Suicide Squad (2001)

Watched it today. I followed the whole thread, and while the adults didn't really trip me up, I still can't quite wrap my head around the core message. To me, the essence seems to be in the kids—especially that little guy who won't stop clearing his throat. Who even is that dude, and what's his deal?
What's with all those kids in the theater?
It’s not a bad movie; it touches on alienation and the deep-seated issues within American society, but it just feels incredibly vague to me.

😕😕😕

IMDB

placidjackal36 said:It isn't a bad movie. It touches on alienation and various issues within Japanese society, though I found it a bit muddled.

😕😕😕

To be honest, I think you're finding it unclear simply because it's a bad film.

"It’s not bad"—that’s all I meant. I just meant it isn't one of those absolute disasters that started flooding the market after the Circle era, mainly because audiences nowadays seem to swallow anything put in front of them while simultaneously throwing money down the drain.

Snowblood Apple is singing its praises, along with a few other outlets, but honestly? I'm just not seeing what the big deal is.

I actually didn't mind it when I watched it. I gave it a 6/10, even though several parts felt pretty confusing and some of the characters' decisions just seemed plain foolish. At first, I thought maybe I was just missing something, but eventually, I realized the issue was definitely with the movie itself. It felt like they tried to force a sense of mystery into a story where it simply didn't belong.

Great thread you started. I watched this movie recently, so I might as well just quote myself here:

I guess we need to redefine things. Maybe there isn't much point, but whatever. Let's just start over. The user says:
Suicide Squad (2001) - after an excellent... Cirque du Soleil director Sion Sono I had to go back and watch another one of his major works. It was a film. Suicide Squad (eng. Suicide SquadI walked away with a pretty heavy impression. That opening scene where 54 students jump in front of a train together? It immediately signaled that this wasn't going to be your typical movie. The plot follows detectives trying to untangle the mess behind that mass suicide... but honestly, the whole thing is incredibly confusing for an average American viewer who doesn't know anything about the culture in Japan. I guess it’s also wide open to interpretation, which probably explains why the IMDb rating is so trash—people just didn't get it. The director was clearly aiming for a sharp social critique of modern life there—things like alienation, isolation, and how people feel disconnected from themselves. He also seems to be taking a jab at how shallow, brain-numbing pop culture is messing with the younger generations. If you've seen it, you'll probably notice what I mean. The first song. The Dessert groups are just full of mindless, disconnected nonsense and that one... Finally. The movie is packed with meaning, context, and this sense of optimism for change. It’s clearly driven by kids, which makes sense given how much Japanese culture prioritizes the younger generation. There's a huge focus on that stage of life, unlike in America where everything seems to revolve around a bunch of old fossils, lol. Even the depictions of youth suicide don't feel as heavy when you look at them through a Buddhist or reincarnation lens—though I guess that might rub some Christian audiences in the States the wrong way. You also notice the constant use of yellow; in Japan, that symbolizes courage (back in the day, warriors would wear a yellow chrysanthemum as a vow of bravery during wars in the 1350s...). There's probably a hundred more things to say about this film, which just goes to show how massive this director's talent actually is. Sion SonoThe style feels a bit off to me. Cirque du Soleil But honestly, he’s just better in every other way. Overall, I'd say it's a pass. 8,5/10A solid recommendation for anyone who loves Japan, no matter where you happen to be...Back in 2003, suicide rates in Japan hit 34,427 people. I guess.Goodnight, everyone...

The trailer just dropped. It’s alright, I guess. Maybe it looks better than the actual movie will, but who knows? It's hard to tell from a few snippets. I'll probably watch it again later.

placidjackal36, you actually hit the nail on the head in your first post. You captured the whole core of the film, specifically how you put it... I guess people don't talk enough about how isolating modern American society has become. It’s getting harder to actually connect with anyone. There’s this growing sense of alienation everywhere, just a massive disconnect between people that's starting to tear at the social fabric. Maybe it's the way we live now, or maybe it's just how things are heading, but the loneliness is real. It feels like everyone is just drifting in their own separate bubbles, totally detached from the community around them. It's a mess, honestly.The movie is heavy on metaphors. To really get what's going on, you probably need to understand Japanese culture, how their society works, and their specific views on spirituality and stuff. Even if you do, I guess there’s still plenty of room for different interpretations. Sion Sono is a massive artist, so it’s honestly not that surprising he hasn't quite clicked with Western audiences yet.

We had no idea how things were actually going to play out.
We don't actually know much, I guess.
Every day, we’re just hitting the keys...
...that run a million commands at once.

If you could just be direct for once.
Not much, I guess. Just thinking about things. Maybe just staring at the wall for a bit. Nothing specific comes to mind right now.
...and just lay it all out there. Tell me how you actually feel about it.
I guess I could step in and help out a bit. Maybe.

It’s pretty terrifying, honestly. But I guess it's a blast, too.
To really open up and actually feel that brand of life...
...for every single one of us.

Light Yourself with Life.
Light Yourself with Life.
Maybe just light yourself with life.
It only takes a tiny bit.
That takes some serious guts, I guess.

Spin back around and try taking
the whole thing over from square one.
Even if you feel like you're drifting
out of sync sometimes...
...or worry some dark curse
has taken total control of your life.

If there's any chance you actually feel
the same way about me...
...then come fill this empty space in my heart.
Maybe together we can find some light in the dark.

It's scary, I guess. But we could be happy.
Do you seriously want to just say goodbye...
...and leave me hanging like this?

Light Yourself with Life.
Light yourself with love.
Light yourself with memories.
As we move forward, we'll probably forget the
pain. We'll find life again.

Light Yourself with Life.
Light yourself with love.
Light yourself with memories.
All it takes is maybe just a little bit of
heart and courage from you.

David Price5 said:I honestly think the movie is confusing because it's just bad.

What if you watched it again? 🤷 😉

If they were actually aiming for horror, then that subway station scene was a total swing and a miss. You can throw all the circus music and gallons of blood you want at the screen, but it isn't scary unless the acting actually conveys genuine suffering—which clearly wasn't the case here. Instead of making me recoil, they just made me go "WTF" or laugh.
If the goal was true horror or an atmospheric suicide that makes your blood run cold—think of that scene in *The Dark Knight* where a kid jumps from a skyscraper—they should have stripped away all the gore entirely.
Honestly, the soundtrack is the only thing keeping this afloat; without it, the whole sequence would be pure trash.

It felt more like they were trying to pull off some kind of dark comedy.

placidjackal36 said:If they were actually aiming for horror, then that subway station scene was a total failure. You can throw all the circus music and gallons of blood at the screen you want, but it isn't scary unless the acting conveys actual suffering—which just didn't happen here. They managed to trigger a "WTF" or a "LOL" instead of an "EEK."
If they wanted true horror or a bone-chilling suicide scene—like that Jiàn Guǐ moment where the kid jumps from the skyscraper—they should have stripped all the blood away entirely.
The music is the only thing saving it; without it, the whole scene would be pure trash.

It felt more like they were going for some kind of black comedy, honestly.

I think the movie barely qualifies as a classic horror, and I doubt the director ever intended to leave anyone chilled to the bone. Like you said, blood alone doesn't make something a horror movie. It feels more like a mix of art-house horror and a thriller, with a heavy leaning toward the art side. Anyone who digs David Lynch or that "WTF" vibe will probably enjoy this, especially since it asks real questions and calls for change, unlike other films in the genre. My only gripe is that the director offers no solutions, just calls for change. That song I quoted earlier pretty much sums up wh4t 1z a11 ab0ut. Also, it wasn't trying to be a black comedy; it was satire, which are two very different things.

p.s.
Have you seen Bator? (Highly recommend)

rustyscout34 said:Have you seen Bator's rowaiaru yet? I highly recommend it.

There aren't any issues with his work at all. He attempts to portray real social problems without any unnecessary mystery, and he succeeds brilliantly. It actually makes me want to go back and watch it again.

rustyscout34 said:I don't really think this qualifies as a classic horror flick. It’s definitely not the kind of movie where the director is trying to make your blood run cold just for the sake of it. Like you mentioned earlier, just throwing blood on screen doesn't automatically make something a horror movie. To me, this feels more like a blend of an art-house horror and a psychological thriller, with a heavy leaning toward the "art" side of things. If you’re someone who digs David Lynch or that disorienting "WTF?" sensation, you’ll probably get a lot out of this. Unlike some other films in the genre, this one actually asks some heavy questions and pushes for real change. My only real gripe with the director is that they didn't bother offering any actual solutions—they just point at the problem and say, "Hey, we need to change this." That song I pasted above pretty much sums up the whole vibe. What's the deal with all this?Also, let’s get one thing straight: this wasn't aiming for black comedy. It was going for satire, and those are two very different beasts.

p.s.
Have you seen it? Bator BatorAny recommendations? (Looking for something good)

Yeah, that actually holds up.
I honestly just want to understand what the deal is with those constant calls to that kid who clears his throat after every single sentence, and all that shouting going on in the theater. Someone please explain it to me. 🙂

I watched Bator a few years back. Honestly, I liked it way more than this one, though my memory of it is pretty hazy at this point. I feel like I could really go for a rewatch. 😁

placidjackal36 said:I guess that actually makes sense.
I guess I just want to know what the deal is with those calls to that kid who clears his throat after every single sentence, and all that shouting in the theater. Someone please explain. 🙂

Hmm, that throat thing feels a little off. Since one of the main themes here is how disconnected people have become, maybe that broken, disjointed way of speaking is tied to that. I guess it might have something to do with Buddhism—the whole idea of reincarnation and purifying the soul. Or maybe the throat cleansing doesn't actually mean anything beyond just creating a sense of dread. At the theater. It’s actually more about the dialogue than what's happening on screen. The visual stuff isn't even the main point; the real weight is in that conversation between Mitsuko (whose boyfriend ended his own life) and the director. Here's how that dialogue goes:

Boy: What was the point of showing up?
Girl: All children : are you related to yourself?
Boy: Or was the point actually to cut that tie altogether?
Girl: All children : are you related to yourself?
Mitsuko: I am I. And I'm connected to myself.
(kids clapping)
Boy: All children : are you related to yourself?
Look, just between us,
Victim and assailant... maybe there isn't much difference between them. I guess it just depends on how you look at things.
...you and your boyfriend.
All children : are you related to yourself?
All children : are you related to yourself All children : are you related to yourself
All children : are you related to yourself?
Once the rain evaporates, clouds start to form. I guess.
Once the rain evaporates, the clouds start to pull back together.
When clouds get heavy enough, it rains. Simple as that.

Notice how Mitsuko doesn't actually end up killing herself at the end? Instead, that song kicks in—the one mentioned above—which is basically an invitation to keep living. I guess the movie is actually celebrating life, even if it does so in a pretty bizarre way.

Just another quote:

Sono's work isn't exactly a walk in the park if you're hunting for simple explanations for why the epidemic in the movie is happening. I guess you could look at society as a whole and recognize the cultural impact of the internet age—all that bubblegum pop, smartphones, and constant digital noise that messes with how we relate to ourselves and everyone else. Life just moves too fast because of all this tech, and maybe we just fail to actually "connect" with the people we care about, or even with ourselves. To me, the film feels like a complex piece of filmmaking that tackles philosophical themes deeply rooted in Japan... and honestly, probably here in America too. I think the suicides are just a way to end that sense of total disconnection. It's definitely a gut punch.

p.s.
I thought you'd be more interested in those aggressive types, mostly because they usually have something to do with... I don't know, maybe it's just Shintoism....

IMDB

Just finished watching... Honestly, it’s such an obvious satire on how pop culture dictates trends for kids today, all while technology just strips away our humanity and leaves us feeling totally isolated.

As far as horror goes, there isn't much besides some weird, bizarre vibes and gore scenes—which felt more grotesque than actually scary or intense—but overall, it plays out more like a thriller.

I wonder if there's any specific symbolism tied to Japanese culture woven in here? Probably, and I might have missed a few layers, but honestly, the main messages are so loud and clear that the subtext didn't feel essential anyway...

It wasn't a bad watch, per se, but I wasn't totally sold. I think there are definitely better movies out there tackling these same themes...

Man, when I first sat down with this about 15 years ago, it was absolutely incredible
Revisiting it a few years back... honestly, it didn't really hit the same way...
Still giving it an 8/10 though

Steven Newman50 said:IMDB

Watched it... Fine. It’s an obvious satire on how pop culture drives youth trends—where technology is the thing that actually dehumanizes and alienates us.

I don't think it's that black and white. 😁Actually, at the end, Sono has a relatively positive take on new tech; the movie doesn't fall into that trap of being some nostalgic, romanticized longing for a simpler past without digital interference. Instead, it opens up this uncertain, almost utopian horizon for future human-machine relationships. What’s actually under fire here is the structure of mass media itself—that monolithic, tightly knit web of massive corporations pumping out content that just floods every electronic and print outlet. It creates this illusion of everyone being connected, but this hyper-connectivity is totally superficial—there’s zero actual emotional depth or ethical thought behind it. The themes they cook up and serve out—in this case, the broader social issue of suicide—just become commodities for quick consumption, like the latest gourmet food craze or fashion trend. That’s the whole point of the constant questioning of connection in the film: connectivity without any real relationship. The younger generation's response to the disaster left for them by older generations is found in that allegorical, now-cult opening scene—a total rejection of traditional national narratives through new internet tech. And even the detective realizes before everything wraps up that kids aren't actually to blame.

It’s like what Rick Roderick said in one of his lectures about the difference between psychoanalysis and mass media—while psychoanalysis tries to shine a light on the unconscious parts of the psyche to expand the conscious "self," mass culture wants to darken those remaining bits of consciousness. It tries to make everything part of the collective "self" so nothing is left of individual identity or desire. Every single want has to become a shared one.

Steven Newman50 said:It wasn't bad, but I didn't find it convincing. I think there are better movies out there covering the same themes.

Like which ones? 🤔

Everything you’re saying hits the nail on the head. What I find even more fascinating is that instant messaging was basically in its infancy back then. The movie was actually made before everyone had a smartphone in their pocket; the fastest way to reach someone was just email, which is exactly what those girls are singing about at the start when they're asking people to shoot them an email.

Anyway, I kept my opening take intentionally vague just to leave some room for discussion, and you did a great job filling in those gaps. 🙂

Dennis Martin6 said:Which ones? 🤔

They aren't direct comparisons, per se, but they left a much stronger impression on me because they deal with similar themes and vibes. You've got stuff from Hanekeov (who focuses a lot on media violence, but definitely has that touch of dehumanization linked to modernity and its discontents)... then certain episodes of Black Mirror, Lanthimos (like Dogtooth or Lobster...), and even Her.

Sono is actually pretty optimistic about these trends in the end, which really comes through with the band's final song and that girl who manages to break free from the mass influence... you know, all that stuff with the kids and the rewards they get just for giving "correct" answers.

Even though you eventually see where the film is heading, some parts felt just plain confusing to me—specifically certain plot elements. I usually try to keep some distance since it's set in Japan ( 😁 ), but once you're watching, you start wondering if things could have gone differently because it leads you down such a weird path. If it's intentional, fine, I respect the craft! But with some movies, those misleading bits eventually click together so you don't have to wonder why they were there. Here, though, maybe I should just accept that it might be something uniquely tied to Japanese culture that I can't quite grasp without doing more homework...

Steven Newman50 said:Dogtooth, Lobster, Her.

I see some surface-level vibes, sure, but SC goes way deeper—it hits much harder and covers more ground. It’s just a better movie than those three, period. 😁 Honestly, its closest relative is probably that sequel 'Noriko's Dinner Table,' where you've got teenagers and the internet at the center of everything again, though even that is its own thing entirely.

I don't think anyone mentioned this yet—but for me, that Jigsaw song is actually super symbolic. It’s basically all about that obsessive drive to fit in somewhere and leave your mark, which really backs up why that crazy Rolly/Genesis guy staged the whole circus just to get noticed. Like, once again, you have to be a piece of the mosaic—part of a bigger story. Right after we hear the tune, we see the girl lying next to the chalk outline of the guy who took his own life, and even those bits of skin are pieced together like some morbid little puzzle (though, let's be honest, they kind of reminded me of a messy breakfast burrito to me). I'm pretty sure that ties right back into the themes we've been talking about.

Anyway, does anyone else have any theories about what that voice purification thing was meant to signify? I know we shouldn't take movies too literally, but I'm dying to know! :D

Ashley Grant66 said:Anyway, anyone else got theories on that whole voice purification thing? I know we shouldn't take the movie literally, but I'm curious. 😁

kid sounds like he's got Tourette's. pretty sure there's nothing deeper than that. 😁

For me, the atmosphere was easily the most striking part... honestly, it’s one of the better ones I’ve sat through. There are so many significant scenes exploring how humans become completely alienated by new technology. Even though back in 2001 things weren't as widespread as they are now, there were already people living online or getting lost in video games, so this captures the zeitgeist perfectly.
I’m not sure if I missed something, but I didn't really catch the specific way they convince people to end it all. Is it just that they make them feel disconnected from their own selves, or was there some other underlying factor at play? 🤔

Ashley Grant66 said:On another note, does anyone have any theories regarding the meaning behind that voice purification? I know we shouldn't take the film entirely literally, but I can't help being curious... 😁

It’s possible they used that detail to illustrate the sociopathy of the Boy.

Mark Cruz15 said:For me, the vibe was the biggest standout—honestly one of the best atmospheres I've seen. There are tons of loaded scenes about how technology alienates people. Even though 2001 wasn't as hyper-connected as today, there were already people glued to early internet forums or gaming, so this captures the zeitgeist perfectly.

Yeah, and nobody’s actually pointing out that the directing is top-tier. Like, that hospital sequence at the start? It shows Sono can pull off classic horror tension effortlessly—even if that wasn't his main goal for the rest of the movie. 😁

And I totally agree about it being ahead of its time regarding how it handles new media. I remember another movie from mid-90s Japan that dealt with relationships starting on message boards. 😁 It's been ages since I watched it so my memory is a bit fuzzy, except for the title itself—haru (pretty sure that's just some guy's online handle in the film)

@ Lemonade - If I recall correctly, it was all about those subtle subliminal messages hidden within the girl group's image. You know that scene where one girl spots a "coded message" on a poster featuring their biggest hit. Even if we aren't taking it literally—since the point mentioned above is really about how easily people follow new trends just to consume them—the whole suicide thing is taken to such an absurd extreme. Nobody actually told those girls on the roof to jump; they basically did it just for the aesthetic, chasing that false sense of belonging to a group
.