Shahab Fotouhi‘s debut feature “Boomerang” is a delightful, surprising portrait of modern Iran, but its biggest surprise is that Fotouhi is in his forties. His voice is the kind that feels not only fresh, but under-heard. He paints metropolitan Tehran with youthful verve, capturing — through loosely connected stories, a few non-sequiturs and even a scene of magical realism — the city’s vibes during a moment of generational transition.
Of course, that Fotouhi was raised immediately following the Iranian revolution still makes sense. Several of the film’s characters are middle-aged, and some of them — the men in particular — struggle to let go of old modes of thinking, interacting and being. However, the crux of “Boomerang” is its female characters: a mother, Sima (Leili Rashidi), and her teenage daughter Minoo (Yas Farkhondeh), who seldom interact on screen, but whose overlapping stories speak to the country’s shifting tides.
The film begins in rom-com mode, as Minoo locks eyes with a young, handsome stranger, Keyvan (Ali Hanafian), from across the street. As they wait for the traffic light to let them cross and meet, they begin flirting wordlessly. Minoo asks Keyvan to untie his bun; he obliges, revealing thick locks of hair. It’s sweet, and a little exciting.
As the teens get to know each other through sardonic confessions, elsewhere, Sima comes home to find her husband Behzad (Arash Naimian) listening in on their neighbors’ lovemaking, though she pretends not to notice. Unlike Minoo’s blossoming teenage romance, Sima and Behzad’s marriage rests on a knife-edge, ready to slip at any moment. Behzad is secretly trying to engineer a chance meeting with his ex, while Sima’s general dissatisfaction with him has made divorce all but a foregone conclusion.
The contrast between these relationships creates a broad narrative framework, though while each duo gets plenty of screen time, “Boomerang” is far from straightforward in its social excavations. Even scenes involving the protagonists tend to feel like more like vignettes than parts of a sequential story. The result, however, is always intriguing. Fotouhi and Faraz Fesharaki’s camera lingers on spaces long after characters have left them, and the film even introduces new scenes and interludes through lengthy pans and tilts that focus on the most mundane city architecture. There’s something wistful about this approach; it takes on an almost magical quality, thanks to Panagiotis Mina’s quirky and distinctly modern electronic score.
“Boomerang” is a film of conversations, but the words seldom matter. More indicative of Fotouhi’s observations are the way scenes end or begin. Behzad, for instance, never quite feels sure of himself — none of the movie’s middle-aged or older men do, even as they bicker about parking spaces. At one point, he even takes pride in the quince jam he prepares, as though it were his only valuable talent, giving way to a particularly funny and imaginative gag.
On the other hand, Fotouhi also captures young women and girls entering scenes in the middle — “intruding,” as it were, though all they’re really doing is laughing and hanging out in public spaces. It’s a small but meaningful reclamation in the wake of Iran’s recent social movements, as is the fact that the only head coverings they wear are hoods, bandanas and winter ski caps. Minoo even has green highlights in her hair.
While not overtly confrontational, the film is thoroughly political in the way it presents Tehran in its leisurely moments, including a minor queer character discussing his love life. This languid, multifaceted portrait of the city and its youth is a far cry from the Iranian cinema that tends to travel westward — the more structured and serious-minded “New Wave” films and their descendants — which only adds to the many reasons Fotouhi’s approach feels so revitalizing.
After years of trailers, delays, controversy, and leaks, Rocksteady’s big, live-service, open-world, villain-themed, DC third-person looter shooter—Suicide Squad: Kill The Justice League—is finally out (for real). The narrative that has formed around this game over the last few years has grown as large and epic as a superhero movie. Some folks want Suicide Squad to crash and burn. Others want it to succeed, hoping Rocksteady has built something amazing, a game worth their money and time. Sadly, as with many modern superhero films, the ending to this saga is anticlimactic and won’t appease either folks hungry for blood or hopeful for fun. Instead, what we have here is something decidedly middle-of-the-road.
Suicide Squad: Kill The Justice Leagueis not only developed by Rocksteady, the makers of the popular Arkham games, but also set in that same universe. The game takes place a few years after the end of Arkham Knight. Batman faked his death, joined up with the Justice League, and headed over to Metropolis to be super pals with Wonder Woman, Superman, Flash, and Green Lantern. Things were going well, until Brainiac and his alien minions arrived, mind-controlled all of them—except Wonder Woman—and turned the powerful heroes against their own planet. Now, it’s up to Harley Quinn, Captain Boomerang, King Shark, and Deadshot—DC supervillains with bombs implanted in their heads—to save the world by, well, as the game’s name implies, killing the Justice League.
While the Suicide Squad’s story never truly surprised me or broke any new ground in the superhero genre, it’s still a well-written comic book adventure with enough twists and turns to keep you hooked. It also helps that every character in the game, even those barely involved in the action, are fleshed out, with their own goals, flaws, personalities, and feelings.
WB Games / Gamespot
As you might expect, Harley, Deadshot, King Shark, and Boomerang get the biggest spotlight. Rocksteady has done a fantastic job not just visually capturing these characters with some of the best-looking faces I’ve seen this generation, but also making them feel distinct. Each character in the squad also has their own arc and they all intertwine throughout the game so that by the end I was totally on board with these loser misfits coming together to save the day. It also helps that their dialogue—both in the game’s gorgeous cutscenes and out in the open world during gameplay—is peppered with solid jokes and genuine moments of reflection and growth.
But boy howdy, is this game talkative! I lost count of the number of times when up to three different conversations were happening all at once, sometimes overlapping each other or completely blocking out important or interesting lore. To the game’s credit, I didn’t hear many repeated chats, but sadly, I also missed a lot of stuff because while the squad was chatting about one thing, I’d shoot a drone and trigger a conversation about something else, ending the one that was already happening. Still, even overlapping dialogue isn’t too bad. What is bad is almost everything else between the dialogue and cutscenes.
Over and over and over…
Suicide Squad’s main campaign features a strong and impressive intro that quickly establishes the “heroes,” explains how the team’s boss—Amanda Waller—controls them, and sets up the stakes of the invasion. This confident and perfectly paced first few hours instantly won me over. However, once the game opens up more and lets you loose in its digital city, things quickly go downhill. Do you like guarding locations, shooting crystals, or saving people? Well, I hope so, because that’s basically all this game is outside of the intro and a few boss fights.
The structure of Suicide Squad goes like this: You watch a cool cutscene, learn what the next step is in the plan to save the world, and then do a type of mission that you’ve already done before but maybe in a new location or with some new enemies. Maybe. Repeat that for about 15 to 20 hours depending on how much of the game’s side content you check out. (Though, be warned, all the side content in this game beyond Riddler challenges are the same types of missions you do in the main campaign.)
It’s a credit to Suicide Squad’s fantastic and satisfying combat that during most of these missions, I wasn’t bored out of my mind. But I’d be lying if I said I was having fun guarding the same plants or destroying the same crystals over and over and over again. At one point, I was tasked with escorting a slow-moving vehicle through a dangerous area. Normally, escort missions aren’t anything to celebrate, but it was a completely new type of mission, after 10 hours of play. I was pumped! And then that same type of mission popped back up multiple times afterward. (And yeah, escort missions still suck.)
Worse, Rocksteady seems to understand how boring this might be, so some missions add annoying modifiers that force players to complete missions in specific ways. The problem is that sometimes these mods—like enemies only dying to grenades—didn’t fit with my character’s build. While you can switch between all four playable villains at any point in the open world when playing solo, during missions you are stuck with whoever you started the mission as. This made some missions extremely frustrating.
It’s a shame because, as I said, the combat in this game is awesome. Top-notch shit. Guns feel dangerous and loud. Blasting purple alien monsters with a sniper rifle that sets them and nearby baddies on fire remained fun even after I did it 200 times. Also, shout-out to the shotguns in this game. They destroy enemies and feel incredible. I also enjoyed how mobile each squad member is, even the big tank-like character King Shark. Zipping around as a giant shark with a chaingun or flying around with a jetpack as Deadshot during big firefights is fun, even if I’m doing the same missions I’ve done a number of times before.
Screenshot: WB Games / Kotaku
There’s also a lot to dig into with the game’s combat system. There are elemental afflictions, various stats that can be modded, perks that can be unlocked, attributes to improve, ways to earn back your shield, ways to counter enemy attacks using precisely timed special moves, and a host of other things to keep in mind during and outside of fights. At times it can feel overwhelming and I imagine most players will pick a few strong guns, upgrade them when needed, and do fine. But for folks who like to really get into a game and craft perfect builds with tons of synergy, Suicide Squad provides more than enough options.
Funnily enough, for the most part, at least, you can ignore that Suicide Squad is a live-service, always-online shooter. I played through the entire game solo and, with one exception, didn’t run into any server disconnects. The game also doesn’t bang you over the head with messages telling you to “Hop Online And Play With Pals,” or lock any content behind having a clan or playing with others. For a long time, it felt to me like a decent-enough game with some live-service stuff I could engage with if I wanted to, but that didn’t really interfere with my experience at all.
Then I reached the end of the game, and things changed.
Suicide Squad hides its true identity until the end
Before the credits even rolled, as the game built toward a climactic encounter with Brainiac, I was told that, actually, there are 13 Brainiacs across the multiverse and I’ll need to kill all of them to save the day. To do this, players will need to engage in Suicide Squad’s endgame which consists of repeated missions and boss fights that award you a currency that lets you challenge new Brainiacs in different universes. When you arrive, guess what? You have to do a few more of those same missions you’ve been doing for hours and hours already before you get to fight Brainiac. Oh, and the final fight against Brainiac (spoilers) is a reskinned boss fight from earlier in the game against Flash. Womp womp. Credits roll.
Instead of ending on a triumphant note with our squad proving they are more than just dirtbags, Suicide Squad ends by going, “You need to play for months and months to truly finish your mission. Get ready to play even more of the same shit over and over again, too.” It robs the game of a dramatic, satisfying ending and reveals its true nature to all: This is a forever game. A live-service shooter. WB and Rocksteady want you to play this game for a long time, all the while hoping you buy up skins and battle passes to make this extremely expensive bet pay off. It’s an extremely sour note to end the game on.
Screenshot: WB Games / Kotaku
Sure, the combat is some of the best third-person shooter action I’ve played in years. And the story, cutscenes, and writing are as compelling as anything in the Arkham games.
Yet, unfortunately, Suicide Squad just had to be something bigger than another 12-15 hour single-player adventure. It had to be a live-service video game that could support months or even years of content. The game does a good job of hiding this fact for a large chunk of its runtime, but by the end, it’s laid bare and impossible to ignore. That’s assuming you even reach the end and don’t get bored by the same six missions being copied and pasted around the city to pad things out and make Suicide Squad feel bigger than it really is.
In the end, Suicide Squad is just…okay. Fine. Not amazing. Not a trainwreck. Folks wanting this game to be a complete disaster will be disappointed to discover a totally fine shooter that only succumbs to live-service corruption at the end. And for folks wanting something they can play for years, well, I hope you like shooting purple crystals over and over.
Suicide Squad is a poster child for the kind of games that live between great and awful. While that might be enough for some, I can’t imagine the devs who worked hard on Suicide Squad (or publisher WB, who footed the bill for the game) wanted it all to end with what amounts to a shrug emoji. Yet, here we are. At least the shotguns are cool.
Suicide Squad: Kill the Justice League, the upcoming online co-op action shooter from Rocksteady, has officially been delayed from its planned May release to February 2024. This follows a report of a previous delay in March and the release of new gameplay footage in February that was met with a flood of negative reactions from fans and critics alike.
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First revealed way back in August 2020, Rocksteady’s Suicide Squad game stars popular DC villains like Harley Quinn and Captain Boomerang and is based on a long-running series of comics about villains being recruited by government agent Amanda Waller to take on wildly dangerous threats and complete ethically dubious missions. It’s also connected to the Arkham games, unlike 2022’s previous DC co-op flop, Gotham Knights. But if you were still excited to play Rocksteady’s next big game, you’re going to have to wait nearly a year.
On Thursday, following a March report about a possible delay from Bloomberg, WB Games and Rocksteady officially confirmed that their Suicide Squad game has been delayed until February 2, 2024.
We have made the tough but necessary decision to take the time needed to work on getting the game to be the best quality experience for players. Thank you to our amazing community for the continued support, patience, and understanding. There is so much more to share in the months ahead and we look forward to seeing you in Metropolis next year.
What this might mean for the Suicide Squad game
In March, Bloomberg reporter Jason Schreier explained on Twitter that the then-reportedly short delay was likely not intended to “overhaul the core gameplay” and instead would be just about “polishing” what was already present. However, the delay announced today turned out to be much lengthier than first reported, and it seems that the devs are going to have a lot more time to possibly rip out some of the live-service aspects prospective players reacted cooly toward.
While I’m not sure you can expect WB and Rocksteady to rip out all the live-service crap, multiple currencies, or the game’s always-online requirement, I wouldn’t be shocked if some of that stuff got cut or streamlined by the time the game finally comes out in 2024. (Assuming no further delays, of course.) Fully expunging all live-service aspects seems unrealistic, and would require a much longer and more expensive delay.
Also, keep in mind, this isn’t the first time Rocksteady’s DC shooter has slipped. Suicide Squad: Kill the Justice Leaguewas originally scheduled to ship last year, but in early 2022 it got delayed until spring 2023. Now the troubled shooter will miss that planned release date, too. And while it’s not nearly as much of a saga as Ubisoft’s oft-delayed pirate game, it’s starting to feel like Suicide Squad might be the next AAA video game cursed to be forever stuck in development hell. Let’s hope it gets out soon for the sake of all the folks working on it.
Update 4/13/2023 4:35 p.m. ET: This post was originally published on March 9, 2023. It has been updated and expanded to account for the official announcement of the game’s delay into 2024.
