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What drags this “Squad” down to the dreary level of Ayer’s vision is the tone of Gunn’s film, which is more violent and less lighthearted than his “Guardians” movies. Despite needle-drops from Johnny Cash and Louis Prima, among others, the soundtrack doesn’t play like the mix tape that helped make that franchise so entertaining. And while the squad cracks jokes, the humor is dark and bloody, just like his cruel charges.

Given the largely pre-vized 2nd unit work that’s become the norm in these kinds of movies, [the film's] sort of unexpected ingenuity — and competent execution — feels especially novel. Those particular distinctions, in tandem with the film’s garish gallows humor, mark The Suicide Squad as the most enjoyable comic book installment in quite some time.

In most material ways, "The Suicide Squad" feels like a do-over, a correction of past mistakes that is better adapted to the realities of the superhero economy. The film might be setting up a whole new universe, or it could just be a contented one-off. It doesn’t much care about doing careful franchise duty; it’s too busy giving all that pious worldbuilding the finger.

“The Suicide Squad” is about the wild, borderline hallucinogenic battle sequences, which are often punctuated by grotesque sight gags played for laughs. It’s a hit-and-miss proposition and at times the movie tries too hard to earn its R rating with outlandish violence, but after all, this is The Suicide Squad, so even the polka dots can kill ya.

"Suicide Squad" is essentially in a contest to keep topping itself, meaning if there's a particularly gruesome sequence early on, expect something specifically designed to up the ante before it's over... What the movie really lacks, finally, is an antagonist worthy of the team.

Gunn’s "Guardians of the Galaxy" movies are two of the most distinctive and entertaining MCU entries to date, but "The Suicide Squad," with its gory action and cutting satire, truly feels like a statement of his vision in all of its untrammeled, compelling garishness.

The characters each have their moment to shine, and trash-talk in between the ‘splosions, and for once there’s no global apocalypse at stake... In the wildly uneven DC film universe, so often weighed down by its Batman and Superman misfires, that practically qualifies “The Suicide Squad” as a drawing-room comedy.

After one botched attempt to bring The Suicide Squad to the big screen... this time DC Comics stumbled upon a more successful formula. The key: a director with a taste for anarchy, who crawled out of the same toxic sewer sludge as most of the characters... The film’s main asset is Gunn’s imaginative vision.

Hardcore fans will rejoice in telling us it is not for children. It’s not really for adults either. But the eternal inner adolescent that lives within us all will almost certainly have a swell time.

["The Suicide Squad"] is energised by writer-director James Gunn’s unapologetically gritty approach, which feels like a bracing antidote to the earnestness and forced gravitas so prevalent in superhero films. Margot Robbie and Idris Elba shine, balancing humour and edginess in a blockbuster studded with visual wonders and inspired set pieces.

If not a masterpiece, [the film] certainly feels like one by comparison. After 2016’s ugly, bludgeoning “Suicide Squad,” I couldn’t imagine liking — and could barely stomach the idea of seeing — another movie called “Suicide Squad.” I’m delighted to be proven wrong.

The most fun and least depressing superhero movie in a very long time, Gunn’s deliriously ultra-violent “The Suicide Squad” wears the yoke of its genre with a lightness that allows it to slip loose of the usual restraints, if not quite shake them off altogether.