Tag Archives: Justice League

‘Justice League’ Review: A cleaner, but more jarring and hollow failure

On a storytelling level, Justice League is a better film than Batman v Superman: Dawn of Justice. It’s more cohesive, better paced and easier to follow. But it comes at a steep cost.

What the DCEU had gotten right up to this point — maybe not with Suicide Squad — was an investment in theme and how character and story both shape theme and are shaped by it. Batman v Superman is a mess of a film, but it’s an interesting story. It’s ideas of man vs. god, of the repercussions of Superman and the lengths to which Batman’s anger would take him in response, which feels like a continuation of Man of Steel, offers some semblance of narrative satisfaction.

Justice League, seemingly a continuation of Batman v Superman, a third film in this trilogy, is jarringly hollow in comparison. Superman’s death and Batman’s guilt are hardly investigated, and if they are, they’re parsed through in ways that don’t make sense with character; supposed steps taken in regard to those themes turn out to be more circumstantial, convenient and simple than actual elaboration on the story’s previous interests.

In essence, the film abandons what it was set up to be in order to be a cleaner film. It’s slightly, slightly understandable considering the position of Warner Bros. and DC, but it is such a disappointment. There’s nothing to latch onto in Superman’s character (surprise, he’s in the movie). He leans Christopher Reeve in tone, which, to some, might be exciting — but that’s not the Superman that’s been built in this universe. A short moment after his resurrection has the potential to take his character in a frightening, complicated direction, but that potential is quickly passed on and we get a one-dimensional figure that doesn’t even feel like a character.

The same can be said with villain. Batman’s visions of impending doom in the previous installment move nowhere with Steppenwolf, a monstrosity that falls flatter than the horrific CGI that creates him. He’s a typical, bland god-like bad guy spouting boring, cliched lines of fate for the “primitive beings” he’s fighting.

There aren’t many dimensions anywhere in Justice League. The Flash, while decently snappy comedic relief (which, itself, becomes tiresome), is barely two-dimensional. Aquaman’s motivations and backstory are washed over. Wonder Woman’s arc feigns at actual interest in the character — she’s dealing with the grief of losing Steve Trevor and the subsequent struggles she has with being a leader — but the timeline difference makes it difficult to swallow and, in horrifyingly gross fashion, the film sexualizes her and submits her to the filmmakers’ male gaze.

The only character that’s remotely fleshed out is Cyborg. His biomechatronic body has a brain of its own and he’s struggling to learn how to control it. But, considering that Ray Fisher gives a strong performance, it only ends up as disappointing that that arc is traversed here and not more thoroughly in a solo film.

It’s strange because one can almost feel that Justice League wants to be a cleaner movie. Too much of the plotting is expedited and, in turn, easy, leaving us with a lot that’s clean and digestible — until we realize that there’s no substance to any of it. But even in its attempts to be clean, it ends up as a messier looking film than most blockbusters in general. It’s embarrassing that we can tell where the reshoots are, not only narratively but visually. Literally, we see where actors are digitally inserted after the fact and where continuity is interrupted.

And Henry Cavill’s digitally removed mustache leaves his face as… by god, there’s no excuse.

Even the DCEU’s inarguably greatest element, its scores, halts dead with Danny Elfman’s work. We hear, perhaps, ten seconds of Wonder Woman’s theme before it never shows up again. We never hear Junkie XL’s Batman theme as Elfman opts to use his original one. We never hear Hans Zimmer’s Man of Steel theme. Elfman leaves us with nothing memorable about his score. The use of original themes don’t make  auditory sense for where the characters are meant to be, which, even worse, results in music that fails to serve the narrative on any level.

The film is cheap. It inserts quirky quips here and there to induce laughter that can, momentarily, help us forget its shortcomings. But even those quips wind up yanking us out of the film. They’re infuriating. They’re tonally imbalanced and out of character — especially for someone like Batman. The film also shoves in comic book references to help some of the comic book familiar folk look over its cheap nature, most of which will be missed by audiences not familiar and create no difference as none of the nods have narrative implications.

Some of the fight sequences work and work well. Characters are clear and distinguishable, and the overall battles are well shot in regard to spatial geography.

But it’s difficult to even want to talk about that with any layer of enthusiasm. Christopher Nolan’s The Dark Knight Trilogy notably lacked well-composed action, but they’re still some of the best superhero movies of all time because of their unparalleled execution of storytelling.

Cumulatively, Justice League is overbearingly cheap. It’s a middle finger to the audience, a “course correction” that does no correcting.

Grade: D+

 

Featured image via Warner Bros.

Trial: What is the best superhero musical theme of the DCEU?

*Trials is a weekly series in which two writers tackle a proposed question or task. After they’ve written their opening statements, the writers will offer rebuttal arguments against the other’s and for their own, and a third writer will come in to make the verdict.*

This week’s question: What is the best superhero musical theme of the DCEU?

Writers: Harrison Tunggal and Kyle Kizu
Judge: Sanjay Nimmagudda

*Warning: Potential spoilers for ‘Man of Steel’ and for ‘Wonder Woman.’*

Warner Bros./Courtesy

Harrison’s argument:

As this video explains, Wonder Woman’s theme (AKA “Is She with You – Wonder Woman’s Theme”) by Hans Zimmer and Junkie XL is basically a Led Zeppelin song — driven by a killer riff bound to become permanently lodged inside your brain, but in a good, “Kashmir” sort of way. The Wonder Woman theme accomplishes what any superhero score should — it represents the character. Wonder Woman is capable and incisive when necessary, a quality brought out by Tina Guo’s razor sharp electric cello riff. As DC overlord Geoff Johns said, Wonder Woman is the best fighter in the DC Universe, and her musical theme reflects this assertion. Simply put, her theme is badassery distilled in sonic form.

When Wonder Woman saves Batfleck in Batman v Superman: Dawn of Justice and the cello riff kicks in, the audience can’t help but feel a jolt of adrenaline. The tune is used to similar effect when Wonder Woman takes out a room full of German soldiers in her solo film, Wonder Woman. In this sense, the Wonder Woman theme functions as an element of a film’s set piece — just as CGI (for the sake of this argument) contributes to the design of a set piece, so too does use of the Wonder Woman theme immediately raise the stakes of any conflict. Every time that Wonder Woman’s theme is used, it’s a jolting and exciting moment, one filled with the thrills that superhero films thrive on.

Warner Bros./Courtesy

Of greater import, is the type of jolt that audiences feel when Wonder Woman’s theme is used. I’ll preface this by saying that other superhero themes are undoubtedly effective — John Williams’ Superman theme sounds hopeful, and Hans Zimmer’s Batman theme from The Dark Knight Trilogy is darkly pragmatic; both tunes capture the essence of the heroes they represent. But these superhero themes are merely effective, while the Wonder Woman theme is also affective. For the first time, a superhero theme sounds like a call to action. Wonder Woman’s theme is empowering, a source of energy that films featuring her draw on. It’s energy that is communicated to anyone listening to her theme.

Wonder Woman’s theme represents the character’s warrior persona, but the theme goes further, representing all facets of the character. Wonder Woman’s mantra is “It’s not about deserve. It’s about what you believe. And I believe in love.” The compassion that drives Wonder Woman is inherent in her theme — as “Is She with You” trades biting cello riffs for contemplative string melodies, the song invokes Wonder Woman’s great capacity for love, not just fighting. This sentiment is taken a step further in Rupert Gregson-Williams’ score for Wonder Woman, which alters the implied darkness of “Is She with You” to become a score driven by warmth and idealism.

Warner Bros./Courtesy

Additionally, Wonder Woman’s theme is a landmark in film scores, just as Gal Gadot’s portrayal of the character is a landmark in cinema itself. We’ve heard Superman, Batman and Spider-Man represented through music before. But as an introduction to a new character, Wonder Woman’s theme is as significant as Gal Gadot’s performance.

If nothing else, Wonder Woman’s theme is hugely listenable as an individual track. In particular, Tina Guo’s metal cover of the theme will turn your daily walk to (insert something mundane here) into a heroic march into battle.

Warner Bros./Courtesy

Kyle’s argument:

It’s a bit unclear what the specific Superman theme in Man of Steel is, but all signs point to “What Are You Going to Do When You Are Not Saving the World?” as the heart of the score’s character. Once that logistical step is taken, though, it’s difficult to think of any other theme as better. This one is just too moving on every level.

Hans Zimmer had an absolutely enormous task ahead of him in crafting an original theme for Superman. That of the 1978 film is iconic, injected into the veins of the character. But the choice to leave it behind was a smart one; it would be almost too camp in a contemporary film with the tone that Man of Steel aims for.

In brilliant manner, however, Zimmer actually doesn’t wholly deviate from that ‘78 theme. He takes the specifics notes of it, and leaves behind its aged sense of melody to adapt them for our contemporary understanding of it.

Warner Bros./Courtesy

Zimmer is often at his best when at his most minimal. The end of “Time” from Inception is all that’s needed to make that case. With “What Are You Going to Do,” Zimmer starts with soft and gentle singular piano notes. It echoes the thematic structure of the film; at the beginning of the film, Clark Kent struggles with his strength, with holding so much power despite the gentleness of his core.

The film is all about Clark finding the synthesis of power and gentleness/kindness in a world that isn’t so kind. That synthesis begins with the introduction of the drums and the whirling strings as the piano notes become more forceful. Here, Zimmer’s adaptation of the classic notes find the same kind of awe-striking build and progression of the original. For about a minute and a half, the track almost feels like it’s searching — just as Clark in the middle of the film, despite coming upon his suit and past, is still searching for what it means to be Superman.

Warner Bros./Courtesy

And then the track explodes into wonder that even Wonder Woman’s theme can’t quite match. It’s fascinating what Zimmer does with layers. The layering, in terms of what instruments are being used, where they’re being used and how, is very similar to his work on The Dark Knight Trilogy, but the distinction is in tone. Zimmer is a master of tone and despite this track holding the same kind of bombast that much of his previous work does, there’s an unmissable, undoubtable sense of hope in “What Are You Going to Do.”

Yet, the track does not end with just two minutes of hopeful bombast. Somehow, Zimmer dives back to a sort of humble quietude before exploding yet again.

On purely a musical level, Superman’s theme is magnificent. It’s informed, in every sense, by character and, thus, is able to feed back into how character is shaped in the film.

That Zimmer’s work has become so utterly adored and embraced as this generation’s Superman theme — despite the film’s mediocre reception — is yet another testament to how well-executed and brilliant of a theme it is.

Warner Bros./Courtesy

Harrison’s rebuttal:

Kyle, there’s no doubt that Hans Zimmer’s Superman theme is one of the great film scores of all time. The fact that his score can compete with the original John Williams theme is a huge testament to how well the new Superman theme represents the character. To my great surprise, the Superman theme does not actually give the listener the power of flight.

But Zimmer had a template to work from. He had a goal, to make music that embodies hope, but that goal was set by John Williams. In other words, a good Superman score had been done before. You even mention the fact that Zimmer took specific notes from Williams’ theme. While the Wonder Woman theme takes a page from Led Zeppelin, choosing the rock and roll aesthetic of that band was an original interpretation of the character, whereas the Superman theme was less distinctly an original interpretation. In short, it’s easier to choose John Williams as the template for a score, than it is to take Led Zeppelin as inspiration, and forge a new path for Wonder Woman.

Warner Bros./Courtesy

Through crafting the Wonder Woman theme, Zimmer, Junkie XL and Tina Guo were treading new ground, and in doing so, all three artists made a contribution to the very character of Wonder Woman. Hans Zimmer redefined Superman, but that pales in comparison to doing the act of initial defining, which he, Junkie XL and Tina Guo did with the Wonder Woman theme. The character of Wonder Woman isn’t the same anymore, because of their work on her theme. There’s no way a comic book reader will open the pages of a Wonder Woman story, and not mentally hear her theme.

And while both the Superman theme and the Wonder Woman theme perfectly encapsulate their respective characters, the Wonder Woman theme has proven more malleable, and adaptable to various films. The Wonder Woman theme, biting and incisive in Batman v Superman was modified to reflect the more compassionate character we met in Wonder Woman. The essence of the theme remains the same, but structurally speaking, it can be modified to fit different films. In Justice League, Danny Elfman tweaks the theme — instead of an electric cello, the theme’s riff is played on horns, reflecting the epicness of the Justice League.

Warner Bros./Courtesy

In contrast, the Superman theme has proven less adaptable. It really only works in the context of Zimmer’s bombast. The fact that Elfman would turn to Williams’ original Superman theme for Justice League illustrates this fact — the sweeping majesty of Zimmer’s Superman theme has yet to work effectively in a non-Zack Snyder film.

Finally, I take issue with the need to stray from the “camp” of the Williams score. There’s nothing wrong with campiness, especially when it’s sincere, and if there’s one thing that’s essential to Superman, it’s that he’s a sincere, saving-cats-from-trees kinda guy. The Zimmer score might convey hope, but I would argue that before being a symbol of hope, Superman is primarily an emblem of goodness. In essence, Superman’s hopefulness stems from his capacity for being indiscriminately good, and that’s a concept that the Williams score captures more effectively.

Most importantly though, the Superman theme lacks the affect of the Wonder Woman theme. At the end of the day, the Wonder Woman theme is a source of empowerment. And while the character of Superman might have been a similar well of empowerment in the past, Wonder Woman has arguably become this generation’s Superman. It’s only fitting that her theme surpasses Superman’s.

Warner Bros./Courtesy

Kyle’s rebuttal:

Harrison, you mention how Zimmer had a template, but that’s not any sort of knock. If anything, it’s a testament to the fact that Zimmer had to follow something so iconic — a daunting task — and still made something both informed by the original, but also distinctly its own. Most don’t even realize that it takes notes from the ’78 version, but everyone feels a renewed, modern sense of Superman. That’s a great achievement, not a knock in any way.

The Wonder Woman theme is, undoubtedly, awesome, but in it lies plenty of issues. You argue for its badassery. I can’t say anything against that. But I can say that the theme does less character work than you give it credit for.

Firstly, the theme uses the Man of Steel score. Between 3:25 and 4:10, there is a literal lift of Superman’s theme. Any sense of hope that “Is She with You?” builds for Wonder Woman’s character is marred by the fact that the only soft moment in the track is wholly define by Superman’s music. There’s no other sense of quietude that is its own.

Warner Bros./Courtesy

Secondly, her theme isn’t malleable because it had to be adjusted for. Gal Gadot, herself, says that Batman v Superman got the character of Wonder Woman wrong. So, the character work that the theme does in that movie is off. Wonder Woman had to course correct. This sense of unending goodness in her character is more defined by Patty Jenkins’ direction and Gadot’s performance in her solo film than it is by the track that’s based in a movie where Wonder Woman gives up on mankind — something we now know she would never do.

Wonder Woman’s theme may be what people think of, but that’s only because no one had done it before. It’s easily possible that, hypothetically, another composer’s theme would be what people think of — because it’s the first.

It’s also arguably only so memorable because of its badassery. Plus, memorability does not mean superior. The feat of creating something that’s iconic on its own despite something so iconic coming before it is greater than creating a badass start. One can look to the rest of each character’s scores as evidence. I remember nothing of the rest of Gregson-Williams’ score other than a general notion of goodness. With Man of Steel’s score, I remember distinct tracks.

Warner Bros./Courtesy

Since we haven’t seen Justice League yet, you can’t genuinely leverage it. Wonder Woman’s theme may be adapted, but we don’t really know how it functions in the film — perhaps poorly. The same goes for Elfman’s choice use the ’78 theme. He actually says he’s using it for a rather dark moment, and we don’t know how much Superman is in the movie and what exact Superman we’re getting (black suit or not), so we don’t know what the function is. We can’t make arguments based on what we don’t know.

I also think you misunderstand how I talk about “camp.” There’s nothing wrong with “camp.” But to think that it’s negative to stray from it for this new film — a film entirely different in tone both as a story, but also musically in that we literally don’t think in the same ways of melody anymore — doesn’t make sense to me. Zimmer did necessary work to modernize Superman and you even say that the score is one of the best of all time.

Finally, Wonder Woman may be this generation’s Superman. But that’s only true if we’re talking about the films. Man of Steel’s score perfectly evokes a contemporary sense of Superman. The movie might fall short elsewhere, but that doesn’t take away from the work that the theme does. So listen to it and adore it, even if they didn’t love the film. While Wonder Woman is a better film, Zimmer’s Superman theme transcends film.

Sanjay’s ruling:

Wow. First of all, I applaud both Kyle and Harrison for two holistic arguments that truly elevate the discourse surrounding movie scores to an extremely thought-provoking level. Harry, your assertions in exploring the malleability and nigh ubiquitous nature of “Is She with You?” is inspiring. Kyle, the depths to which you explore Zimmer’s intricacy in crafting a new theme for an iconic character is revering. If I could, I would call this a tie based solely on the eloquent, scrupulous analysis of these two tracks by the both of you, but in reading your rebuttals to one another and subsequently re-reading your original arguments, I think I’ve made a decision – albeit begrudgingly.

Harry, you mention how Wonder Woman’s theme is overtly affective. It impacts how the character’s perceived not only in Batman v Superman: Dawn of Justice, but also in the likes of her comic series, future movies and so on. You also mention that the song is not merely a song but rather a capsule that encompasses melodic allusions, character motivations and qualities as well. While I wholly agree with you on those points, I do have to concede that Kyle’s argument that creating a theme for a hitherto unseen character on film, while undoubtedly momentous, is a less daunting task than re-defining a cultural icon auditorily.

Warner Bros./Courtesy

Why do I say this? Well as Kyle points out, in creating Superman’s new theme in Man of Steel, Zimmer was fighting an uphill battle. John Williams’ uplifting score from Superman ‘78 is deeply engrained in the cinematic and generalized cultural zeitgeist. Zimmer was always going to face the court of comparative public opinion, so he had to craft something both inherently, emotionally familiar yet distinctly different in execution so as to not do a disservice to the Last Son of Krypton while not simply riffing of his compositional predecessor. That’s a daunting task and seems much more likely to fail than establishing the tonal (pun intended) status quo for the Pride of the Amazons.

While I do not refute, at all, the waves “Is She With You?” has made since first appearing in 2016, and the detail that went into composing such an elegantly powerful song for the fictional embodiment of those qualities, I have to side with Kyle in that “What Are You Going to Do When You Are Not Saving the World?” (I’ve always thought that it should be ‘You’re,’ sue me) accomplishes all that and more, at least in my opinion, in spite of what came before it. It’s played over the end credits of the film, without even a glance at the character it encapsulates, and still manages to contribute the persona of Superman. I’m going to give this one to Kyle, but let’s be real here, both themes are always an auditory cue that something insanely badass is about to happen onscreen.

 

Do you agree with Sanjay’s verdict? Or would you have picked a different DCEU theme? Sound off in the comments.

Staff records:

Harrison Tunggal: 3-2

Levi Hill: 1-0

Kyle Kizu: 1-2

Sanjay Nimmagudda: 0-1

 

Featured image via Warner Bros.

Box Office Report: In only 37 theaters, ‘Lady Bird’ flies into the top 10

While there are nine films that earned more than it, Lady Bird is, undoubtedly, the story of the week. In only 37 theaters — 826 less than any other in the top 10 — writer-director Greta Gerwig’s film, starring Saoirse Ronan, averaged $33,766 for a total of $1.249 million. After a 2017 record per-theater-average the weekend prior, Gerwig’s picture now stands at $1.781 million and will only continue to make money. Audiences know Gerwig from brilliant films such as 20th Century WomenJackieFrances Ha and Mistress America; combine that with wonderful marketing by A24, and it looks like they’ve got the perfect storm. It already has the critical acclaim, still at 100% on RottenTomatoes after 115 reviews, and now the financial success that could push it to not only contend, but possibly win big during the awards season.

In first place, expectedly, was Thor: Ragnarok. Marvel’s third Thor film took home an estimated $56.6 million to put it at $211.5 million domestically and $650 million worldwide — already past Thor and Thor: The Dark World in only its second weekend. The film will take a hit this upcoming weekend with the release of Justice League, but it should easily cross $800 million.

The comedy sequel Daddy’s Home 2 made an estimated $30 million for the second spot. The opening is $8 million less than the original, but still a solid start that should set the film on a path toward profitability. It seems as though Mel Gibson is all but forgiven in Hollywood.

Behind that was Kenneth Branagh’s Murder on the Orient Express with an estimated $28.2 million. The Agatha Christie adaptation was produced for $55 million and, with $57+ million so far overseas for a total of $85.4 million, the film will look to make its money back in due time.

In other limited release news, Oscar contender Three Billboards Outside of Ebbing, Missouri earned a per-theater-average of $80,000 in four theaters, close to Lady Bird last. As the Oscar players continue to release, we should be seeing similar performances — but next weekend will be dominated by Justice League.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

 

Featured image via A24.

J.J. Abrams brought back to write and direct ‘Star Wars: Episode IX’

In a move that not many expected, but that seems as in line with Lucasfilm’s most recent decisions as any, J.J. Abrams, director of Star Wars: The Force Awakens, has been hired to direct the final installment of the new trilogy from a galaxy far, far away, announced via a press release on StarWars.com.

A week ago, Lucasfilm and previous director Colin Trevorrow parted ways. Trevorrow had been on the project for over two years and had written the screenplay with his writing partner Derek Connolly. But rumors began to surface, especially after the critical failure of Trevorrow’s The Book of Henry, that Trevorrow could be ousted. Last month, Jack Thorne, co-writer of the upcoming Julia Roberts, Owen Wilson and Jacob Tremblay film Wonder, was brought on to rewrite.

It seems as though the script will be overhauled, as Abrams has been tasked to write Star Wars: Episode IX with Academy Award-winning writer Chris Terrio. Terrio won the Oscar for the Ben Affleck-directed Argo, and has written scripts for Batman v Superman: Dawn of Justice and the upcoming Justice League. Abrams co-wrote The Force Awakens with Lawrence Kasdan and Michael Arndt.

In the days after Trevorrow departed the ninth episode, fans and critics offered up potential replacements. The internet seemed to come to a consensus that they wanted Ava DuVernay, director of Selma13th and the upcoming Disney film A Wrinkle in Time. Rian Johnson, director of eighth episode Star Wars: The Last Jedi, popped up in serious rumors, so much so that the director ended up explicitly saying that he had no plans to return.

But it was likely that Abrams was already hired, or at least just had to sign on the dotted line, by the time Lucasfilm came out to announce Trevorrow’s exit. This will be Abrams’ first film since The Force Awakens and he will produce through his production company Bad Robot.

In the press release, Lucasfilm president Kathleen Kennedy made this official statement:

“With The Force Awakens, J.J. delivered everything we could have possibly hoped for, and I am so excited that he is coming back to close out this trilogy.”

In an announcement on Twitter hours later, Lucasfilm has officially pushed back the release of the film from May 24, 2019, to December 20, 2019. The seemingly large script revision likely meant that production couldn’t start as early as Kennedy had hoped. Now, Abrams will have 27 months to complete the picture instead of 20 months, and the December release will fall in line with the releases of The Force Awakens and The Last Jedi. The film will now compete with the second weekend of Wonder Woman 2, which is set to release on December 13, 2019.

Featured image via Gage Skidmore.

Patty Jenkins signs historic deal to direct ‘Wonder Woman 2’

Patty Jenkins has officially signed on to direct Wonder Woman 2, which was first reported by Variety.

The sequel to the year’s second highest domestic grossing film, sitting at $410 million from US and Canada, which puts it in the 5th spot for highest domestic grossing superhero films of all time (only behind the two Avengers films and the last two Nolan Dark Knight films), is slated to hit theaters on December 13, 2019.

Not only will Jenkins direct, but she will also co-write and produce the second installment — two positions she didn’t hold with the first. The first had an all-male writing team of Allan Heinberg, Zach Snyder and Jason Fuchs. According to The Hollywood Reporter, while Jenkins made $1 million for directing Wonder Woman, she’ll make in the range of $7 to $9 million for duties on the Amazonian’s second solo feature. These numbers would make her the highest paid female director in history. According the same reports, Jenkins will also make significant backend, which comes from box office gross.

Jenkins had only signed on for one film, coming onto the project after Michelle MacLaren exited due to differences in vision with the studio, which is why Jenkins had to enter negotiations for a second in the first place. With the film becoming a box office smash and the first critical hit for the DCEU, when it desperately needed one, Jenkins then held a lot of negotiating power. The Hollywood Reporter reports that Jenkins asked for pay similar to that given to Zack Snyder when he signed on for a second film. Snyder directed Man of Steel, which released to lukewarm reviews, and Batman v Superman: Dawn of Justice, which was critically smashed.

Gal Gadot will appear as Wonder Woman for the third time in the DCEU superhero team-up Justice League, which opens on November 17.

Featured image via Gage Skidmore.

‘Suicide Squad 2’ finds writer-director in Gavin O’Connor

Gavin O’Connor has been tapped to write and direct Suicide Squad 2, as reported by Deadline.

While the David Ayer-directed first film was critically thrashed, with a 25% on RottenTomatoes and a score of 40 on Metacritic, it did end up becoming a box-office hit — making $745 million worldwide. It also won an Oscar for Best Makeup and Hairstyling.

It was only a matter of time before a sequel would be announced with its director and writer. A rumored list of potential directors had been circulating for quite some while, with Mel Gibson and Jaume Collet-Serra (The Shallows) being the reported favorites to win the job.

However, O’Connor has won out both the pen and the directing chair. O’Connor comes from films such as Warrior, which garnered Nick Nolte an Oscar nomination, and The Accountant, which stars Ben Affleck and has had a sequel start development with both O’Connor and Affleck. And with Affleck appearing in a cameo role in the first Suicide Squad, many are speculating if he might return now that O’Connor is attached.

O’Connor’s scripting partner from Warrior, Anthony Tambakis, will co-write the script.

The gang of villains, specifically the Joker and Harley Quinn, have a lot in store for the future. David Ayer moved on from the sequel, prompting for the search that ended with O’Connor, to work on Gotham City Sirens, a film centering around Harley Quinn and the many other villainous women of DC. In addition, the Joker and Harley Quinn will appear together in a film from the Crazy, Stupid, Love. directors John Requa and Glenn Ficarra. The character of the Joker will find another actor in a origin film separate from the DC Extended Universe, which will come from The Hangover’s Todd Phillips.

No official release date for Suicide Squad 2 has been announced. The principle cast members, including Jared Leto as The Joker, Margot Robbie as Harley Quinn and Will Smith as Deadshot, will return. Warner Bros. and DC will release Justice League on November 17, 2017, which has undergone extensive reworking under the guidance of Joss Whedon, who now officially has a writing credit and may get a directing credit depending on the Directors Guild’s judgment.

Featured image via Warner Bros.