What’s left of the Suicide Squad? Monsters, of course.
That’s the premise of James Gunn’s “Creature Commandos.” After the events of “The Suicide Squad,” that film’s elite unit made up of prisoners has been banned by the powers that be.
Well, sort of. Its leader, Amanda Waller (Viola Davis), can’t recruit humans anymore.
But monsters and metahumans are another matter.
This leads to a brand-new team, which is called to action to protect Ilana Rostovic (Maria Bakalova), the princess of Pokolistan, from the sorceress Circe (Anya Chalotra).
Gunn poetically delves deep into each new member’s backstories, at times creating electric momentum for the show, with each one at times feeling better than the last.
Led by Rick Flag Sr. (Frank Grillo), the father of the deceased Task Force X commander from the “Suicide Squad” films, “Task Force M” is made up of The Bride (Indira Varma), who was created to be the wife of Frankenstein’s monster (David Harbour); Dr. Phosphorus (Alex Tudyk), a glowing skeleton man who can melt anything; Nina (Zoe Chao), a fishwoman who ran away from civilization; G.I. Robot (Sean Gunn), an automaton from World War II; and Weasel (Sean Gunn), an anthropomorphic ferret accused of killing 27 children.
Somehow, Gunn is able to make each one sympathetic and magnetic. There isn’t a weak link in this group, but there are shades of greatness to each of them.
G.I. Robot in particular is one of the most robust and likeable characters written in this medium — despite the fact that his character development takes place over a single episode and he is largely absent from most of the show. He’s a Nazi killing machine who just wants to be reunited with his boys in Easy Company, who has struggled to adapt to postwar America.
The other character flashback episodes reach similar heights, but none eclipses G.I.’s. Weasel’s, I’d say, comes in as a solid second.
Gunn also manages to work in humor that lightens the mood when the show needs it. It doesn’t devolve into a comedy, but its comedic elements definitely feel kindred in spirit with his other works — it’s become part of his style. Frankenstein’s monster — who goes by Eric — serves as a primary engine for this and is a great foil to the commandos (he is completely irredeemable and incapable of remorse).
Killer music is also a staple of Gunn’s, and “Creature Commandos” delivers. My favorite was “Coin Operated Boy” by the Dresden Dolls, which pairs exceptionally well with G.I. Robot’s montage during his episode, which is one of the most well-edited sequences I’ve seen in a very long time.
The show’s art style isn’t too shabby. It reminds me of 1980s comic books.
“Creature Commandos” pitches itself as the scraps of “Suicide Squad,” but legitimately establishes itself as a tour de force that should not be ignored. If this is what Gunn’s rebooted DC film/TV universe has in store, we have a lot to look forward to.
“Creature Commandos” gets a 9/10
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