James Gunn is really good at his job.

He knows storytelling.

It’s great when the director and the writer of a film are the same person because there’s a specificity in their vision and they can control it. It’s dope!

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The introduction.

Using Johnny Cash’s “Folsom Prison Blues” to intro the setting at a prison was lit. 🔥🔥🔥 Using Savant’s (Michael Rooker) reflection in a puddle to frame the scene was 👌🏾👌🏾. I was not familiar with his character, but within two minutes I knew all I needed to. Great way to set the tone.

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Cast & characters.

Perfection.

Idris Elba as “Bloodsport.” Perfect.

Viola Davis and Margot Robbie reprising their roles as “Amanda Waller” and “Harley Quinn,” respectively, from David Ayer’s 2016 effort was one of the smartest decisions for this remake.

John Cena killed it as “Peacemaker.” He has great comedic timing, and is really good at coordination. (I mean, duh. Professional wrestling superstar.) The death competition choreography alongside Bloodsport when they saved “Col. Rick Flag” (Joel Kinnaman) was hilarious. 🤣😂😅

My favorite performance was David Dastmalchian as “Polka-Dot Man.” I need all of that character’s merch. Immediately.

 

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This film looked like a massive production. A beautiful one too. The set designs and decorations, costuming, hair, makeup, editing, score, cinematography, hue (color), and directing were cohesive.

I’m certain most of this work was filmed with a green screen, but how Gunn and the film’s cinematography used off-centered angles, symmetrical shots, arc camera movements, and a plethora of zooms and pans added a sheen and definition to the piece. It felt immersive, especially during the chaos of the finale act. (That shit was wild.) 

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I loved this take on a “superhero landing.” Nice and twisty. 🥰🥰

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I totes appreciated the diversity of skin tones for the Corto Maltesean people. Or as Harley worked out: “Corto Maltese-tezios…Maltese-els. Malte-multoids, Colt-a-mults? Whatever those Mario Kart-racing d-bags are called!”

Fictional geographic location or not, appreciate that bit of detail.

 

Highlights of my favorite things:

Bloodsport’s costume and weapons! 🔥🔥🔥

The soundtrack. 🔥🔥🔥

Margot Robbie’s everything. 🔥🔥🔥

The film’s hue 🔥🔥🔥—shouts to the film’s editors and colorists!

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I have too many favorites shots or scenes! My most notable faves are:

🖤 The shot of Amanda Waller in front of the Corto Maltese map.

🖤 Margot Robbie’s escape and fight scenes.

🖤 Peacemaker and Bloodsport’s death competition in the jungle.

🖤 King Shark (voiced by Sylvester Stallone) ripping a human in half.

🖤 The bullet-to-bullet match up and symmetry of the third act scene between Peacemaker and Bloodsport, a callback to their previous head-to-head in the jungle rescue of Col. Rick Flag.

🖤 Using colored lighting during the armored truck crash:

• • • Red in the truck when Peace, Flag, and Sport were captured.
    • Green in the Corto Maltese streets after transporting Thinker (Peter Capaldi) out of club.
    • Blue during the driving scenes.
    • Pops of yellow during car collisions.

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I loved the use of illusions to narrate time or subsequent actions:

❤️‍🔥 Using leaves to spell out “Now” on the Corto Maltese beach.

❤️‍🔥 Using Savant’s blood to intro “A Warner Bros. Production” during the opening credits scene.

❤️‍🔥 Spelling out “Operation Jotunheim” and replacing with “Opeartion Harley” in the flames following the armored truck crash.

❤️‍🔥 Spelling “Jotunheim” using different antennas and other objects on the roof in Corto Maltese following the Quinn “rescue.”

❤️‍🔥 Using roots to re-introduce Harley and pedestaling downward in the hole where she was detained.

❤️‍🔥 The eight minute time lapses illustrated in the clouds near the Jotunheim’s destruction. (I wonder if the “eight minutes ago” and “…later” time lapses were precise. 🤔💭)

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The score and soundtrack felt like separate characters working alongside the ensemble cast. Each character had an accompanying score that highlighted their unique, chaotic, hyperbolic profiles. The film’s soundtrack acted as its own character.

Gunn’s films are great at this. I’m thinking of Peter Quill’s introduction in 2014’s “Guardians of the Galaxy.” He’s danced to “Come and Get Your Love” by the band Redbone, a moment that is later highlighted when the Avengers travel back in time to that moment in 2019’s “Avengers: Endgame.”

Iconic.

Point being: score, music, soundtrack, Gunn, good. 👍🏾👍🏾👍🏾

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I could tell during the introduction, which was a diversion and a pretty great one, that this was going to be a great film.

Gunn’s direction and oddly-specific style elevated the screenplay. The film was well paced and presented top notchery across all elements.

It flowed like a comic book. The missions had consequences and character deaths felt unambiguous.

I fucked with it heavy. 😎😎

I had little to no issues with this film, and look forward to whatever the hell Gunn plans to do with this universe.

He’s exactly what the DCEU needed—a balanced action/comedy/drama.