Birds Of Prey (2020)

AKA Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn.

I may have been acting ever so slightly provocative when I proclaimed on social media that Margot Robbie was a better Harley Quinn than Joaquin Phoenix was a version of the Joker, but that doesn't mean I was making a false statement. Phoenix delivers an amazing performance in Joker, he just doesn't feel like the character I have known in a variety of incarnations over the years. Robbie, on the other hand, is less consistent in her performance, but for at least 75% of the time feels absolutely like the character she has been tasked with portraying.

It's the performance from Robbie that goes a long way to making this film such a good time, although she's given great support from her female co-stars, and there's also a fun villainous turn from Ewan McGregor that makes you wish he would tap into his bad side more often.

The plot is fairly simple. Harley Quinn has recently been ditched by the Joker. That means that everyone who ever had a grievance against her, and there are many, can now have a go. She is no longer protected. What people take too long to realise is that Harley doesn't need to be protected. She can handle herself, although it is difficult when up against the powerful Roman Sionis (McGregor). That particular challenge is what leads to her eventually trying to play nice with Black Canary, The Huntress, a cop named Renee Montoya, and a young thief, Cassandra Cain.

Much like the central character, Birds Of Prey is an energetic, erratic, and colourful mess. The script from Christina Hodson is playful and full of reminders that this is not necessarily the most family-friendly character to spend some time with, although she IS worth appreciating for her fearless attitude, and the direction from Cathy Yan, working on what is only her second feature, is perfectly in line with the material. It's a shame that there weren't a few more action set-pieces scattered throughout, but what you get is pretty damn great, including moments such as Harley bursting in to a police station and shooting people with bursts of colour and a fight in which she manages to "level up" thanks to a face full of cocaine. As for the finale, it feels very much like something that could have been ripped from the pages of any Harley Quinn tale.

Going on and on about how good Robbie is feels redundant now. She really IS a live-action Harley, even if her performance has imperfect moments. The other female stars - Jurnee Smollett-Bell, Mary Elizabeth Winstead, and Rosie Perez - all feel perfectly suited to their roles, with Winstead providing a surprising number of laughs during her fairly small amount of time onscreen. Ella Jay Basco also does well as young Cassandra Cain, managing not to be too irritating while showing that she's a talented young woman who has inadvertently got herself into some very hot water. McGregor is a suitably nasty git, and he's assisted by a typically brutal henchman, Victor Zsasz (Chris Messina).

There's a great soundtrack, with the emphasis on female vocalists, although I would have liked room for even more choice tracks in there, a solid score by Daniel Pemberton, and plenty of choices throughout, from the editing to the production design, to the costumes and make up, and beyond, that reassure you that this vision was provided by a lot of people who were all on the same page.

It's funny, it's enjoyably anarchic, it has a 109-minute runtime (which is surprisingly short for a recent DC movie), and it introduces a group of characters I would happily watch in a number of other adventures.

7/10

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Netflix And Chill: Always Be My Maybe (2019)

You pick a rom-com to watch when you want something comforting and familiar. Always Be My Maybe provides you with all of those familiar comforts. The two leads (Sasha, played by Ali Wong, and Marcus, played by Randall Park) seem destined to be together, various obstacles get in the way of their happiness, and the finale allows for some last-minute reveals and earnest speeches. I am sure that cynical viewers will either avoid this entirely or watch it and then criticise it for everything that it gets absolutely right. Everyone else can have a fine time.

That's not to say that this film does everything in ways that you've seen before. Let me get the basics out of the way and I'll highlight a couple of key differences that put this in the upper echelons of the modern rom-com arena.

We first meet Sasha and Marcus as kids, fast becoming firm friends. Things keep going well until a tragedy leads to a moment in which they have sex. And it starts to unravel from there. Fast forwarding to the present day, we now see that Sasha is a very successful celebrity chef, while Marcus still living at home with his father (James Saito). Fate brings Sasha and Marcus together, of course, and then looks as if it is determined to keep them apart.

There was very little point in me even writing that briefest of plot summaries. This is about as predictable as they come, in some ways. There are other elements that add to the simple pleasures. A plot strand about Marcus still being part of the band that he's been with since his youth, and how he doesn't take the step needed to try and get them more exposure, works well as both an amusing "b-plot" and also a display of the main character flaw that affects his relationship potential. There's also a cameo from Keanu Reeves that sees him playing an exaggerated version of himself, pretty consistently hilarious in a scene which has him as the fourth person at a dinner table quartet.

Director Nahnatchka Khan impresses with her feature directorial debut (after a good bit of time spent working as a producer on TV shows, most notably on Fresh Off The Boat, which also stars Randall Park), helped by the sharp script, co-written by Park, Wong, and Michael Golamco. It may seem light and easy enough, simplistic even, but there's care taken to lift the material at every opportunity. First of all, and arguably key to the whole thing, is the Asian-American cultural filter that changes everything slightly. Although many have been quick to cite Crazy Rich Asians as the closest comparison, the differences are just as important as the similarities, with this film showing the experience of integrating into America rather than the experience of reintegrating into the traditions held dear by families who may resent some of the trappings of modern America. There's also the fact that this is a rom-com based on both leads feeling as if they missed a major opportunity. That may not seem like a big deal but, trust me, it really changes the feeling of the whole thing, especially when compared to movies that have a guy moping over his lost love as he tries to better his life, or a woman making big eyes at someone she has yet to confess her feelings to.

Wong and Park are brilliant in their lead roles, very easy to like even while showing their character flaws. Saito is very sweet and likeable, Vivian Bang is wonderfully offbeat as Park's girlfriend, and Michelle Buteau is the good friend to Wong who helps her and comments honestly when it's needed. Daniel Dae Kim does well in his small role, and I cannot even mention Reeves again without getting a big grin on my face.

Sharp, cute, sometimes very funny, Always Be My Maybe is perfect entertainment for those who are seeking something that will keep you smiling and give you a sweet love story without ever feeling too sickly.

9/10

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