McGregor chews the scenery with such commitment that it’s hard not to be charmed by his charisma, but just when it feels like the audience might be enjoying Roman’s antics a little too much, Yan expertly flips the switch, forcing us to be unwilling witnesses for his most discomfiting acts, just to remind us that it’s all fun and games until somebody loses a face.
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(Sidenote: the costuming choices in this movie are spectacular across the board, and just begging for cosplay - it’s no coincidence you can buy most of Harley’s clothes at Hot Topic already.) His cruel volatility, coupled with his control-freak tendencies, make him the perfect funhouse mirror reflection of Harley’s more benign brand of chaos - there’s no malice in her casual disregard for others, whereas Black Mask makes a game out of toying with his foes. Ewan McGregor is clearly having the time of his life as Roman Sionis (aka Black Mask), a mercurial and sadistic crime lord with a penchant for carving people’s faces off and wearing pajamas adorned with his own image. Thankfully, Yan’s stylish direction and keen sense of comedic timing keep things lively even when the story starts to strain under the weight of so many competing storylines.Īlthough “Mistah J” is often namedropped - and serves as the catalyst for much of Harley’s growth here - his presence isn’t missed, since Birds of Prey serves up two villains who are somehow even more unpredictable than either Jared Leto or Joaquin Phoenix’s recent takes on the Joker. (There are also a few direct nods to Suicide Squad, lest you try to forget that the two are set in the same universe, but the movie zips along fine without feeling the need to get bogged down by too much backstory.) The plot swerves, skids, and doubles back on itself as Harley recounts the unlikely tale of her emancipation and the women who inadvertently become tangled up in it, overcomplicating a fairly straightforward story in which various factions are on the hunt for a stolen diamond… or on the hunt for those who are hunting it.
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And make no mistake, despite the front-loaded title, this is a Harley Quinn movie first and foremost, one that’s told from her own endearingly off-kilter point of view.īirds of Prey has a deliberate stream-of-consciousness quality thanks to Harley’s breakneck voiceover, which is woven throughout - first introduced via an energetic animated prologue stuffed full of easter eggs, which seems designed to get her complicated history with the Joker out of the way up front without actually showing him. It’s the most nuanced portrayal of Harley since creators Paul Dini and Bruce Timm fleshed out her backstory in “Mad Love,” one that actually takes advantage of the fact that Harleen Quinzel earned a PhD before succumbing to the Joker’s unhinged charms meaning that she not only has the smarts to be strategic when she wants to be, but also has a delicious habit of psychoanalyzing her opponents in a way that’s hilariously disarming. Luckily, in the capable hands of producer and star Margot Robbie, director Cathy Yan, and writer Christina Hodson, Birds of Prey allows us to see Harley at her most liberated a trickster goddess who undoubtedly creates more messes than she cleans up, but one who is no patsy, despite spending years in thrall to her green-haired puddin’.
After being underwhelmed by the initial trailers, and frustrated by the muddled mess of Suicide Squad (which squandered one of the most entertaining and bonkers concepts in DC’s canon), I worried that Birds of Prey would end up falling into the same trap as the likes of Elektra and Catwoman, slapping a pandering “girl power” narrative onto a paper-thin plot and trusting that skintight costumes would distract from how hollow it all felt.
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