If you haven’t been following the most recent case of DC Fanboys having a problem with critics, let me fill you in. The embargo for Suicide Squad reviews ended on Tuesday, August 2, at 9am PST. The reviews then proceeded to be published minute by minute, and within the hour, the Rotten Tomatoes score for the film was under 20%. That’s a really, really bad score. From then on, the percentage started to go up, and as of this writing is sitting at a measly 35%. It’s an improvement from 20%, but nowhere near the score hoped for by Warner Bros. or fans. After the movie had gotten the negative reviews, anger from DC fans was everywhere online; reddit, Facebook, Twitter, you name it. Following the general hatred of these “bias, Marvel loving critics”, an actual petition was created in attempt to get Rotten Tomatoes off the internet. Yeah, that happened.
Alright, now with that out of the way, let’s get to the purpose of this article; DC die-hards, listen up.
Don’t attack Rotten Tomatoes.
The site doesn’t review movies, they simply compile hundreds of reviews from certified critics all around the web in attempt to give the most accurate consensus on the quality of each and every movie released. Now of course I’m not talking about all DC fans. In fact, I’m solely going after the people that signed this petition to get Rotten Tomatoes taken off the internet, because that’s just ridiculous.
Like I said before, it’s understood that you want DC films to be good, as do I and every rational film fan on this earth. With this is mind, however, the signing of this petition gives no logical reasons as to why they should actually be shut down. You don’t really think people should be laid off because reviewers around the web “always give The DC Extended Universe movies unjust Bad Reviews”, do you? And what’s to say the review is “unjust”? Considering that the film’s first official screenings begin Thursday, August 4, and that 99.9% of the moviegoing population doesn’t have access to press screenings, it appears as though these petition signers are angry at bad reviews for a movie they haven’t seen yet which, quite frankly, is just ignorant.
Nobody wants DC movies to be bad. And if you find a case of someone wanting a certain film to be bad, DC or not, they’re an outlier. Believe me when I say that we cinephiles and comic book fans want these films to be amazing, but sometimes they don’t end up hitting the quality level we’d hoped.
Bottom line: it’s okay to not listen to critics. What isn’t acceptable, however, is the attempt at censoring people that disagree with you.
There is no reason to attack Rotten Tomatoes for the Suicide Squad score. There is also no reason to be discouraged by bad reviews. Go see Suicide Squad with an open mind and hope it’s good; and on the same note, don’t attack film critics for doing their job.
Looks like we didn’t have to wait long for Jasper to make her movie. It’s definitely a welcomed change to see the more intense action has come to stay and it’s literally at front door insisting the heroes come out to play. From here on it looks like things are going to be very intense and full of intrigue. It was a long wait but it was worth it.
Amethyst doesn’t exactly shine in this episode. Between acting as immature as possible, getting beaten by Jasper, and having to get saved by Steven and Connie, this is probably the lowest moment she’s ever experienced. It’s going to be a while before she’s able to hold her head up high after this one.
The show stealing moment this episode is the battle between Jasper and Stevonnie. Fans have been waiting for this for a long time. Previous times Steven and Connie have fused it has been on accident or in much more lighthearted incidents. Here, they fused specifically for the purpose of being able to stand face to face with Jasper to save Amethyst. Also, the addition of riding Lion into battle while in this form was the cherry on top of it all. This moment can easily fit on a top ten list of some of the best battles to ever come out of this series (if you would like a list containing the best battles in Steven Universe, leave comments below).
This episode gave fans so much of what they have always wanted. The season could just end here and many would still be giddy with joy for weeks to come. The combat was good and elements which had been building before are now finally coming together. Now all they have to do is worry about Amethyst ruined pride.
The embargo for DC’s newest movie Suicide Squad came down today and thus far the reviews have not been entirely positive. At the time of writing, the website Rotten Tomatoes has calculated a score of just 38% based on 61 reviews. That is not the best score, but it seems that some DC fans have decided to take it personally. One fan has started a petition to shut down Rotten Tomatoes for what they perceive to be a very good reason.
We need this site to be shut down because It’s Critics always give The DC Extended Universe movies unjust Bad Reviews, Like
1- Batman v Superman: Dawn of Justice 2016
2- Suicide Squad 2016
and that Affects people’s opinion even if it’s a really great movies
There is a conspiracy on the internet that critics are being paid by Disney/Marvel to write bad reviews for DC films. This is ridiculous, of course, but it appears that a lot of people believe it to be true judging from the near 3,000 signatures and comments on the petition.
Because I love both Man of Steel and the Ultimate Cut of Batman v Superman and I’m really bummed out by the reviews for Suicide Squad. I don’t want DC Films to be in the same vein of the Transformers movies, and I think it’s pathetic that people want the universe to fail.
Unfair reviews.
Why is this important? Well, because in this day and age of social media, news articles and reviews of all things get spread very fast, and are often taken very seriously. Unfair reviews can end up ruining people’s expectations to the point where they choose not to watch the movie at all (look what happened to bvs. I still find people who haven’t watched the movie, even though they happen to be avid watchers of other superhero movies). And that’s wrong on a multitude of levels. Movies get panned, lose potential watchers and even fans, and no studio deserves that. This will eventually lead to an imbalance in the industry. And that’s a terrible thing to happen.
I supported this because, like many of you, I am a butthurt DC fanboy who hates Mawble and is intolerant of other people’s opinions. Seriously, the critics give kiddie Mawble great reviews, and deep mythological DC gets poor ones. It is about time those Disney paid critics got what’s coming to them.
There seems to be a fundamental misunderstanding about Rotten Tomatoes and what it is. Rotten Tomatoes is a website where they compile a bunch of reviews and break them down to meaningless numbers. These numbers are based on the reviews that are allowed to be posted to the site. To get your review on a website you need to be a member of an Official Association (for example I am a member of the Utah Film Critics Association and qualifies me to be a member of Rotten Tomatoes if I apply to it, and they approve me). These memberships require voting from previous members, an outlet that is recognized as official, and a minimum of either time spent writing or works per year. You cannot just email Rotten Tomatoes and ask them to put your reviews on their website, and they do it.
There is also the misconception that Rotten Tomatoes gives you a good idea of what the general community thinks, but that is not true. There is a huge disparity with sex, age, and race.
The reality of the situation is unless you have some sort of financial stake in a movie, television show, comic, or game, then the reviews do not matter. A critic is here to give their opinion based on the film they saw and nothing more. Are there critics with bias? Of course, but no one can be truly objective. To lash out at critics for disliking a movie that you have likely not seen yet is pointless.
Is Rotten Tomatoes a good resource? Not really; you should find a critic you normally agree with and follow their work. Is there some sort of conspiracy against DC movies? No, and to think so is to ignore the easiest explanation: sometimes critics don’t like movies you like.
Marvel’s Agents of S.H.I.E.L.D. has receieved a brand new, in depth synopsis for season 4; it includes the aftermath of Captain America: Civil War, mentions Ghost Rider, and overall gives us an idea as to what season 4’s arc might look like.
“Marvel’s Agents of S.H.I.E.L.D.” returns with a vengeance for the fourth exciting season in an all new time period, Tuesday at 10:00 p.m. ET. In the aftermath of their journey to another planet, Director Phil Coulson (Clark Gregg) and the rest of the team were driven more than ever to put an end to the Hydra organization. Little did they know that they were up against the deadliest threat they’ve ever faced – an extremely powerful Inhuman, Hive, who was transported back from Maveth in the body of their worst enemy, Grant Ward. The team was able to thwart and kill Hive and take down Hydra, but they are all still mourning the death of fellow agent and Inhuman, Lincoln Campbell.
In light of the Sokovia Accords, and with Hydra obliterated, S.H.I.E.L.D. has been legitimatized again and no longer needs to operate in the shadows. Since the world presumes that Coulson is dead, the organization needed a new Director (Jason O’Mara) to be the face of the organization. Coulson finds himself back in the role as an agent and teamed with Mack (Henry Simmons), and together they are tasked with tracking down and confirming the presence of Enhanced people, aka Inhumans. They have been trying to track down and capture Daisy (Chloe Bennet), aka Quake, who has gone rogue in an attempt to atone for sins from the past. But with the world believing that Daisy is a dangerous outlaw who has taken down banks and bridges, the new Director has no qualms about taking her down for good. Agent May (Ming-Na Wen) is tasked with training specialist strike teams, and Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge) have taken a big step forward in their relationship. But with Simmons’ new promotion as Special Advisor to the Director in Science and Technology, Fitz, as well as her former team members, finds it hard to confide in or trust her since she’s now the Director’s confidant.
Robbie Reyes (Gabriel Luna) will roar into the lives of Agent Coulson and the team as a junkyard mechanic who can turn on a dime into the terrifying Ghost Rider. Will Robbie be a friend or foe to S.H.I.E.L.D. – as well as the world, itself? Meanwhile, Fitz discovers that socially awkward genius and friend Dr. Radcliffe (John Hannah) has started putting the finishing touches on a new, secret invention.
“Marvel’s Agents of S.H.I.E.L.D.” stars Clark Gregg as Agent Phil Coulson, Ming-Na Wen as Agent Melinda May, Chloe Bennet as Daisy Johnson, Iain De Caestecker as Agent Leo Fitz, Elizabeth Henstridge as Agent Jemma Simmons and Henry Simmons as Agent Alphonso “Mack” MacKenzie.
Agents of S.H.I.E.L.D. season 4 starts on Tuesday, September 20.
With A Jam-Packed Cast, Which Member Of The Suicide Squad Stood Out?
It’s a hard task to juggle so many bold characters. David Ayer’s‘Suicide Squad‘ is the film adaption of the ragtag team of villains thrown together to become Task Force X. These criminals all have very distinct personalities that allow them to shine.
But who shined the brightest?
Below I’ll rank the best characters from the latest movie in the DC Extended Universe.
Deadshot (Will Smith)
-Deadshot honestly lands in the top spot because the movie really did force him to be the lead. While I think the film could have been a serviceable ensemble piece, you couldn’t escape Will Smith in ‘Suicide Squad‘. That being said, his performance is quite great. Smith’s take on the hitman Floyd Lawton added some serious heart to the movie and gave some of the best action scenes.
Harley Quinn (Margot Robbie)
-You knew from the moment Harley was announced that she was gonna steal the show. Margot Robbie is a rising star in Hollywood with great on-screen presence. She uses that fully to her advantage when she takes on the killer clown named Harley Quinn. At times, she got a little too cartoony and lost the grounded take on the character but it was all in good fun.
Amanda Waller (Viola Davis)
-You can’t have Viola Davis in a film and not expect to see her eat up all the screen-time she was given. What she brought to Amanda Waller is that cold and cruel nature we know. But my favorite thing she added to Waller was the believability. Instead of becoming a government parody, she seemed like a true villain. I can’t wait to see how her character grows in later films.
El Diabo (Jay Hernandez)
-One of the biggest surprises in ‘Suicide Squad’ is how fleshed out and important Diablo becomes. From his brutal backstory to his epic demonic transformation, Jay Hernandez lit it up. Starting the film not really wanting to lose control with his powers, he remains in the background. That’s until he is finally thrusted front and center; given some great moments and one of the best fights of the film.
The Joker (Jared Leto)
-To say that Leto’s take on Joker was polarizing is being a bit too nice. People downright hated it. From the grill to the tattoos, it didn’t feel like their Joker. What David Ayer and Jared Leto was turn The Joker into this street thug with the same sick intentions. The change is drastic but you can still feel that clown prince of crime we’ve known to love. Also, I just adore the sick laugh Leto used in the film.
Who’s your favorite in ‘Suicide Squad‘?
Did Deadshot steal the show for you or was their another character you loved not on this list? Let me know in the comments below!
‘Suicide Squad’ hits theaters this week. Will the film redeem the DC Extended Universe or continue to dig the giant money pit hole for Warner Bros. Pictures? The ultimate anti-hero film had a $175 million budget and is tracking for a $125 million opening weekend.
EJ and Matt break down the best and worst aspects of ‘Suicide Squad.’ The movie isn’t perfect, but it does expand the DCEU.
Strap yourself in buckaroos! Episode 86 of the Monkeys Fighting Robots podcast is here.
Do you have a question that you would like answered during the show?
Email your questions to matt@popaxiom.com.
If you are looking to sponsor the podcast email matt@popaxiom.com as well.
Never heard of Matt Sardo? For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
Who is EJ Moreno? Is he a trained physician? No. Is he a former Miss Universe contestant? Possibly. But what we know for sure is he’s a writer, filmmaker, and pop culture enthusiast. Since film school, EJ has written & directed several short films. He’s used his passion of filmmaking to become a movie critic for MonkeysFightingRobots.com.
Suicide Squad has memorable moments, most of them powered by its big name stars. Will Smith, Margot Robbie, and Viola Davis all bring charisma and dramatic chops to a film that sorely needs it.
However, all that talent and star power isn’t enough to lift the film much above uneven, at best. Pacing issues plus a lackluster antagonist keep the film from ever truly hitting its stride or maintaining narrative momentum.
But the film’s most important failing is that it’s just not as much wicked fun as it should be. The presence of these characters promises unrestrained, gleeful mayhem, but the final product fails to deliver on that promise.
What’s it about?
In the wake of the events seen in Batman v. Superman: Dawn of Justice, the U.S. government tackles the problem of how to defend the world against the next great super-powered threat. Defense Department official Amanda Waller (Davis) has a solution, but it’s not one the Pentagon likes.
Waller wants to recruit some of the world’s most dangerous “metahuman” convicts for a group code-named “Task Force X.” This group, led by Special Forces veteran Rick Flag (Joel Kinnaman, Robocop), would be the ultimate black bag operation. Missions would be top secret, successes would go unrecognized, and failures would be blamed on the group’s members.
And what’s in it for the convicts? Reduced prison time, plus the little bombs implanted in their necks upon their “recruitment” don’t go off.
But just who does Waller have in mind for this team? There’s Floyd Lawton, a.k.a. Deadshot (Smith), a hitman renowned for the fact that he never misses. Then there’s Harley Quinn (Robbie), paramour and partner-in-crime of Gotham City’s Joker (Jared Leto), reportedly even more murderous than her infamous boyfriend.
The group’s more colorful members also include monstrously mutated sewer-dweller Killer Croc (Adewale Akinnyoye-Agbaje), Aussie bank robber Boomerang (Jai Courtney), pyrokinetic gang banger El Diablo (Jay Hernandez) and a bonafide magic-wielding witch simply called Enchantress (Cara Delevingne, Paper Towns).
Sure enough, Waller soon gets her chance to send her team into harm’s way in order to save the world. Question is will they do as they’re told and get the job done, even with their own lives threatened if they don’t comply?
Stars shine brightest
Of Suicide Squad‘s truly impressive collection of talent, it’s Smith, naturally, who delivers in just about every scene. There are few who do ‘effortless cool’ as well as Smith, even when playing a more intense, less likable character.
Yes, Lawton doesn’t get to smile much, and that takes away one of Smith’s best assets on screen. But he does crack wise and kick ass, and Smith has never had trouble bringing those qualities to life in big cinematic moments. Of all of Suicide Squad‘s characters, it’s Smith’s take on Deadshot that could, most likely, carry a stand-alone film.
While Smith has to hide his smile for the most part, Margot Robbie gets to flash hers at every wicked opportunity, and the film is better for it. Robbie doesn’t just “play” Harley — to all appearances, she truly delights in becoming the Squad’s pretty little bundle of crazy.
No doubt, there are nods to the “Batman: The Animated Series” character to Robbie’s take on Harley here — if there weren’t, fans would walk out. But Robbie does her best to make the character her own within what’s expected, and it works, even if on occasion her reads of certain “Harley-isms” feel a little forced.
As for Viola Davis as the steely, ice-water-in-her-veins Amanda Waller? There are few working in film and television today that do “intensity” on the level that Davis does. The casting here could not have been any better.
Can’t give everyone their due
From the get-go, the challenge of Suicide Squad is giving all those personalities with backstories rooted in DC Comics lore their cinematic due.
To his credit, director David Ayer (End of Watch, Fury) approaches that challenge with a solid vision. He stays away from cartoony renditions of the characters and at least tries to give them all depth.
The problem with this approach is that with this many characters, it gets unwieldy. Complicating things further is that for casual audiences, most of the characters aren’t familiar ones. They need introductions on top of narrative beats that highlight internal conflict and complexity.
What results is a Suicide Squad film that feels belabored with baggage. It’s slow to get going, and never hits its stride due to scenes intended to develop character that instead interrupt narrative flow.
Lackluster villains
It’s also important to note that Suicide Squad fails to provide for audiences a compelling antagonist for the “heroes.” Odd as it may sound for a film full of super-villains, the one that should be the scariest of all ends up being the one that’s least interesting of all.
But what of Jared Leto’s much-anticipated take on Batman’s arch-nemesis, the Clown Prince of Crime? Leto without question gives a game effort, but his Joker will certainly suffer from endless comparisons. Suffice to say audiences may find themselves thinking of the late Heath Ledger and his take on Joker while watching Leto, and finding the latter’s work less than inspired.
Worth seeing?
It should go without saying that if you enjoy superhero movies and DC Comics, then Suicide Squad is a must. Cosplayers in particular should find lots to admire and re-create in the film’s striking costume and make-up design. The film also features a soundtrack almost as fun as the one that helped make Guardians of the Galaxy so much fun.
Casual audiences looking for a decent popcorn flick this weekend should find it suitable, though by no means anything ground-breaking. Put another way, it’s no Deadpool.
But don’t be surprised if you hear fanboy and fangirl audiences crowing that Suicide Squad is, in fact, “better” than its DC Cinematic Universe predecessors. “Better” is debatable, but compared to the Zack Snyder-helmed Man of Steel and Batman v. Superman, Suicide Squad is definitely more fun, for no other reason than the characters are less stolid.
Suicide Squad
Starring Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman, Viola Davis, Jai Courtney, Jay Hernandez, Adewale Akinnuoye-Agbaje, Ike Barinholtz, Scott Eastwood, Cara Delevingne, Adam Beach, and Karen Fukuhara. Directed by David Ayer.
Running Time: 130 minutes
Rated PG-13 for sequences of violence and action throughout, disturbing behavior, suggestive content and language.
As things come to a close in this issue, the biggest element is a battle between Optimus Prime, Soundwave, and Arcee against Galvatron. It’s nice to see Soundwave and Optimus on the same side, an element which hasn’t been explored before in the IDW publication of Transformers. Unfortunately a more popular Decepticon bites the dust in this issue as an afterthought. Can’t have anything going well at least.
The “All Hail Optimus” story started slow, but eventually gained momentum in the middle and ended with style with this issue. Though wrapping things up nicely, it also alluded to a lot of new elements which will be explored in the next arc. Writer John Barber really did plan everything out extensively and helped to expand the possibility of where the story can go from here.
Artwork
The art team of Andrew Griffith and Josh Burcham really helped to make things look gritty and broken in this issue. This is actually to the issue’s benefit as the battle has been long and hard, meaning no one is going to be in their best condition. The detail work on new landscape of Earth is really impressive (still trying not to give way the BIG spoiler about what happened).
Conclusion
This arc started slow but the last two issues have really helped to cement the importance of it in the overall story. Things will be different from here on out for the Transformers and humanity. They will most likely be explored in the Optimus Prime series which will be out later this year. With any luck, he will hopefully have more going for him than just be a stalwart symbol and actually have a bit more fun. Even Megatron now gets entertaining moments with the crew of the Lost Light.
The Professor and The Madman is an upcoming film about the creation of the Oxford English Dictionary. Mel Gibson is set to star, and now Sean Penn may be hopping on board, according to the Variety report.
In a surprising twist, Mel Gibson will not be playing the madman. Then again, Sean Penn playing the madman isn’t much of a stretch. Gibson is professor James Murray, who began putting together the bones of the Dictionary in the mid 1800s. If Penn joins the film, he will be Dr. William Chester Minor, an inmate at an asylum for the criminally insane who submitted over 10,000 entries.
So there you have it, two of the most volatile actors in the modern era of Hollywood possibly starring in a film about the history of a famous dictionary. I can’t imagine anyone had this in their pool.
This also continues to cement Mel Gibson’s comeback. His new directorial effort, Hacksaw Ridge, has an action-packed new trailer, and he even wants to do a sequel to The Passion of The Christ. Penn, meanwhile, is coming off the failure of The Gunman and the extremely weird Rolling Stone interview with El Chapo.
Gibson is on board as producer, with his Apocalypto screenwriter Farhad Safinia taking over as director. I can only imagine what the set of The Professor and The Madman might be like.
David Ayer seemed to be a great fit for Suicide Squad from the jump. His grounded eye for action and willingness to embellish the unremarkable would be a welcome change for the superhero movie; and what better time to bring on Ayer’s sensibilities than a superhero movie about super villains? The only surprise surrounding Ayer’s involvement, then, was Suicide Squad‘s PG-13 rating.
DC and Warner Bros. (and Zack Snyder especially), have been aching – ACHING – to release an R-rated comicverse flick in the theater. They came ever so close with Batman v Superman, settling instead for a super deluxe DVD. If David Ayer can’t get an R-rating, nobody can. This is a visceral action filmmaker, one of the throwbacks to an action genre that seemed long gone before his (and, let us not exclude Joe Carnahan’s) blood-soaked tales of cops and crooks and working-class warriors took us back. Ayer’s action sensibilities belong to the school of Die Hard, not Live Free or Die Hard.
Which is funny, since Ayer’s breakout was the screenplay for The Fast and The Furious in 2001. Of course, that original film looks and feels like a relic of a reality long absent from the mega-franchise. Ayer had written the clumsily-executed submarine thriller U-571 the year before The Fast and The Furious, but it was Fall 2001 where his voice began to take shape. It was Training Day, a grimy street-level story about corrupt cops putting together a precision-like heist, with the help of a clueless, honest newbie to the plainclothes game.
Training Day earned Denzel Washington his Best Actor Oscar, and Ethan Hawke his first nomination. Both deserved. Ayer produced two more cops and bad cops screenplays, Dark Blue and S.W.A.T. (underrated), before finally getting his opportunity to direct. When he had his chance, he did direct another Los Angeles crime drama centering around The Force, but Harsh Times was its own animal through and through. This was Christian Bale, the new Batman for God’s sake, playing a lowlife Iraq war vet with dreams of getting a job with the LAPD, but too caught up with drinking and smoking pot and being a general miscreant on a daily basis to have a legitimate chance.
Harsh Times is a wildly unique film from top to bottom. It follows no direct path from beginning to end, and the detours in the film – from Bale’s romantic detour into Mexico, to the trouble he causes his friend, Mike (Freddy Rodriguez), at home – give it a sort of stop-and-start pacing. Not entirely successful, but inventive and never dull, Harsh Times was an interesting directorial start for the screenwriter who’d told, up to this point, rather standard but mostly terrific tales of cops and corruption. It subverted those archetypes he’d so sharply drawn in Training Day and Dark Blue, putting his characters on the outside looking in.
His next film, another riff on Training Day, is the only one in his catalogue he hasn’t written. Based on a screenplay by legendary crime novelist James Ellroy, Street Kings would be a slight step backward for Ayer; mostly because of the woeful miscasting of Keanu Reeves in the title role. It would be another four years before Ayer would direct again, and the result was End of Watch, one of the greatest police procedural thrillers of the 21st century.
Starring Jake Gyllenhaal and Michael Peña, End of Watch begins as a day-to-day, patrol beat cop drama. But, in typical David Ayer fashion, the plot thickens once these two officers, two best friends, stumble across a cartel’s operations and discover they’ve been marked for assassination. With a plot like this, it would have been easy for End of Watch to spin out of control, but Ayer goes with the documentary style. It keeps even the more outlandish plot points in check, and it makes certain all the bullets fired throughout the story are honest and felt. It is a success from top to bottom.
Ayer followed up End of Watch with a somewhat underrated film in the quiet comeback filmography of Arnold Schwarzenegger, Sabotage. Later that year, he would take his talents to the war torn European countryside. Fury is a story about the journey of a tank platoon in World War II. Brad Pitt led an impressive cast, and Fury is a film whose brutality threatens, at times, to undermine Ayer’s storytelling. This is a violent film, unflinching, and for an obvious reason. But it creeps up ever-so-closely to that line of what is gritty realism and what is exploitative shock value.
Overall, Fury is a solid war picture, and proof that Ayer can step away from his comfort zone of LAPD corruption. And so in 2015 his collection of gritty action, reminiscent of a bygone era, landed him his biggest filmmaking task to date. Suicide Squad is not only David Ayer’s film, it’s part of an entire universe. There is a responsibility for Ayer to not only direct his film, but to keep it in the family. But it also has to be a unique experience; it shouldn’t be anything this terrific action director can’t handle.
