![]() The most interesting thing about Birds of Prey - technically the eighth film in the DC Extended Universe, not that they really seem to be bothering much with that concept at the moment - is how it strives to carve out a distinctively feminine (and far less brooding) sensibility while also skewing dark. One thing Harley is not is a natural member of the girl-power battalion. And while she’s wrong - she’s definitely something - the movie never feels entirely decided on what that is. “A harlequin’s nothing without a master,” Harley declares morosely while out drowning the dregs of her recently ended romance in booze. If the results are mixed, it’s because the movie devotes more thought to putting distance between itself and Suicide Squad than to imagining what an independent version of the character is actually like. Birds of Prey attempts to pry Harley away from the dysfunctional relationship that has defined her and let her fly free with her own sparkle- and shattered-limb-filled adventure. ![]() Now she’s the center of a big-screen outing, sort of - Birds of Prey, another getting-the-team-together affair whose actual intentions are signaled by its optional subtitle, And the Fantabulous Emancipation of One Harley Quinn. Harleen Quinzel? Harley Quinn, Arkham psychiatrist turned lover/accomplice to the Joker and all-around problematic fave, has gone through various iterations in her multi-platform existence, from smothering comedic sidekick to abused sex bomb to unbalanced anti-heroine in her own, not always coherent, right. We are republishing it on the occasion of the film’s digital release. ![]() The latest outing for Margot Robbie’s comic book antiheroine has a lot of ideas, and less of a sense of what to do with them.
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