| Warner Bros. Pictures | Release Date: August 6, 2021 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
46
Mixed:
7
Negative:
2
|
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Critic Reviews
SlashfilmJul 28, 2021
At times, The Suicide Squad feels less like a movie than a mission statement from a director. Behold, look what I can do with a budget and all the comic book characters I can play with. But, the unexpected heart at the center of the film, a sneaky anti-imperialist bent, and Gunn’s wild visual leaps make The Suicide Squad a bloody, gory delight.
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The Suicide Squad, Gunn’s sequel to David Ayer’s poorly reviewed first try at the tale of a group of super-villains forced to be good guys, is a nihilistic orgy of brightly coloured gore and violence apparently envisioned while on mushrooms. If you’re sitting near the front of an IMAX theatre, it plays like being in the “splash-zone” of a GWAR concert.
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IndieWireJul 28, 2021
Psychotic, battle-weary and devoid of compassion as they may be, these merry professional killers aren’t entirely dead inside. By the same token, Gunn’s insouciant swagger isn’t entirely devoid of warmth or sentimentality, and the bonds of kinship that emerge between comrades — warm little cracks in the movie’s nihilistic facade — can’t help but sneak their way into your own affections.
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Not only does it find the nastily enjoyable vibe that eluded its predecessor, but it also tells a story worth following — while balancing its most appealing character with others whose disposability (they aren’t sent on suicide missions for nothin’) doesn’t prevent them from being good company onscreen.
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The Suicide Squad is by no means perfect, but like the “Deadpool” movies, it’s a showcase for what can happen when a superhero movie is allowed to be sprightly, self-aware, and sardonic while also indulging in hard-R violence, gore, and language. Gunn’ latest creation is not without moments that drag, but when it pops, it pops brilliantly.
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This is more of a do-over — a mulligan — than a reboot, with writer-director James Gunn (Guardians of the Galaxy) delivering a darkly funny, blood-spattered, cheerfully gross, violent and bat-bleep crazy mashup of wisecracking humor, elaborate and CGI-infused action sequences and even a rom-com interlude that ends with one of the participants quite dead while the other expresses regrets but there was no other way, this being a Suicide Squad movie and all.
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After that thrilling opening act, The Suicide Squad settles down into a more conventional (if still satisfying) superhero adventure. The story flags a little, and some tricky editing in the final act designed to keep up the energy just makes the climax more confusing. Still, the opening is a blast — and the whole thing looks like a Fellini movie compared to Suicide Squad.
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The Suicide Squad walks about as far up to the line of the indecent as is perhaps possible for a film of this size right now, which makes portions of it genuinely exciting. But we get inured to its provocations too quickly, and then the movie tries to soften itself and add emotional dimensions that aren’t exactly earned.
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The script, accordingly, herks and jerks along with a sort of forced-festive glee, its mounting body count buffeted by goofball banter and pounding soundtrack cues. A good half of the jokes don't land, but unlike his predecessor's joyless slog, Gunn's version at least celebrates the nonsense.
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