The Power Rangers from Saban are back in a new movie. Specifically a film adaptation of the origin story for the Mighty Morphin Power Rangers television series which became a global hit in the 1990’s. The series has since undergone multiple revisions including Samurai and Jungle Fury. Now given a big budget and the limitless scale of Computer Generated Imagery (CGI) available does this modern reboot do the source material justice?
Firstly, some context. As a youth I was very much into the Mighty Morphin Power Rangers. I had action figures. I vividly remember buying the Megazord and playing with the constituent Zords constantly. Similar memories are also held of the White Ranger’s sword, a toy which came complete with sound effects. When the original television series made its big screen debut I entered a drawing competition at the local supermarket, putting the White Ranger onto paper and actually won tickets to see the movie. These memories have resurfaced because of this film and that strikes upon the appeal of this new movie; nostalgia.
For those of us of a certain age Power Rangers strikes a chord with what we remember of the series that we became swept up with as youngsters. Additionally, actors Bryan Cranston, from Malcolm in the Middle and of course Breaking Bad, and Elizabeth Banks, who we’ve seen in Role Models, The Forty Year Old Virgin, The Hunger Games and Zack and Miri Make a Porno, draw us in even further. Banks in particular savours the freedom to go wild with the villainess Rita Repulsa. Cranston largely appears as the talking face on the wall called Zordon. However neither appears to have just shown up for the pay cheque and indeed take the process reasonably seriously. Perhaps they too were savouring the nostalgia of the project?
This search to deliver nostalgia is indicative of the tone of the film. It is not a film for children with some particularly dark moments, the implication that Rita was pulling gold teeth out of a homeless man’s skull for instance. Unfortunately the screening I attended had two families with young children who were clearly scared in these moments. Although the 12A certificate is entirely appropriate for this film, it does not mean that it is suitable for 6 year olds even if they are accompanied by an adult. It is clearly intended for that older audience, now in adulthood, that darker tones appeal to but without straying too far away from the original. Those kids in my showing also failed to have their attention kept by the extended character development.
As with any origin story time is spent explaining the premise. However the majority of the running time is dedicated to exploring the five lead characters. My heart sank with the prospect of a Breakfast Club style setup. Happily however that was dispensed with quickly. With the change of environment, from weekend detention to a quarry, the unlikely friendship then begins to develop between the teenagers. Although a slightly generic motley crew of characters they do cover all bases. The star quarterback has dented his future with some youthful hi-jinx. A former cheerleader who didn’t quite fit the Mean Girls mould. Someone struggling with how her ‘perfect’ family would react to her sexuality. Similarly a young carer struggling to look after his sick mother. Plus the smart one on the autistic spectrum. All of these characters however are handled well. Sensitively in fact, with a subtlety often missing from most movie blockbusters.
Each of them have a point to prove. Seeking acceptance from the other outsiders they form a strong bond as a group. Those themes of friendship and acceptance add an additional layer to the generic superhero and sci-fi material that will hopefully speak to others at that impressionable age. On reflection, this process of teasing out the character back stories is too long, not that I was in a hurry to see the inevitable battle between the Zords and Goldar. However I was caught up enough in the characters that I was eager for them to get their suits which were particularly impressive given the movie level budget. Admittedly this movie is not likely to receive widespread critical acclaim. The plot and script are not likely to win any awards for instance. But some films deliver based upon what the viewer brings to it.
As a nostalgic 30-year-old I thoroughly enjoyed revisiting a story from my youth. A modern retelling with a good budget and featuring two actors who I have enjoyed in other things before. Excitingly an extra scene in the credits alludes to a further story involving the Green Ranger. Perhaps history will repeat itself and he will trigger a peak in popularity for the Power Rangers?
The critics have been pretty scathing about this latest offering from the DC comic universe whilst fans have been very vocal with their enjoyment and aggressive towards those who have not shared their opinions. As is always my policy, only by viewing the piece can comment be made. So I have watched it and have thus formulated my own opinions. However I have found myself falling off the fence towards the opinions shared by critics.
This is probably an old-fashioned idea but this film needed someone to write the plot and a scene breakdown on a piece of paper. Such a basic act would’ve revealed the well documented glaring structural problems that exist throughout. As expected, the film required a number of scenes introducing the vast cast of characters who would form Taskforce X. These introductions are not balanced in the slightest with numerous flashback sequences and a central focus on Deadshot and Harley Quinn but more of them later. Making the introductions is Amanda Waller, a Government official who has struck upon the nonsensical idea of using the most dangerous criminals to execute dangerous missions. She is deliberately unlikeable to encourage the audience to root for the squad, revisiting conspiracy-fuelled themes of distrust for authority figures.
Cara Delevingne is a model trying to act and frankly it comes across that way. She is the most bland villainess to hang an entire movie on. The key to any good drama is to create peril with an imposing and believable villain. It is no wonder that when it really matters her dialogue is heavily manipulated by voice effects in an attempt to add gravitas and threat which Delevingne is simply incapable of delivering. As the movie reaches is climax the Enchantress has created a Stargate in the sky because magic is the perfect excuse for yet another CGI monstrosity that looks visually impressive but lacks meaning or intelligent thought. Similarly, her faceless soldiers are meaningless fodder to add jeopardy and her brother, another CGI creation which is particularly unconvincing.
Part of the Enchantress’ backstory is that this mythical being, worshipped as a God by an unidentified Central American civilisation, has taken over the body of archaeologist June Moon. She in turn is the love interest of Rick Flag, the military man charged with controlling the unruly Suicide Squad. His character is quite strong, admittedly with questionable motivation but he is a solid presence in the film and shares the lead with the only major actor Will Smith as Deadshot with the two characters providing an engaging double act throughout.
Deadshot is the real lead of the piece, sharing entertains exchanges with Rick Flag. This is unsurprising given the casting of consistent leading man and box office draw, Will Smith. The appearance of such a familiar star does mean that Deadshot’s mask is only worn briefly so as not to conceal the film’s top star. Deadshot does however receive the most attention regarding his backstory. In fact Deadshot receives three introductions all of which are focused on his daughter. Whilst it is of course difficult to be separated from your child the point is excessively laboured and frankly he may be a talented shot but he could always get a job at Wallmart to provide for his daughter instead of choosing the life of the hitman. Fortunately Smith’s ability as the wise-cracking lead, mirroring Robert Downey Jr’s Ironman for Marvel, showcase those skills honed in other summer blockbusters such as ‘Independence Day’ and ‘Men in Black’. This influence is crucial in making the chaos presented remotely passable for viewers.
The character of Harley Quinn is intriguing, corrupted by the Joker and choosing to follow in his crazed footsteps. Margot Robbie is tasked with bringing her to the screen and is very entertaining as the pigtailed lunatic. However, Harley is completely over sexualised, bordering on the grotesque mysogynistic. Sexually licking the bars of her cell is one thing but deliberate shots of her hotpants and rear end are simply unnecessary. Her impractical outfit is then maximised by a predictable rain shower which allows for Harley’s entry into a wet t-shirt contest. Whilst I am sure none of the suits involved in constructing this film are even remotely aware of the popularity of Harley Quinn with cosplayers but the sexualised image presented in this film is going to be replicated by teenage girls. As a result all those involved, from the film makers to the distributor, have a responsibility to consider how these images are going to impact on their audience. Another individual hampered by the decisions made regarding their onscreen appearance is the Joker.
Jared Leto’s Joker is an irrelevance in the film. Whereas Ben Affleck’s Batman makes a few cameos over the two hour duration, the Joker can only be described as having an extended cameo. I’m not sure if I was expecting more of him during the film but watching Leto’s portrayal I am grateful that his appearances were limited. He has to provide the worst onscreen version of the Joker ever. It is a modern interpretation but that results in an image conscious gangster, hanging out in nightclubs, covered in bling and tattoos. He is unpredictable and manic, capable of spinning on a razor blade but the Joker’s unpredictability should also extend to his image. The sinister false smile is sadly now only a tattoo on the back of his left hand. Making the Joker look like a typical gangster, save for the green hair, reduces him instead of elevating him above stereotypes. This gangster image therefore smothers what interesting aspects Leto was attempting to bring to the role. The one successful line is when the Joker declares that he is “just going to hurt you, really, really badly”. Leto is stripped back and delivers the line in a truly sinister manner, it is just a shame that there is so little else that matches this high point.
I cannot understand how the final product can possibly be the vision which the director David Ayer had set out with when embarking on the project. It is a textbook example of a studio corrupting their own output based on the reactions of the public to other movies. For example jokes are inserted, not skilfully but in a manner akin to dropping an anvil onto an orchestra and expecting a symphony, because Deadpool’s wit entertained audiences. Similarly, ‘Guardians of the Galaxy’ featured a brilliant soundtrack, presented as a mix-tape which entertains both Star Lord during the story as well as the watching audience but the retro tracks also juxtapose so well with the futuristic alien visuals. Suicide Squad however just drops recognisable tunes into the edit with no connection whatsoever to the visuals. The most appropriate word to describe it is ‘cynical’.
The alien Kryptonite element centres around Jesse Eisenberg’s Lex Luthor, a frankly hideous portrayal, spouting nonsensical verbal diarrhoea in an attempt to convey the character’s lunacy. Similarly suffering from the story is Lois Lane, often pointed to as a beacon to other media of how to portray female characters as strong-willed and empowering. Instead, Lois is reduced to the role of ‘damsel in distress’ not once but thrice, Superman’s ‘spidey-sense’ tingling whenever his beloved is in danger no matter where on the planet she is. In contrast Ben Affleck’s portrayal of Batman is strong, an aging caped crusader no longer at his peak and given more room to strike up an entertaining relationship with Jeremy Irons as Alfred and it seems only a matter of time before a stand alone Batfleck-flick is released. Hopefully, it will be a lot tighter in construction than this film’s effort.
It is a shame that the film disappoints because underneath the effects-heavy bravado is a fascinating story which questions how the elevation of Superman to that of a God has the potential to divide humanity. This is based on the fear that if this all powerful alien chose to he could wipe out the residents of planet Earth. Similarly, as he is defined as an American icon where does his jurisdiction end and what of the costs of his actions, particularly to the human lives affected and even those ended? Sadly, that line of questioning is swiftly disposed of as more destructive battles drag out the run-time even further with an invented Kryptonian monster used to unite the warring caped heroes with the randomly introduced Wonder Woman so as to set up the Justice League movies to follow.
Bedwyr Gullidge 