Candy-coated comic book kookiness.

While I’m sure it has its defenders out there, let’s be honest, it’s hard to argue that Suicide Squad was anything but a huge dumpster fire of a film. It made a ton of box office cash, for sure, yet it’s prevailing stink, followed swiftly by the agonising disappointment of Justice League, threatened to derail the DC Extended Universe before it’d even warmed up. 

Yet, despite Suicide Squad’s overpowering awfulness, hidden glittering in that cinematic turd was a single shining diamond in the pigtailed shape of Margot Robbie’s Harley Quinn. While not without its problems, the character was a rare ray of light in a deeply flawed film, one that made the whole sorry affair at least partially bearable. 

As the film’s undoubted breakout, Robbie showcased the kind of vibrant, roguish charm that we’d rarely seen from her to that point; meaning that, despite the film’s deficiencies, her Harleen Quinzel shone through. Considering this, it was only a matter of time before the colourful anti-hero was given the chance to bust out on her own, but does the character really have what it takes to fly solo? 

Freshly liberated from her relationship with the Joker and out to be a super criminal on her own terms, it’s not long before Harley Quinn (Margot Robbie) finds herself back in hot water. When Gotham’s most narcissistic crime lord, Roman Sionis (Ewan McGregor), puts a hit out on young pickpocket Cassandra Cain (Ella Jay Basco) following her theft of a precious diamond, Harley is pulled into the hunt against her will. But as her path collides with Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell), and Detective Renee Montoya (Rosie Perez), the unlikely foursome have no choice but to team up and take Roman down once and for all. 

Taking its lead from one of the messiest titles you’re ever likely to see, the film’s scrappiness and severe lack of focus make for an uneven viewing experience at first, as it really struggles to get going. Bouncing all over the place like a kid on E-numbers, Birds of Prey finds it hard to get into the groove, yet, persevere and there’s a bucket load of fun to be had as things rapidly move along.

Don’t let the film’s title fool you (well, the first part at least). The name on the poster may read Birds of Prey, yet, for all intents and purposes, this is the Harley Quinn show. With little to no visible connection to its comic book counterpart other than a name, the choice to shoehorn a barely recognisable version of the superhero group into what is clearly a Harley solo outing is a baffling one.

Make no mistake, this is Margot Robbie’s film from start to finish, as she takes her love affair with Harley to new and extravagant heights in a performance that’s certainly an acquired taste, yet so fervent and lovably enthusiastic it’s hard not to admire it. Swinging in like a sugar-coated wrecking ball, Robbie’s clear passion for the character and her story is positively infectious, as she rapidly solidifies herself as the definitive Harley Quinn. 

It’s an intoxicating, glitter-covered whirlwind of a performance that sweeps all before it, helping to cushion the blow of the film’s many flaws and carry the whole damn thing further than it has any right to. Unfortunately, however, this dominance comes at a cost, as the remaining members of the ensemble are callously left out in the cold. 

While putting in solid performances, neither one of Mary Elizabeth Winstead, Jurnee Smollett-Bell, or Rosie Perez are really given a chance to shine, as they collectively struggle to work with the severely limited material they’re given. Of the ensemble, only young Ella Jay Basco really makes an impression with a cheekily charming performance as bolshie petty thief, Cassandra Cain.

Outside of this core group, however, things fare much better, as Ewan McGregor’s Roman Sionis/Black Mask goes toe-to-toe with Robbie, putting in the kind of wantonly villainous performance we rarely see from one of Hollywood’s nice guys. Clearly having a blast with his nasty, narcissistic mob boss, McGregor makes for the perfect flamboyant antagonist to counterbalance and complement Harley Quinn.

With all the colour and razzmatazz popping off in every direction, Birds of Prey is a visual treat, yet, as the extravagant insanity rapidly devours the screen, it’s easy to become distracted from what is a rather lightweight plot. Hindered by a messy, overly convoluted narrative structure, the film feels determined to hide its generic plot with an array of bizarre editing decisions that feel too try hard and overly eager to prove just how cool it is.

Fold in a rather grating Harley Quinn voiceover and you’ve got yourself a film that feels the need to force itself upon you rather than just step back, take a breath, and trust in its story and characters. Although miles from Suicide Squad’s obnoxious car crash, Birds of Prey certainly aims for a similar irreverent, idiosyncratic storytelling approach, a tactic that found great success with stuff like Deadpool but comes up a little short here.

The film’s energy, however, cannot be denied, and it’s this kinetic carnival ride that carries Birds of Prey home. With more neon colour than you can shake a fist full of Pixy Stix at, the film is a candy-coated visual feast, as director Cathy Yan’s forceful dynamism and brash visual style takes a concept that feels destined for the bin marked Batman & Robin and emerges dazed but victorious.

Supplementing this, Birds of Prey’s action is an absolute treat that makes great use of the film’s fairground ride environment and glittery visuals, while putting in the time and effort to choreograph some enthralling, dynamic, and highly entertaining fight sequences. Surprisingly visceral, the film lands its punches, yet, despite its successes, the action often loses itself in its unnecessarily heightened violence. 

Of course, cinematic violence is absolutely fine, provided it fits the tone and style of a film, however, Birds of Prey’s insistence on asserting its R/15 rating feels baffling under the circumstances, especially considering Harley Quinn’s largely young, pre-teen target audience. The R-rating has been on something of a high of late, with the likes of Deadpool, Logan, and Joker achieving great things with it, yet, where these films fit the certification like a glove, neither Birds of Prey nor Harley Quinn feel at ease with it.

As bones crunch, bodies explode, and faces are peeled from skulls, it all feels oddly out of step with the cartoonish aesthetic that Cathy Yan has set up, and while this tonal clash has potential, all the blood and gore ultimately adds little to the final product. As refreshing and unexpectedly fun as it is, if there’s anything that will stop Birds of Prey from clicking with its intended audience, this will be it.

Regardless, Birds of Prey is a ton of fun. It certainly has its fair share of faults, however, taken on its own terms, there’s a hell of a lot to enjoy. It may not be the most ground-breaking piece of cinema around, even judged against the abundance of comic book fare out there, but it is – and I cannot stress this enough – better than Suicide Squad. Like, a billion times better than Suicide Squad.

Like being smacked around the head by a candy-coated baseball bat, Birds of Prey (and the Fantabulous Emancipation of one Harley Quinn) is a glittery, day-glow fairground ride of a film. Ramping the saturation levels of Gotham City up to 11, the film, like it’s protagonist, feels refreshingly emancipated from both Suicide Squad and the entire DCEU, as it strikes out on entirely its own course. As a vehicle for Margot Robbie, Birds of Prey works, giving her the stage to push Harley as far as she possibly can, however, this focus inevitably shunts the rest of the ensemble into the background. Unfortunately for fans, the film bears little resemblance to the source material, with the actual ‘Birds of Prey’ disappointingly side-lined, yet for those buying tickets to the Harley Quinn show, the film offers a thoroughly entertaining, hyperactive thrill ride that gleefully smashes any preconceptions and low expectations clean out of the park.