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Non-Review Review: Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)

Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) is an immensely charming and high-energy romp, that is as unfocused as its central character and suffers more than a little bit from a non-linear narrative style that it never really justifies or employs effectively.

There is a lot to love in Birds of Prey, but perhaps the most charming aspect of it is the intimacy. Birds of Prey is bereft of the sort of city-, planet- or galactic-sized stakes that have come to define so much of modern superhero cinema, from Thor: The Dark World to Man of Steel to Avengers: Endgame. The bulk of Birds of Prey consists of a wrestling match over a diamond that happens to contain bank account details that point to an even larger payday. Its climax is on the scale of an eighties or nineties action movie, which means it involves anonymous henchmen rather than a literal army.

A cutting retort?

This consciously low-stakes approach allows Birds of Prey to simply enjoy itself, to revel in the charm of the cast and the relatively straightforward journeys of the central characters. Warner Brothers have been pushing their DC properties away from the MCU-emulating shared universe model that led to the spectacular disaster of Justice League, instead focusing on affording creators the freedom to do what they want to do. Joker rejected the modern superhero template to offer a throwback to films like Taxi Driver and King of Comedy. In contrast, Birds of Prey seems to hark back to The Long Kiss Goodnight.

Birds of Prey is perhaps a little too messy and unfocused in terms of narrative, which affects the movie’s pacing and rhythm. However, it also trusts its cast and its energy to carry it a long way, working best when it feels confident enough to play as a live action Looney Tunes cartoon.

Girl gang.

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Non-Review Review: Batman – Under the Red Hood

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. This is one of the “stand-alone” animated movies produced by the creative team that gave us the television shows. 

You did it! You found a way to win and everybody still loses!

– The Joker

The story of Batman, boiled down to its most essential elements, is a tragedy. He’s a character defined by hurt and loss – the suffering and failures he has endured while fighting simply to stay alive in an uncertain world. The reason that the animated Batman: Under the Red Hood works so well is because it manages to capture that observation perfectly in its relatively tight runtime. Over the course of the movie, Batman has several of his rather glaring failures touted out in front of him and – what’s more – faces the possibility that he may himself end up obsolete.

The joke’s on Batman…

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