Birds Of Prey: And the Fantabulous Emancipation of One Harley Quinn: Neon NZ Review

Cast: Margot Robbie, Mary Elizabeth Winstead, Ewan McGregor, Jurnee Smollett-Bell, Rosie Perez
Director: Cathy Yan

DC continues its potential reinvention after the success of Shazam!, Joker, Wonder Woman and Aquaman, by taking the very best part of Suicide Squad, Margot Robbie's twisted Harley Quinn and giving her her own adventure in Gotham.

In Birds Of Prey: And the Fantabulous Emancipation of One Harley Quinn, Robbie's Quinn finds herself trying to help a girl in need when Ewan McGregor's Roman Sionis (aka Black Mask) puts out a hit on a young girl named Cass.

As Quinn's path collides with others in the city, a new team up emerges - the Birds of Prey.

Trashy, hollow, yet distinctly pleasing and anchored by a power performance from Margot Robbie, Birds of Prey And the Fantabulous Emancipation of One Harley Quinn is one heck of a blast from the DC Universe, a film that makes it hard to match up a universe where Joaquin Phoenix's Joker lives.

Some impressively choreographed action scenes really add a bite to the pop art aesthetic of Birds of Prey, and give the supporting characters a chance to shine throughout.

Which is a good thing, because with a slight plot (kid finds themselves on the wrong side of crime, and forced on the run), Birds of Prey doesn't exactly go more than surface deep throughout. And outside of Robbie's phenomenal turn as the spinning-out-of-control-after-splitting-from-Mr-J, there's not much room for the supporting characters to get anything more than a once over lightly approach, and a slight mickey-taking for Winstead's Huntress.

But given the whole affair is narrated by Quinn, the wise-cracking, spiralling story works best with its unpredictability, the crackle largely given by Robbie's performance. McGregor goes from hammy to menace with ease, though his Black Mask feels like a spoilt brat with psychosis for temper tantrums - he's still watchable, but only thanks to the frisson of uncertainty of where it's all going.

There is a feeling of flagging within Birds of Prey And the Fantabulous Emancipation of One Harley Quinn as the movie searches for an ending after delivering a killer action sequence inside a fairground funhouse; but the irreverence that's been lurking underneath comes flying out to finish the proceedings.

It's these touches which prove to be Birds of Prey And the Fantabulous Emancipation of One Harley Quinn's saving grace - the film looks like nothing else that's been witnessed in this world since DC began. A blast of colour, inventive fight scenes and a sensational leading lady gives the flick the emancipation from the gritty grim DC Extended Universe that it's been searching for.

Sure, Birds of Prey And the Fantabulous Emancipation of One Harley Quinn is style over substance, but when it looks this good and enjoyable, who cares?