Following the infamous "Suicide Squad", "Birds of Prey" sees the return of of the infamous Harley Quinn (Margot Robbie) to the big screen. Only this time things have changed since we’ve last spent time with her, she and the Joker have broken up. With this framing "Birds of Prey" follows Harley as she navigates her newfound independence from her toxic relationship, through various means she ends up in the hands of Roman Sionis/Black Mask (Ewan McGregor) and his twisted henchman Victor Zsasz (Chris Messina), that eventually see her crossing paths (Reluctantly) with Black Canary (Jurnee Smollett-Bell), Huntress (Mary Elizabeth Winstead), Renee Montoya (Rosie Perez), and Cassandra Cain (Ella Jay Basco).
Hey you! Yes, you! Are you looking for a new binge watch filled with incredible adult humor spewing from instantly likeable characters? Or a blood-splattering good time that stems from gore-fueled animation? Or an empowering, bonkers, and female-driven storyline with plenty of wild moments that will continuously keep you hooked. Are you maybe even interested in seeing some of your favorite DC character in a comical new way? Well, then I have a show that you simply cannot miss – especially if you’re a DC fan. All carnival sideshow slang aside, there’s hasn’t been a show that’s become my absolute obsession like DC Universe’s “Harley Quinn”. Premiering towards the end of last year, the animated series has set new standards for what DC can offer and presented through fun animation and incredible humor that isn’t like anything DC’s done before.
Bong Joon-Ho’s “Parasite” (2019) finally hits British cinemas this week after months of sweeping award circuits all across the world, from the Palme d’Or, to most recently, the BAFTAs. It has been a long and painful wait, but it has been worth it. For “Parasite” is one of the best films to grace the twenty first century. It is a masterclass of virtually all filmmaking realms. But where it shines brightest is in its commentary as a scathing critique of modern capitalism.
It is sadly not an uncommon story. Especially in the United States. “Unarmed Black Man Killed by Police.” Trayvon Martin. Eric Garner. Philandro Castile. Michael Brown. Ryan Coogler’s directorial debut, “Fruitvale Station” (2013) took an intimate look at the life and murder of one young man named Oscar Grant III. The film starts with actual cell phone footage from the train platform minutes into the new year. You see the bystanders calling out police for accosting a group of men, Grant among them. There’s a scuffle. And a bang.
When it comes to countries blighted by war, it’s easy to become used to thinking of that nation as simply a warzone. You read about towns being taken, bases being mortared, bridges being destroyed, thinking of the poor civilians losing their lives in a fashion to which you probably can’t relate. You might forget that in between all of this, the people of this warzone nation are going about their daily lives, however strange or bleak this normalcy might be in comparison to your own. BAFTA-winning and Oscar-nominated British documentary short “Learning to Skateboard in a Warzone (If You're a Girl)” reminds you of this routine (or strive for routine) in quick fashion.
“Promising Young Woman” is one of those films that begins with a very good idea. Ideas that involve the camera lasciviously objectifying men on a dance floor the way women typically are. Granted, it's played for laughs rather than sex appeal, since there's nothing resembling eye candy, but you can't have everything. Or maybe it's an early indicator of what the movie's real agenda is, which is condemning anyone who violates its ideas of what good behaviour should be, rather than people who suffer from such expectations.
Not that it's a bad idea to condemn violence, which is the real villain in “Promising Young Woman.” In case the marketing left any doubt, the movie addresses a very specific kind of violence that dares not speak its name here.
“Waiting for Anya” (2020) feels like a good learning resource for a school history lesson. Its drama is gentle, the people are all very clean and the peril is mild. But it still helps to shine a light on the brave townsfolk all around Europe who risked death to smuggle others to safety across the borders.
Based on the children’s novel of the same name by “War Horse” author Michael Morpurgo, “Waiting for Anya” (2020) tells the story of Jo (Noah Schnapp from "Stranger Things"), a young shepherd living in a remote village in the south of France in 1942. His father is a prisoner of war and his mother and grandfather are sheep farmers.
Call me the worst feminist stereotype you can think of, but I’m glad that female rage and revenge are starting to be a big thing in movies. So you’d think I would be just the audience for “Amulet,” a horror film that’s also the feature directorial debut of actress Romola Garai no less. Alas, while the movie exudes a whole lot of righteous, well-earned anger, without a real focus it’s merely one nonsensical plot twist after another.
Tomaz (Alec Secareanu) is a former soldier whose past traumas have left him homeless. But a chance encounter (or maybe not so chancy) leads him to a rapidly decaying home, where a young woman named Magda (Carla Juri) is caring for her ailing mother.
“Never, Rarely, Sometimes, Always” by Eliza Hittman, follows a pregnant 17-year-old who decides to go to New York to have an abortion performed. She resides in Pennsylvania, where the abortion laws are strict, so after some searching, she finds New York is the best place to get the procedure (without needing parental consent).
I walked into this film knowing absolutely nothing, then the movie began, and I observed that it’s about a pregnant teenager. I immediately felt a knot in my stomach because I could relate to Autumn (I became pregnant with my first daughter when I was 16).