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<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review
Before she was the Queen of Hearts she was just a girl who wanted to fall in love. </i>When Marissa Meyer finished writing <i>The Lunar Chronicles</i>, a series of books loosely based on fairytales, everyone wondered what she would do next. Continuing along the lines of using famous stories, Meyer has devoted an entire novel to Lewis Carroll’s <i>Alice’s Adventures in Wonderland</i>. With thousands of references to the original tale, and a couple of other works too, Heartless is perfect for fans of Carroll’s salient characters.
Unlike most retellings, Meyer has focused on events prior to Alice’s accidental discovery of Wonderland. The resulting novel is essentially a theory as to how the characters turned out the way they did in the original story published in 1865. Drawing attention to the predestined Queen of Hearts, a young woman named Catherine, readers discover a reason for her development into an infamous villain.
Lady Catherine Pinkerton is completely unlike the character she is fated to be. She is a kind, thoughtful girl whose greatest wish is to open her own bakery. Unfortunately, this dream is just that, a dream. With the asinine King of Hearts resolved to marry her, there is little Cath can do to avoid her royal future. At first it may appear odd that Cath is so against marrying the ruler of Hearts, but she soon makes it clear she would much rather marry for love. So, when the court joker, Jest – a similar character to the legendary Hatter – catches her eye, Catherine becomes determined to control her own future.
<i>Heartless</i> is a humorous, yet romantic, young adult novel, full of both well-known and new characters. Set in a world with morals similar to the Victorian era, it works extremely well as a prequel to <i>Alice’s Adventures in Wonderland</i>. Catherine is an admirable, feministic character who readers will struggle to believe will become such a notorious Queen. What could possibly happen to vastly alter her personality? Similarly, what is it that makes the Hatter go mad, and who is Jest? Being a character unique to this novel, there is a foreboding sense that this joker, and his poetry reciting raven – cue Edgar Allan Poe references – suffer a horrible demise.
Unlike Marissa Meyer’s previous books where the fairytales were not so obvious, the storyline in <i>Heartless</i> perfectly joins up with Lewis Carroll’s imagination. With references to mock turtles, the Jabberwock and other minor characters, there is so much to discover in Meyer’s interpretation of Wonderland – it even clears up a couple of scenarios from the original tale that may have bamboozled readers initially.
Admittedly, <i>Heartless</i> takes a little while to get going, but once it has, it is difficult to put down. Fans of Marissa Meyer may be disappointed that she did not stick to her futuristic storytelling, however all Alice enthusiasts will fall in love with this book – and probably with Jest as well. Overall, <i>Heartless</i> is a delightful book that reignites our inner childish imagination.
Before she was the Queen of Hearts she was just a girl who wanted to fall in love. </i>When Marissa Meyer finished writing <i>The Lunar Chronicles</i>, a series of books loosely based on fairytales, everyone wondered what she would do next. Continuing along the lines of using famous stories, Meyer has devoted an entire novel to Lewis Carroll’s <i>Alice’s Adventures in Wonderland</i>. With thousands of references to the original tale, and a couple of other works too, Heartless is perfect for fans of Carroll’s salient characters.
Unlike most retellings, Meyer has focused on events prior to Alice’s accidental discovery of Wonderland. The resulting novel is essentially a theory as to how the characters turned out the way they did in the original story published in 1865. Drawing attention to the predestined Queen of Hearts, a young woman named Catherine, readers discover a reason for her development into an infamous villain.
Lady Catherine Pinkerton is completely unlike the character she is fated to be. She is a kind, thoughtful girl whose greatest wish is to open her own bakery. Unfortunately, this dream is just that, a dream. With the asinine King of Hearts resolved to marry her, there is little Cath can do to avoid her royal future. At first it may appear odd that Cath is so against marrying the ruler of Hearts, but she soon makes it clear she would much rather marry for love. So, when the court joker, Jest – a similar character to the legendary Hatter – catches her eye, Catherine becomes determined to control her own future.
<i>Heartless</i> is a humorous, yet romantic, young adult novel, full of both well-known and new characters. Set in a world with morals similar to the Victorian era, it works extremely well as a prequel to <i>Alice’s Adventures in Wonderland</i>. Catherine is an admirable, feministic character who readers will struggle to believe will become such a notorious Queen. What could possibly happen to vastly alter her personality? Similarly, what is it that makes the Hatter go mad, and who is Jest? Being a character unique to this novel, there is a foreboding sense that this joker, and his poetry reciting raven – cue Edgar Allan Poe references – suffer a horrible demise.
Unlike Marissa Meyer’s previous books where the fairytales were not so obvious, the storyline in <i>Heartless</i> perfectly joins up with Lewis Carroll’s imagination. With references to mock turtles, the Jabberwock and other minor characters, there is so much to discover in Meyer’s interpretation of Wonderland – it even clears up a couple of scenarios from the original tale that may have bamboozled readers initially.
Admittedly, <i>Heartless</i> takes a little while to get going, but once it has, it is difficult to put down. Fans of Marissa Meyer may be disappointed that she did not stick to her futuristic storytelling, however all Alice enthusiasts will fall in love with this book – and probably with Jest as well. Overall, <i>Heartless</i> is a delightful book that reignites our inner childish imagination.
Absolutely Foxed
Book
'Wonderfully entertaining' Mail on Sunday; Profoundly important' Guardian Graeme Fowler - former...
This book drew me down the rabbit hole and never let go. I hate Marissa Meyer for making me fall in love with these characters when I know that they may not have a happy ending. No, I don't actually hate her book (I loved it) but it gives you so many feelings and yet you feel that it's not possible for it to work out. If you are familiar with Lewis Carroll's work, you know what happens in Alice in Wonderland. As this is a prequel, you expect that you know how each character turns out and wonder if it will inevitably play out the same way in Heartless. It crushes your heart to know their dreams and realize that they may not come true. My only hope going into this book was that it would have a Wicked-style secret that explains how any of them could possibly find their happily ever afters.
I have always been a huge fan of well-done fairytale re-tellings (or prequels in this case) and Heartless does not disappoint. Marissa Meyer did a wonderful job with the Lunar Chronicles and this is just as well done. We get a different look at our most beloved and hated characters, prior to their lives intersecting with Alice's. Most Wonderland retellings I've read feature Alice, so this was a nice change of pace.
Catherine is our likable if a bit spineless heroine who is set to be the future Queen of Hearts - if her mother has any say. She is joined by the Joker, Hatter, March Hare and other classic characters. Cath's dream is to open the finest bakery in Hearts, but her parents have other plans.
The Joker, Jest is my favourite character by far and he has a great arc throughout the story. He is witty, kind, magical and so much more than just the Fool. I almost wish he was the main character because his scenes were always my favourite.
The author took some liberties with the characters, but overall they just helped to make them more believable. Their personalities are developed and expanded, lending them an air of realness that doesn't always permeate Wonderland.
The Mad Tea Party scene was highly enjoyable as each guest was called upon to perform whilst jauntily adorned with a hat. My only negative is that I wish the Hatter was more likable. I understand his motivations but as classically one of my favourite characters I wish I had enjoyed his role more in this novel. I also wish that Cath could have been more pro-active, even though I understand her less than stellar backbone due to the period and her upbringing.
The world is vividly described from the fabric and accouterment laden Hatta's shop to the lavish King's castle. The author even adds a little Wonderland flair to common phrases and anecdotes. World-building is very well done and makes me long to visit Hearts.
Highly recommended to young adult/teen readers who enjoy fantasy and the fantastical, fairytale re-tellings, prequels and Marissa Meyer's wonderful writing.
I have always been a huge fan of well-done fairytale re-tellings (or prequels in this case) and Heartless does not disappoint. Marissa Meyer did a wonderful job with the Lunar Chronicles and this is just as well done. We get a different look at our most beloved and hated characters, prior to their lives intersecting with Alice's. Most Wonderland retellings I've read feature Alice, so this was a nice change of pace.
Catherine is our likable if a bit spineless heroine who is set to be the future Queen of Hearts - if her mother has any say. She is joined by the Joker, Hatter, March Hare and other classic characters. Cath's dream is to open the finest bakery in Hearts, but her parents have other plans.
The Joker, Jest is my favourite character by far and he has a great arc throughout the story. He is witty, kind, magical and so much more than just the Fool. I almost wish he was the main character because his scenes were always my favourite.
The author took some liberties with the characters, but overall they just helped to make them more believable. Their personalities are developed and expanded, lending them an air of realness that doesn't always permeate Wonderland.
The Mad Tea Party scene was highly enjoyable as each guest was called upon to perform whilst jauntily adorned with a hat. My only negative is that I wish the Hatter was more likable. I understand his motivations but as classically one of my favourite characters I wish I had enjoyed his role more in this novel. I also wish that Cath could have been more pro-active, even though I understand her less than stellar backbone due to the period and her upbringing.
The world is vividly described from the fabric and accouterment laden Hatta's shop to the lavish King's castle. The author even adds a little Wonderland flair to common phrases and anecdotes. World-building is very well done and makes me long to visit Hearts.
Highly recommended to young adult/teen readers who enjoy fantasy and the fantastical, fairytale re-tellings, prequels and Marissa Meyer's wonderful writing.
LeftSideCut (3776 KP) rated Zack Snyder's Justice League (2021) in Movies
Mar 18, 2021 (Updated Mar 19, 2021)
Contains spoilers, click to show
First of all, it's a damn miracle that this even exists at all. A once mythical cut that just seemed like a fabricated idea from Snyder fans who couldn't quite except that Justice League (2017) was awful. It's no secret that the theatrical cut was riddled with issues, and of course, personal tragedy, that resulted in a messy final product. This extended cut aimed to restore Snyder's original vision, and right the wrongs of what came before, and it mostly succeeds.
I still believe that the DCEU should have invested in solo movies for all it's big players before tackling a huge event like this, but there comes a time where I have to accept that that isn't what happened, so I watched this with that in mind, and left my bitterness at the door.
Zack Snyder's Justice League is undeniably a far superior, and vastly different beast to its predecessor. The 4 hour+ runtime gives the narrative plenty of breathing space, and allows the audience to connect with these characters properly. The biggest benefactor of this is Cyborg. A character that was more or less tossed to the side before, is given so much backstory, that he is now an integral part of the films emotional core. The Flash is another character that hugely benefits. Whereas before he was relegated to comedy relief and almost useless in the grand scheme of things, here, he's a young man who grows throughout the story from a joker, into an instrumental part of saving the world. The balance between all of these characters is well done actually - Batman doesn't feel like a waste, Wonder Woman is back to being a raging badass instead of moping over Steve Trevor - All of the League members feel important, and each bring their own strengths. They are portrayed as an effective team.
Main antagonist Steppenwolf is much better realised. He visually looks a hundred times better than whatever the fuck we got back in 2017, and he feels like an actual threat. His evil scheme makes sense this time around whereas before it was an ill explained mess. It feels like the stakes are high.
The set pieces we get are pretty spectacular. The new stuff is a treat to watch, and the familiar stuff has been reworked so well. The action heavy scenes involving Steppenwolf in Themyscira, and when the League first take him on below Striker Island are absolutely thrilling. In the original cut, I'd argue that the scene immediately following Superman's revival was the most exciting in terms of action, but here, it's probably the most lackluster in comparison. It's spaced out nicely, and the screenplay is incredibly engaging. The humour is seldom but funny when it happens, and the more emotional moments are well executed. All of this combined results in a story that never feels like a drag. The four hours flew by pretty quickly, and it's all complimented by a wonderful music score.
In terms of wider DC material, there's a whole wealth of stuff for comic fans to enjoy - Darkseid using his angular beams, the introduction of Ryan Choi aka The Atom, Martian Manhunter, and the extended Knightmare sequence where Batman and The Joker converse about events that have happened in the past. All good stuff that makes the DCEU finally feel like a connected narrative.
Overall, Zack Snyder's Justice League does a pretty damn good job at delivering an event movie that is bittersweet. It's great to see Snyder's original vision realised (although I can understand how it may not have resonated with a wider audience - it's most definitely a movie for fans of DC comics), but it's all a setup for a sequel that will probably never happen, which is a great shame. This is what happens when studios stick their ore in too much!
Final note - it makes me really happy that Alfred addresses Superman as 'Master Kent'.
I still believe that the DCEU should have invested in solo movies for all it's big players before tackling a huge event like this, but there comes a time where I have to accept that that isn't what happened, so I watched this with that in mind, and left my bitterness at the door.
Zack Snyder's Justice League is undeniably a far superior, and vastly different beast to its predecessor. The 4 hour+ runtime gives the narrative plenty of breathing space, and allows the audience to connect with these characters properly. The biggest benefactor of this is Cyborg. A character that was more or less tossed to the side before, is given so much backstory, that he is now an integral part of the films emotional core. The Flash is another character that hugely benefits. Whereas before he was relegated to comedy relief and almost useless in the grand scheme of things, here, he's a young man who grows throughout the story from a joker, into an instrumental part of saving the world. The balance between all of these characters is well done actually - Batman doesn't feel like a waste, Wonder Woman is back to being a raging badass instead of moping over Steve Trevor - All of the League members feel important, and each bring their own strengths. They are portrayed as an effective team.
Main antagonist Steppenwolf is much better realised. He visually looks a hundred times better than whatever the fuck we got back in 2017, and he feels like an actual threat. His evil scheme makes sense this time around whereas before it was an ill explained mess. It feels like the stakes are high.
The set pieces we get are pretty spectacular. The new stuff is a treat to watch, and the familiar stuff has been reworked so well. The action heavy scenes involving Steppenwolf in Themyscira, and when the League first take him on below Striker Island are absolutely thrilling. In the original cut, I'd argue that the scene immediately following Superman's revival was the most exciting in terms of action, but here, it's probably the most lackluster in comparison. It's spaced out nicely, and the screenplay is incredibly engaging. The humour is seldom but funny when it happens, and the more emotional moments are well executed. All of this combined results in a story that never feels like a drag. The four hours flew by pretty quickly, and it's all complimented by a wonderful music score.
In terms of wider DC material, there's a whole wealth of stuff for comic fans to enjoy - Darkseid using his angular beams, the introduction of Ryan Choi aka The Atom, Martian Manhunter, and the extended Knightmare sequence where Batman and The Joker converse about events that have happened in the past. All good stuff that makes the DCEU finally feel like a connected narrative.
Overall, Zack Snyder's Justice League does a pretty damn good job at delivering an event movie that is bittersweet. It's great to see Snyder's original vision realised (although I can understand how it may not have resonated with a wider audience - it's most definitely a movie for fans of DC comics), but it's all a setup for a sequel that will probably never happen, which is a great shame. This is what happens when studios stick their ore in too much!
Final note - it makes me really happy that Alfred addresses Superman as 'Master Kent'.
Dana (24 KP) rated Batman: Arkham Asylum in Books
Mar 23, 2018
I have not read too many of the DC Comics, but this one was really good. Batman is one of the few DC heroes that I like, so it was cool to see this side of him through the Joker's eyes.
Okay, so in this comic, the Joker is trying to turn Batman crazy by exposing him to all kinds of horrifying things, namely the villains he has put away.
We get Arkham Asylum's backstory. We learn that the owner, a man who had lived in the house before turning it into an asylum after his mother had died after going insane herself. After many years of trying to help those admitted into the asylum, he ended up going crazy as well and locked himself inside one of the rooms scratching a story into the ground with his fingernails. Gruesome, right?
I really enjoyed getting to see the patients in their natural state and seeing them trying to fight Batman and make him feel as they felt was strange, but really interesting.
The artwork is what really set this comic apart. It set the mood perfectly, capturing the creepy, haunted, and ominous tone of the asylum while still keeping a sense of beauty to it. All in all, it was absolutely stunning, if not unnerving.
I enjoyed the story, even if I was a little confused at first, but it all comes together in the end.
There will be some spoilers in this next bit. This comic comes full circle in the fact that it, the comic, the asylum, and the old Doctor Arkham, all foreshadow Batman's involvement in the asylum itself. He is the one to bring people in, deeming them insane, and bats are what drew Old Arkham insane. It was very well thought out.
Overall, I really enjoyed this comic book and I want to see if there are more that are told in this style!
Okay, so in this comic, the Joker is trying to turn Batman crazy by exposing him to all kinds of horrifying things, namely the villains he has put away.
We get Arkham Asylum's backstory. We learn that the owner, a man who had lived in the house before turning it into an asylum after his mother had died after going insane herself. After many years of trying to help those admitted into the asylum, he ended up going crazy as well and locked himself inside one of the rooms scratching a story into the ground with his fingernails. Gruesome, right?
I really enjoyed getting to see the patients in their natural state and seeing them trying to fight Batman and make him feel as they felt was strange, but really interesting.
The artwork is what really set this comic apart. It set the mood perfectly, capturing the creepy, haunted, and ominous tone of the asylum while still keeping a sense of beauty to it. All in all, it was absolutely stunning, if not unnerving.
I enjoyed the story, even if I was a little confused at first, but it all comes together in the end.
There will be some spoilers in this next bit. This comic comes full circle in the fact that it, the comic, the asylum, and the old Doctor Arkham, all foreshadow Batman's involvement in the asylum itself. He is the one to bring people in, deeming them insane, and bats are what drew Old Arkham insane. It was very well thought out.
Overall, I really enjoyed this comic book and I want to see if there are more that are told in this style!
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Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
Charlie Cobra Reviews (1840 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Oct 2, 2020 (Updated Oct 6, 2020)
Margot Robbie and her return to Harley Quinn (2 more)
Badass fight choreography
Some really cool action sequences
I wasn't a fan of the self narration the entire film. (2 more)
I also didn't like the Tarantino-ish way of chopping up the story and going back and forth the way they did.
I feel like every character in this movie was underutilized and could have been done better or had better character development.
Birds of a Feather Can't Stick Their Landing On This One
Contains spoilers, click to show
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a 2020 action super hero film. Distributed by Warner Bros. Pictures, it is a follow-up to Suicide Squad (2016). The movie was directed by Cathy Yan and written by Christina Hodson, and it stars Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina and Ewan McGregor.
Four years after the defeat of the Enchantress, the Joker throws Harley Quinn out on the Gotham City streets when they break up. The already extremely volatile and unhinged, Harley (Margot Robbie) finds herself all alone with a huge target on her back. Without the Joker in the picture, the city is turned upside down as criminals that have a beef with Harley hunt her down. Gotham's most narcissistic villain, Roman Sionis (Ewan McGregor), and his right-hand man, Victor Zsasz (Chris Messina), have Harley and a precious diamond in their sights. Now Harley, Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell) and Detective Renee Montoya's (Rosie Perez) paths collide, and the unlikely foursome have no choice but to team up to take Roman down.
First off let me say that I love Margot Robbie as Harley Quinn. I've always been a big Harley fan since before she was mainstream cool and a big part of that would have to be the Batman Animated Series and how it portrayed her. I liked Margot Robbie's performance in Suicide Squad and thought she did an excellent job of bringing that character to "life". I didn't have high expectations for this movie going in and sometimes that can be a good thing because it leaves you more open to the film being better than you thought it was going to be. Right away I didn't like the whole, Harley narrating the movie in the beginning and kind of throughout the movie. I don't know if they were trying to go for a "funny" Deadpool breaking the "4th" wall type thing but for me it just kind of made the movie less fun. I also have to say that I wasn't a big fan of the pacing and the whole going back and forth through time in the events of the movie. I think it might have been better on paper than how it actually came out in the movie. Kind of Tarantino-ish but just kind of overdone because of the info-dumping narration. There were some awesome fight sequences and there was plenty of over the top violence and action but a lot could have been done better. For me the plot was what felt like it made the movie feel a little lackluster. I really felt like they failed to flesh out Black Canary's character and Huntress felt extremely unpolished as well. A lot of the character's were underutilized except in gratuitous fight scenes and the audience is not shown their motivations a lot of the time but instead told them. I have to say some parts did make me laugh and the music wasn't terrible. The acting was extremely bad sometimes though. I don't know what they were going for with Huntress/Mary Elizabeth Winstead but she comes off as a badass but then really awkward or nerdy and then for a little bit she was a raging psychopath killer. I don't think they knew what direction to take the character and her performance definitely suffered. Black Canary/Jurnee Smollett-Bell was a character that was really cool but without knowing her motivations it really took alot out by never uncovering more about her character until later. A lot of things didn't make sense too. I can't believe that anyone would want to mess with Harley even if she wasn't with Joker. I however could have seen anyone and I mean anyone go after her for a big reward like they placed on the kid. Also a big reward like that on a no name kid who is just a low level pick pocket wouldn't have brought in that much results. Plus the diamond that she has is something you wouldn't want anybody else finding out about so why bring so much attention to it. Harley Quinn and all the other female actors in this movie have "plot armor" and never get hurt even when being blown up or shot at. All-in-all, it was an enjoyable movie but I wouldn't say it was anything special. This was a big-budget superhero film that comes off more run of the mill and fails to bring anything "wow" except some pretty kick ass action sequences and Margot Robbie and her return to Harley Quinn. I give it a 5/10.
Four years after the defeat of the Enchantress, the Joker throws Harley Quinn out on the Gotham City streets when they break up. The already extremely volatile and unhinged, Harley (Margot Robbie) finds herself all alone with a huge target on her back. Without the Joker in the picture, the city is turned upside down as criminals that have a beef with Harley hunt her down. Gotham's most narcissistic villain, Roman Sionis (Ewan McGregor), and his right-hand man, Victor Zsasz (Chris Messina), have Harley and a precious diamond in their sights. Now Harley, Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell) and Detective Renee Montoya's (Rosie Perez) paths collide, and the unlikely foursome have no choice but to team up to take Roman down.
First off let me say that I love Margot Robbie as Harley Quinn. I've always been a big Harley fan since before she was mainstream cool and a big part of that would have to be the Batman Animated Series and how it portrayed her. I liked Margot Robbie's performance in Suicide Squad and thought she did an excellent job of bringing that character to "life". I didn't have high expectations for this movie going in and sometimes that can be a good thing because it leaves you more open to the film being better than you thought it was going to be. Right away I didn't like the whole, Harley narrating the movie in the beginning and kind of throughout the movie. I don't know if they were trying to go for a "funny" Deadpool breaking the "4th" wall type thing but for me it just kind of made the movie less fun. I also have to say that I wasn't a big fan of the pacing and the whole going back and forth through time in the events of the movie. I think it might have been better on paper than how it actually came out in the movie. Kind of Tarantino-ish but just kind of overdone because of the info-dumping narration. There were some awesome fight sequences and there was plenty of over the top violence and action but a lot could have been done better. For me the plot was what felt like it made the movie feel a little lackluster. I really felt like they failed to flesh out Black Canary's character and Huntress felt extremely unpolished as well. A lot of the character's were underutilized except in gratuitous fight scenes and the audience is not shown their motivations a lot of the time but instead told them. I have to say some parts did make me laugh and the music wasn't terrible. The acting was extremely bad sometimes though. I don't know what they were going for with Huntress/Mary Elizabeth Winstead but she comes off as a badass but then really awkward or nerdy and then for a little bit she was a raging psychopath killer. I don't think they knew what direction to take the character and her performance definitely suffered. Black Canary/Jurnee Smollett-Bell was a character that was really cool but without knowing her motivations it really took alot out by never uncovering more about her character until later. A lot of things didn't make sense too. I can't believe that anyone would want to mess with Harley even if she wasn't with Joker. I however could have seen anyone and I mean anyone go after her for a big reward like they placed on the kid. Also a big reward like that on a no name kid who is just a low level pick pocket wouldn't have brought in that much results. Plus the diamond that she has is something you wouldn't want anybody else finding out about so why bring so much attention to it. Harley Quinn and all the other female actors in this movie have "plot armor" and never get hurt even when being blown up or shot at. All-in-all, it was an enjoyable movie but I wouldn't say it was anything special. This was a big-budget superhero film that comes off more run of the mill and fails to bring anything "wow" except some pretty kick ass action sequences and Margot Robbie and her return to Harley Quinn. I give it a 5/10.
LoganCrews (2861 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Sep 30, 2020 (Updated Sep 30, 2020)
Exhibit no. 853928706 on why DC has been *crushing* Marvel these past four years. I do have my grievances: they pretty much skip all the actual Birds of Prey stuff (you know, what the movie is titled lmao) until the last twenty minutes, it takes a bit too much time at points, and not to mention this is a completely different character than what was presented in 𝘚𝘶𝘪𝘤𝘪𝘥𝘦 𝘚𝘲𝘶𝘢𝘥 (for better and for worse) which I confess I would have liked to have seen more psychotic. Otherwise though this is pretty much exactly what movies were made for - a candy-coated live action cartoon sprinkled heavily with orgasmically choreographed savage violence, plentiful vulgarity, and the cheerfully dark edge that the aforementioned 𝘚𝘲𝘶𝘢𝘥 (which I still defend for at least being a good time) desperately craved. Robbie, Messina, and McGregor knock it out of the park and it's just great seeing Rosie Perez punch people in the face with brass knuckles. Furthermore this is one of the precious few recent studio 'girl power' movies where I actually bought that it gave a shit about the girls beyond superficial, insincere, and reductive woke points. At its core lies a legitimately poignant story about these women being chastised, abused, undermined, and taken advantage of for having the same traits (in a world that would already jump at the opportunity to eat them alive even if they didn't have them) that men get a pass and/or are even encouraged for having - so they respond by beating the ever-loving, merciless fuck out of them and it's deeply satisfying. No wonder usual superhero audiences who are used to female characters with zero personality or dynamism let this flop. Though I'm probably the only person on the planet who though that Leto's cracked-out Joker would have made a perfect addition to this.