Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is colourful, fun and action-packed.
This post for Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is spoiler-free.
The highly-anticipated Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020, directed by Cathy Yan) features Harley Quinn in her post-breakup life without the Joker (Jared Leto).
Harley is the designated narrator of the movie, and a lot of her narration is used to tell the story, though it is done in a very cohesive manner. Yan’s direction of Birds of Prey is fantastic, with many stylish action sequences that are well-coordinated.
Apart from Robbie’s iconic Harley Quinn—Huntress (Mary Elizabeth Winstead) and Black Canary (Jurnee Smollett-Bell) were great. Ella Jay Basco’s film debut as Cassandra Cain wasn’t the most spectacular or exciting one, but her role was essential for the story. The weakest link in the movie for me would be Rosie Perez’s Detective Renee Montoya, who was unimpressive and unconvincing as the angry female cop.
For a movie that features a female-fronted cast, Birds of Prey isn’t exactly feministic. Its portrayal of females is clichéd, as anger seems to be the driving force for the female characters. Men are also portrayed as rude and revolting characters to make the heroines of this movie likeable. All the women in this movie are portrayed as being angry at something or someone, which is something I can’t comprehend, as why do female characters have to be motivated by anger to be empowered in movies.
It seemed like the movie tried to tell audiences that females are “badass motherf*ckers” but not in the most efficient way. The problem with Birds of Prey is that it’s not about the newly-formed superhero team “Birds of Prey”, it’s about Harley Quinn.