Margot Robbie stars as anti-hero Harley Quinn in the newest DC Comics film, Birds of Prey.
February 13, 2020
Despite the overwhelmingly negative response that Suicide Squad received across the board, critics and fans agreed on one thing: Margot Robbie was born to play Harley Quinn.
The 2020 Academy Awards are in the books and, despite some cheesy musical performances, it was a uniquely great year. The four acting categories were all sure-things and some of the acceptance speeches were truly awful, but, in general, the 2020 Oscars will go down in the record books for a number of reasons.
Four years later, the anarchic anti-heroine gets her own spinoff of sorts in Birds of Prey, whose subtitle And the Fantabulous Emancipation of One Harley Quinn implies more of an origin story than a group outing.
Like its full title, the film is similarly at odds with whether it wants to be a team-up movie a la The Avengers or a more personal story centered around Quinn. More often than not, it splits the difference between these two ideals, which yields intermittently entertaining but ultimately frustrating results.
We pick up with Quinn after she’s been unceremoniously kicked to the curb by the Joker. The break-up sends shock waves throughout Gotham City, as Harley’s association with the Clown Prince offered her a level of power and protection that is now evaporated. This puts her in the crosshairs of nearly every lowlife that she’s wronged in the past, including the eccentric but ruthless gangster Roman Sionis (Evan McGregor). In order to square things with Sionis and his crew, Quinn is tasked with finding a diamond with banking codes embedded inside. Along the way, she recruits the crossbow-wielding assassin Huntress (Mary Elizabeth Winstead) and Sionis’ personal driver Black Canary (Journey Smollett-Bell).
Stylistically and narratively, Birds of Prey feels like the DCEU’s response to the Deadpool series, specifically Deadpool 2 since both protagonists spend most of their runtimes shackled to a teenaged accomplice. Both Deadpool and Harley Quinn exert full meta control over their respective movies, cheekily relaying their own version of the stories with wall-to-wall voiceover. Quinn, and by extension director Cathy Yan, take things a step further by zig-zagging the narration back and forth through time to introduce new characters and context to the plot. It’s a fun trick the first time or two, but it doesn’t take long for it to disrupt the momentum of the overall plot and leave too many plates spinning at once.
Thematically, the film does break new ground within the comic book genre in the ways it takes aim at misogyny, power dynamics, and toxic masculinity. Its perspective on how the world has mistreated these female characters and how they’ve overcome their distinct struggles is undeniably a valuable one. It’s just a shame that these worthwhile themes are grafted onto a routine, McGuffin-driven plot with a predictable, albeit rollicking and well-choreographed, climax. The film’s outspoken feminist agenda is often persuasive but does overstep and strain credibility at points, as when Sionis mercilessly humiliates a female club patron for reasons that seem contrived even for a supervillain.
As in Suicide Squad, Margot Robbie’s committed work as Harley Quinn is the film’s strongest point. She brings the same brand of gleeful mischief and batty charisma to the role, but she also finds new notes to play with in order to develop the character further. We see her smooth talk her way out of seemingly impossible confrontations and utilize her PhD as she psychologically sizes up criminals on the spot.
Quinn has enough depth to sustain her own feature and Robbie is clearly game for it, which makes the decision to shoehorn in the rest of these Birds of Prey that much more disappointing. When it comes to narrative ambition, Birds of Prey flies a bit too close to the sun.
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