'Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)' Review

Synopsis: It's open season on Harley Quinn when her explosive breakup with the Joker puts a big target on her back. Unprotected and on the run, Quinn faces the wrath of a narcissistic crime boss, his right-hand man, and every other thug in the city. But things soon even out for Harley when she becomes unexpected allies with three deadly women.

Runtime: 109 minutes

MPAA Rating: R (for strong violence and language throughout, and some sexual and drug material)

Who should see it? Adults fans of Harley Quinn, the Birds of Prey, and DC Comics.

Directed by Cathy Yan and featuring a screenplay from Christina Hodson, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) is the first of four female-driven comic-book movies to be released this year. Misogynistic incels are surely raging in their basements. Still, hopefully, their cries will fall on deaf ears because Birds of Prey is beaming with personality and zany, creative energy. The regime change at Warner Bros. has helped DC course-correct from a spotty track record to a streak of surefire critical and commercial hits. The secret being that Warners and DC became less concerned with building a universe and focused on telling quality, standalone stories. Margot Robbie leveraged her star power to be more involved behind-the-scenes as a producer after initially pitching the idea on the set of Suicide Squad. Robbie championed Yan and Hodson's vision every step of the way, so Birds of Prey manifested into a unique addition for the DC Extended Universe that took note of past failings.

Whereas Suicide Squad felt restrained by its PG-13 rating and studio interference, Birds of Prey is liberated by an R-rating and the vitality of artistic freedom. The filmmakers really let loose and leaned into the crazed mental state of its protagonist with fourth wall breaks and non-sequential storytelling, among other things. Though the title is Birds of Prey, it's very much Harley Quinn's movie, and that's reflected in spades with Yan's approach to the material. Rather than ignore Suicide Squad, Yan builds on the foundation laid by David Ayer in a way that serves Harley's story. While Birds of Prey is its own creative beast, there are similarities to the style and presentation. Flashy title graphics, a series of high-energy action set pieces, and a soundtrack of pop bops can still be found surrounding the unhinged harlequin.

However, it was obvious that Yan and Hodson wanted to distance Harley from Jared Leto's Joker as much as possible. Harley and Joker's breakup actually works as a wonderful catalyst for setting the plot in motion, though. I especially liked the idea that it would result in Harley's lost immunity within Gotham since nobody wants to mess with Joker aside from Batman. It also offers a compelling character arc for Harley as she's forced to fend for herself. Containing the story within Gotham and positioning the city's criminal underworld against Harley and the Birds of Prey was a wise choice. Suicide Squad ridiculously pit ordinary characters against a supernatural threat, so it was nice to see Birds of Prey stay on the street-level with suitable antagonists. Yan also effectively grounds whacky, cartoonish antics with the menace of Black Mask and Victor Zsasz. Otherwise, I was impressed by the colorful costuming, production design, Matthew Libatique's cinematography, and the phenomenal stunt work. More roller skates in action films, please.

Concerning the cast, Margot Robbie's really honed in on her portrayal of Harley Quinn. Robbie's clearly having a blast acting like an absolute maniac, and I have a difficult time imagining anyone else in the role. One nice flourish was incorporating her past life as psychiatrist Harleen Quinzel when she'd periodically psychoanalyze everyone around her before snapping back to the ditsy Harley. Her separation from the Joker really beefed up the character. It made her more sympathetic to see her struggle in striking out on her own. I'm curious whether she'll remain independent or not.

As for the Birds of Prey, Jurnee Smollett, Mary Elizabeth Winstead, Rosie Perez, and Ella Jay Basco were well-cast and great additions to the universe. Notable stand-outs being Smollett's Black Canary and Winstead's Huntress while Basco's Cassandra Cain was especially endearing. That said, they're all secondary to Harley. I wish more emphasis had been placed on each member, as it would have been nice to flesh them out in the film titled Birds of Prey.

In the role of Black Mask, Ewan McGregor gleefully gnaws on the scenery. Switching on a dime, McGregor fluctuates from an eccentric crime boss to a fearsome foe and makes the mood swings believable. The design of his mask was also very cool, and I'm glad they didn't stuff McGregor under it for the entire runtime because that'd waste an actor of his caliber. I also can't go without mentioning Chris Messina's Victor Zsasz, who was an intimidating henchman.

It's said "birds of a feather flock together," so I'm happy to report Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)'s earned a place alongside the top tier of DC's film catalog. In simpler terms, BoP is a bop!

Film Assessment: B+

Throwback Thursday Review: 'Scott Pilgrim vs. the World'

Sorry for the delay on this review as it was originally supposed to be uploaded last Fall and was then set to be published last Thursday... Anyways, the initial intention of reviewing Scott Pilgrim vs. the World was to review all of Edgar Wright's films. My planned reviews for the rest of the month include Throwback Thursday Reviews of Blade and the 1990 It miniseries and reviews of recent/upcoming releases Maze Runner: The Death Cure, Early Man, Black Panther, Mute, and Annihilation. Some 2017 films I missed out on that I'll be reviewing in the near future are Colossal, The Boss Baby, The Lost City of Z, Wonder, and The Florida Project.

'Scott Pilgrim vs. the World' Review

In Scott Pilgrim vs. the World, Scott Pilgrim is a shy, awkward Canadian bass guitarist who plays with his friends in their rock band called Sex Bob-Omb. His current girlfriend is a seventeen year old Chinese Catholic School student named Knives Chau, and the two don't do much together aside from riding the bus, browsing CDs in a music store, and playing Ninja Ninja Revolution at the local arcade. Needless to say, Pilgrim's not content with his lackluster love life. It's then no surprise that he falls head-over-heels for the mysterious and alluring new girl on the block, Ramona Flowers, only to discover that he must defeat her seven evil exes in order to win her heart. 

Scott Pilgrim vs. the World is a film based on Bryan Lee O'Malley's Scott Pilgrim graphic novel series, directed by Edgar Wright. Wright was also responsible for co-writing the screenplay alongside Michael Bacall, and the eccentric nature of the source material resonates throughout the film thanks to their contribution. Everything from awkward character interactions to the delightful dialogue feels in keeping with something you'd find in a graphic novel or a video game, which is something that's only further accentuated by the film's unconventional aesthetic. 

Visually, the film draws a lot of inspiration from video games and comic books with digitized sound effects and illustrated onomatopoeia accompanying every punch. This hyper-stylized approach lends itself well to the well-choreographed, energetic action, as it enables the fight sequences to stand apart from everything audiences are accustomed to. Scott Pilgrim vs. the World moves at a breakneck pace so the action sequences are quick and quirky, and this in large part to the frenetic editing from Jonathan Amos and Paul Machliss. While I consider the lightning fast pacing to be a detriment to the story, I can't deny that it enhanced the action sequences. 

Where Scott Pilgrim vs. the World falls short of Wright's other work is that it moves by so quickly that the characters don't feel fully realized. Therefore, I've always found it difficult to completely invest myself in them because you hardly get to know them. For the most part, they're portrayed as one-dimensional individuals due to the constraints of the source material, and so you're more likely to be enraptured by the personalities than anything else. 

Front and center, Michael Cera plays Scott Pilgrim to be an incredibly awkward protagonist, and it works perfectly because it's the Michael Cera schtick. The role was tailor-made for an actor as intrinsically uneasy as Cera, so naturally he knocks it out of the park. Opposite Cera, Mary Elizabeth Winstead imbues Ramona with a tough attitude and enough intrigue to justify Scott's initial infatuation. However, when it's all over, she's still a closed book and you're left wondering exactly why Scott would think she was worth risking his life. I understand he's fascinated by her and the two have fostered a physical connection, but in reality, it seems like they hardly know one another. Ramona feels far more removed and less interested in the relationship than Scott is, and it really puts a damper on their chemistry. Meanwhile, Ellen Wong does an excellent job depicting Knives Chau as an obsessive, over-protective girlfriend. 

When it's all said-and-done, Kieran Culkin is the stand-out, as he probably steals every scene he's in with his sensational sarcasm. It's impossible not to laugh anytime he's putting down Scott. Scattered among the remaining ensemble are an interesting mixture of recognizable faces and actors I'm otherwise unfamiliar with including Aubrey Plaza, Anna Kendrick, Brie Larson, Alison Pill, Mark Webber, and Johnny Simmons. 

Ramona's seven evil exes, also referred to as the League of Evil Exes, are composed of Matthew Patel, Lucas Lee, Roxy Richter, Todd Ingram, Kyle and Ken Katayanagi, and Gideon Graves who are portrayed by Satya Bhabha, Chris Evans, Mae Whitman, Brandon Routh, Keita Saitou, Shôta Saitô, and Jason Schwartzman respectively. Each ex has their time to shine, but Evans and Routh are easily the most memorable of the bunch. 

Scott Pilgrim vs. the World is undoubtedly Wright's wackiest and wildest film to date, but I can't help but consider it to be one of his weakest films as well... I'm well aware that most cherish it as their favorite Edgar Wright film, but I've never quite latched onto it like others have. Either way, it's still an absurdly entertaining arcade-esque experience.

Film Assessment: B+

'10 Cloverfield Lane' Review

In 10 Cloverfield Lane an aspiring fashion designer has a few quibbles with her fiancé and runs away. In her frantic getaway, she is involved in a car accident and awakens in a mysterious underground bunker and supposedly everyone above ground has been killed in an extinction level event. That's the setup for this claustrophobic sci-fi thriller.

10 Cloverfield Lane is very intriguing in the sense that the film remained a secret until about two months before it's release when a surprise trailer splashed online and began trending almost immediately. This was in large part because one of the biggest names associated with the project was the producer, J. J. Abrams, who also produced Cloverfield. J. J. Abrams was quite busy working on Star Wars Episode VII: The Force Awakens and maintaining a secretive marketing campaign for that film as well so people were so concentrated on Star Wars that no-one had any idea this film was happening since it's fake production name gave no indication it would be related to Cloverfield and since a majority of the film takes place in a bunker it was quite easy to film in secret on a closed set. 

First of all, I think it should be clarified that 10 Cloverfield Lane isn't exactly either a sequel or spinoff to and it's very unclear as to how these films are connected, if they are connected at all although it has been labeled as a "blood relative". Therefore if you go into the film expecting a similar film to Cloverfield you will probably be disappointed, because this is first and foremost a suspenseful thriller and none of the film is shot in the found-footage perspective. 

First time director, Dan Trachtenberg, does a phenomenal job building suspense in the drawn-out scenes where character motives become increasingly more questionable and the viewer is drawn closer and closer to the edge of their seat. The suspenseful atmosphere is only amplified thanks to 10 Cloverfield Lane's chilling score written by Bear McCreary. This suspenseful atmosphere makes a perfect stage for the small cast that will knock your socks off. 

Mary Elizabeth Winstead is the more relatable character to the audience as Michelle. She embodies the every day person and her actions are similar to what any one else would do if they woke up handcuffed in an underground bunker. Winstead really stands out in her true moments of fear and terror which she conveys exceptionally well allowing for great juxtaposition with the other two cast members. John Gallagher Jr. is serviceable as Emmet, who came running to Howard and broke his arm trying to get inside the bunker. Emmet is primarily in the film to serve as a bit of comic relief to alleviate some of the tension brewing throughout the film. 

The real star however, is John Goodman. Goodman is exceptional as a twisted, complex character. Howard's very unpredictable and every move will raise some red flags with the other characters and the audience as they begin to question how much of what he says is actually the truth and Goodman owns the creepy vibe his character gives off and pays intricate attention to put every subtle detail in his performance that will leave the audience guessing. 

For those of you who are still skeptical about seeing 10 Cloverfield Lane, be aware that it's completely different from Cloverfield. Don't go in expecting Cloverfield 2 or you will be severely disappointed. If you liked the trailer or like suspenseful thrillers, 10 Cloverfield Lane is perfect for you. In summary, 10 Cloverfield Lane is a perfect matrimony between a exceptionally talented cast and fantastic first time director that manages to deliver a frightening, suspense thriller that will bring you to the edge of your seat.

Film Assessment: A-