Birds of Prey and the Fantabulous Emancipation of One Harley Quinn
dir. Cathy Yan (2020)
Colourful, anarchic, rebellious and empowered, ‘Birds of Prey’ proves a real step-up from most DC superhero films. The action scenes are entertaining (rather than belaboured), Yan’s direction is punchy, and writer Christina Hodson turns in a screenplay befitting of Harley Quinn’s character.
Birds of Prey: Megadeath
by Kelly Thompson; ill. Leonardo Romero & Arist Deyn (DC Comics, 2024)
Plenty of empowerment, lots of fight scenes, not much else (although Big Barda and Harley Quinn exhibit character beyond the bog-standard superhero mould). The art is busy/cluttered, Romero contributing five instalments to Deyn’s one, which, juxtaposed, is jarring in its waiflike depictions.
Suicide Squad
dir. David Ayer (2016)
Exquisitely pointless. A manipulative government bigwig coerces supervillains into forming a special taskforce. One team member goes rogue and becomes their first target. Much antagonism gives way to beautiful friendship. Harley Quinn (Margot Robbie) is the only character with any non-generic personality.
Harley Quinn: Breaking Glass
by Mariko Tamaki; ill. Steve Pugh (DC Comics, 2019)
A bleak origin story painted in washed-out tones with occasional, rebellious splashes of harlequin red. Harley’s capricious personality is played up for all it’s worth, ensconced within a more regular teen flightiness. The affected, fourth wall–breaking side-notes quickly outstay their welcome.