

It must be noted (though most will have already deduced this) that the "Birds of Prey" label is a ruse, for though the Bat Family-inspired offshoot does stage crime-fighting stunts (including acts of vengeance), Robbie's Quinn is the center-ring force. Considering the pizzazz the actress sparked with her "Suicide Squad" portrayal, WB's decision was wise.

The ravishing Robbie has become and will remain an important figure in the Hollywood scene, because she recalls the glamorous, playful punch of the good ol' days. It's interesting, therefore, that stupid-ass, here-and-now Hollywood would use her so effectively (again, no less), but perhaps this indicates that cinematic matters are taking a better turn.  

Whether by accident or plan, "Birds of Prey" is a girl-gang, circus showcase of virulent, sex appeal. I liked it very much and will be certain to add it to my library when the opportunity comes. 

Do leap in.  Robbie's smokin' Quinn (and her resilient compatriots) will not disappoint. 

I saw Tarzan's Return...

"The Legend of Tarzan" is bold and brazen in its supreme rawness: a sequel/companion piece to all the Tarzan tales that have come before, which remains faithful to its Edgar Rice Burrough's roots. Above all, it proves that Tarzan doesn't need to combat a fellow good guy like the Phantom or Jungle Jim to remain relevant in this impetuous, clash-of-ideologies age.

Directed by David Yates, from a script by Craig Brewer and Adam Cozad, the new Tarzan (Alexander Skarsgard) is found comfortably occupying the role of gentleman John Clayton III, Lord Greystoke, but this man of extraordinary strength and high intellect has never abandoned his primal foundation. The proof comes via sentimental recollection and effective, simian-laden flashbacks (where Christian Stevens and Rory Saper's young Tarzans fill the bridges), establishing just enough retelling to give one insight into Tarzan's past, while never expanding it into a full-fledged retelling.

In this particular chapter, Tarzan is lured back to the jungle by the invitation of Belgium's King Leopold II to witness (and endorse) the "charitable" manner in which he's transformed the Congo. Tarzan, however, is wary of accepting the offer, but when the conscientious Consul General George Washington Williams, a character based on the real-life Civil War hero/writer, informs him of the actual exploitation occurring in the area, the jungle lord decides to go along for the ride, reluctantly taking his beautiful, American-breed wife, Jane (Margot Robbie), even though he knows the danger involved. 

The latter comes in the form of Leon Rom (Christoph Waltz), based on the real-life, Belgium soldier known for his sadistic ways, who hopes to hand Tarzan over to the vengeful Chief Mbonga (Dijimon Hounsou) in trade for diamonds. When Rom manages to kidnap Tarzan, Washington helps him escape, but that doesn't stop our villain from trying again. He grabs Jane and uses her as bait, leading Tarzan and Williams on a perilous trek to get her back, while in the process trying to break Rom's imperialistic expansion. 

The story isn't much more complicated than this, but through its simplicity, it shines, even mimicking aspects of Burrough's initial literary sequel, "The Return of Tarzan", along the way. It also covers a common conflict that one will find in any number of previous Tarzan movies, particularly the Johnny Weissmuller, Lex Barker and Gordon Scott chapters. It also instills the idyllic ambiance of Hugh Hudson's "Greystoke: the Legend of Tarzan, Lord of the Apes", at least in its British-based and flashback passages. 

"Legend" also holds its own with the best of modern thrill rides. For one, Tarzan's vine-swinging sequences are dizzying and energetic, and though they do smack of computerized enhancement, they drive home the ape man's unparalleled strength and endurance. To strengthen these sequences, Skarsgard's physique makes Tarzan's preternatural athleticism credible. To boot, he's equally believable in the animal team-up scenes and an ideal match for Robbie's goddess-like beauty, which is culled straight from Burrough's 1912 novel.

Waltz, of course, is an excellent villain, as he's proven in such past roles, particularly in the Bond epic, "Spectre", injecting sophistication into his meanness and possessing a memorable spider-silk rosary as his weapon of choice. 

Jackson's Williams is also a great addition to the film: a Bass Reeves, cowpoke type, who's handy with a gun and respectful of the land in which he roams. He matches Tarzan and Jane's ethical stance to a tee: a supporting character initially, who eventually becomes an amicable lead. 

Above all, what makes Yate's take so impressive is that, by hook or by crook, the movie taps straight into Burroughs's pulse, allowing Tarzan to embody the best extremes of the human condition: a seamless combination of man and god, just as the author intended. 

The film isn't without its flaws, however. Skarsgard's Tarzan sports pants throughout ninety-nine percent of the film, instead of his traditional loincloth. The bad guys also get the upper hand on him in an early sequence and later (as well as in a related flashback), so does a great ape--utter bull! The film loses a point for these missteps, but otherwise, the story re-establishes a straight-forward standard that filmmakers should use when reintroducing old favorites. ("Spider-man: Homecoming" producers take note!)

Whether this particular Tarzan makes a splash at the box office isn't so much what's important. It's the respect devoted to its lead character (and his majestic mate) that counts. Anyone who loves Tarzan will appreciate the care poured into the production, but even modern actioneers won't be let down. This one covers the bases well: a delightful film for viewers of all varying persuasions.

Legend of Tarzan Trailer Premieres

Caught the first trailer for David Yates' upcoming "Legend of Tarzan": due for a July 2016 release.

This latest film adaptation of Edgar Rice Burrough's classic creation stars the athletic Alexander Skarsgard as the King of the Jungle and in the role of Jane Porter, the ravishing Margot "Harley Quinn" Robbie. Also in the cast is Samuel Jackson, John Hurt and Christoph Waltz. 

The apes look smashing (akin to Rick Baker's simians in "Greystoke") and I dare say, Tarzan has never swung so fast through the trees. 

Got a feelin' this is gonna be a good one, folks. It's sure great to see one of the first (and most influential) superheroes back on the big screen! July can't come fast enough! Ungawa!!!