W The decision by arner Bros to hire James Gunn, recently ousted, to write a new movie Suicide Squad seems, at first glance, as the Hollywood equivalent of shooting fish in a barrel. Gunn was sacked by Marvel following republication, by a vindictive "far right" commentator, of some very old (though aberrant) tweets. Yet the director of the Guardians of the Galaxy as a director and geek icon remains relatively spotted.
This is, in the first place, because his cast members were firmly (in some cases furiously) behind him, and secondly because most superfans Marvel felt that Disney would have to give a little 39. of patience to the repugnant attitudes expressed by Gunn more than a decade ago, then kindly gave him a second chance ̵
The loss of one study is the gain of another, therefore. Yet we have already been here, looking at a Marvel icon who made the leap to DC and was expected to achieve great things, but somehow we never managed to unite the creative points in the pastures like a stellar footballer who did not manages to freeze with his new teammates, or Batman fit in The Powerpuff Girls.
After successfully running two huge Avengers multiplexed films, Joss Whedon was supposed to do great things at DC. In the case, he was not able to save the Justice League of Zack Snyder as a high profile "ghost" director, following the departure of the former for personal reasons, and eventually even found himself forced to admit the defeat in his attempts to bring a Batgirl movie to the big screen.
Whedon's first failure was predictable: adding humor and panache to a DCEU episode weighed down by his white-headed predecessor and the flesh (Batman v Superman: Dawn of Justice) would always be a tough question. But we still do not really understand why Whedon failed to bring his trademark and abilities for the development of strong female characters to a story of origins for Barbara Gordon, particularly for the famous mantra of the studio director DC Warner Bros. Here a filmmaker who complained about the sky of the distortions he faced due to the complex place of Age of Ultron in the heart of the Marvel film universe, admitting the defeat when he was given carte blanche to direct his domestic project.
Is it possible Whedon has backed up after learning in person that there is something rotten in the heart of Washington DC? Patty Jenkins' Wonder Woman remains the only decent film to have emerged so far from the nascent DCEU, and even that film was hampered by weak special effects during the final battle scenes between Themyscira's Aries and Diana baddies. Why is everything always on fire in these catastrophic mega-dissolution of DC, when Marvel seems perfectly able to stage clashes against seabeds that do not resemble the seventh layer of Hades?
Choosing the studio's special effects team may seem unfair. But these films are so digitally driven that this becomes a vital area. If the Thanos we saw in Guardians of the Galaxy had not improved tremendously the moment we saw it again in Avengers: Infinity War last year, the Russo brothers would never have been able to launch an entire movie around the giant Titan Violet. The idea of a film like effects – as heavy as the Guardians of the Galaxy 2 that were released with the weakest digital work under the DC banner – does not make us think.
There is no doubt that Warner Bros needs Gunn, who is launched to direct if he can nail the script, to take care of the characters from a note like Harley Quinn, Deadshot and Killer Croc in the same way in which Marvel fans were heated with the exuberant and lively Groot, Rocket Raccoon and Star-Lord. In an ideal world, we would see the Suicide Squad drained by the latent sexism surrounding Quinn by Margot Robbie and the clumsy plot that ruined the film by David Ayer. Cara Delevingne does not need to return as the globetrotter enchantress, and it might even be better if Gunn starts with a completely new team – there's a lot of potential to shake the crew, given the large number of villains inhabiting the DC universe.  Gunn has the strength to face the seeds of Warner who have chosen a snappy but undervalued final cut led by the team behind the popular Suicide Squad trailer with respect to the director's version. But if it ends up being hampered by the simple fact that Marvel is a better studio to work with – it has better effects teams, planning and support teams, and it interferes in useful moments – all this could mean very little.
Gunn may have saved his career by swapping a group of high-profile superheroes with another. Only time will tell if he has chosen the right team.