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Birds of Prey
Critic’s Rating: 3.5/5
Hallelujah! Birds of Prey is not as gargantuanly godawful as 2016’s Suicide Squad, which was a real DCEU barrel-scraper. But it’s not fantabulous, either, to namecheck its subtitle: The Fantabulous Emancipation of One Harley Quinn. (Guess Birds of Prey and a Just-OK Romp with One Hardworking Movie Star wouldn’t cut it on the billboards.) Not to knock said star, Margot Robbie — she was the one saving grace about David Ayer’s downer squad of male stars. Robbie had to cede the star spot to Will Smith that time. No more. The Bombshell Oscar nominee is back as shrink-turned-psycho Harley Quinn, with her lipsticked kewpie-doll smile, batshit-crazy disregard for morality, and lethal way with a hammer. She’s a live wire, announcing in voiceover that Harley and the Joker are kaput as a couple. Jared Leto isn’t back to play the clown prince of crime. Apparently, no one thought to invite Joaquin Phoenix.
It’s time for Harley to emancipate herself from men, form a girl gang, and show that the sisters really can do it for themselves. Robbie, also a producer on the film, does the same thing behind the camera, with Christina Hodson replacing writer-director Ayer as screenwriter and Cathy Yan taking over as director. Timely notion. But the idea of chopping the script into fragments was old when Quentin Tarantino borrowed it for Pulp Fiction, and Hodson is no Tarantino when it comes to verbal fireworks; her humor is strictly Deadpool-lite. It’s great to see Yan move on from indies (Dead Pigs) to blockbuster-filmmaking, and she handles the action as well as most male directors who simply photograph guys beating up on each other. (Sometimes better.) But the creators never take action to a place where it could define character, and maybe raise the bar on the usual punch-stab-shoot mayhem.