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    Movie Review

    Suicide Squad — and DC Comics' master plan — is dead on arrival

    Alex Bentley
    Aug 4, 2016 | 1:48 pm
    Suicide Squad — and DC Comics' master plan — is dead on arrival
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    For years, Batman and Superman were the only two comic book characters to capture enough of the public’s imagination to warrant multiple movies. Now, the appetite for comic book movies is apparently so great that Marvel and DC are trotting out characters so minor that only the most devoted comic fans have a good idea of who they are.

    In Marvel’s case, their plan was so well thought out that Guardians of the Galaxy and Ant-Man became hits despite the characters’ lack of name recognition. DC, on the other hand, has tried to rush the process, going ahead with Suicide Squad before giving solo movies to Wonder Woman, The Flash, Aquaman, or even Ben Affleck’s Batman.

    Of course, that wouldn’t be an issue if Suicide Squad were any good; unsurprisingly, in line with DC’s recent track record, it isn’t.

    The badness starts with the film’s ham-handed introduction of its multiple main characters, including Will Smith’s Deadshot, Margot Robbie’s Harley Quinn, and Joel Kinnaman’s Rick Flag. The laying out of their dastardly deeds by head honcho Amanda Waller (Viola Davis) manages to be both too much and not enough at the same time.

    The idea that Waller is gathering together a bunch of villains to combat a possible super-villain is laughable in the first place, and the story never gets any better. Writer/director David Ayer brings in or dispatches characters at random, forces in references to other DC properties, and centers the whole movie on a fantastical character, Enchantress (Cara Delevigne), so ludicrous that it seems like they’re trying to make another Ghostbusters reboot.

    The reason Marvel’s Avengers movies have worked — for the most part — is because fans have an investment in the characters. No such investment exists here, no matter how cool it is to see Diablo (Jay Hernandez) shoot fire from his hands or how weird Killer Croc (Adewale Akinnuoye-Agbaje) looks. Ayer never takes the time to make the audience root for the villains, a problem compounded by the lack of anything compelling for them to do.

    Deadshot and Harley Quinn, along with Jared Leto’s Joker, who appears haphazardly, are the unquestioned stars of the movie. However, they’re featured so much that they transform from fun to boring about halfway through. Harley Quinn is the biggest victim, as her crazy demeanor is showcased so often that it ceases to be enjoyable and instead turns grating. It doesn’t help that Robbie’s New York accent is thicker than even the one she used in The Wolf of Wall Street.

    It’s plain to see now that the burgeoning comic book movie wars are over almost as soon as they began. DC, led by producer Zack Snyder, seems to have no clue as to how to properly use its characters, while Marvel keeps chugging along, laughing all the way to the bank.

    The cast of Suicide Squad.

    Cast of Suicide Squad
    Photo by Clay Enos/TM & DC Comics
    The cast of Suicide Squad.
    reviewsmovies
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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