This was the last film I saw in a theater with my wife prior to COVID lockdown and we were enthralled by it. Before this, I hadn’t really experienced much of Harley Quinn apart from a handful of early BATMAN ANIMATED eps from my youth.
For reasons previously touched on, I’ve stupidly identified with Harley Quinn over the past few years, and this was the first glint of that.
Director Cathy Yan’s vision here is extraordinarily vibrant, extremely well-edited, features a pitch-perfect ensemble, an amazing Marilyn Monroe dissociative recreation, and absolutely nails the dubious nature of hands. Seriously, watch for that visual motif. (It’s not subtle! But the subtext works so well!)
I’d be remiss to mention Margot Robbie, who basically willed this production to life and is astounding in the role as Harley. I can’t imagine a better live-action Harley. There’s a physicality here that perfectly exacts how Harley would move.
(Also, I desperately want all of the live-action spin-offs: BLACK CANARY; Renee Montoya THE QUESTION; THE HUNTRESS! A pre-BATGIRL!)
I find it extremely upsetting that it was so rejected at the box office — to the extent where producers truncated the film’s title — because it was so well-done and, culturally, we need more of this.
“Do you know what a harlequin is? A harlequin’s role is to serve. It is nothing without a master. And no one gives two shits who we are beyond that.”
I also really, really want an inverted version of her self-emblazoned shirt.
I endlessly rewatch this trailer (and film, when I have the time); it’s my filmic comfort food.
“I’M THE ONE THEY SHOULD BE SCARED OF! NOT YOU! NOT MISTAH J! BECAUSE I’M HARLEY FUCKIN’ QUINN!”
This is one of the most spectacularly fucked-up comic book adaptations of all-time and I am 100% here for it. Apart from a bit of a rushed third act, I have no notes. Fuck all of you Nolan-lovers — this is the real deal.