Lately, Warner Bros-DC has continued to indulge in the sweet taste of triumph after their Extended Universe fiasco (culminating in the disoriented Justice League). Their new recipe to focus on a more standalone, vibrant feature (learning the best from Wonder Woman) has proven to be fruitful. Aquaman proves his worth, Shazam is highly entertaining, and the somber Joker is a serious inferno—a real award contender. Birds of Prey and the Fantabulous Emancipation of One Harley Quinn is about to prove that the recipe, after all, works.
Harley Quinn (Margot Robbie) returns from Suicide Squad with a completely different arc. She will, then, narrate the whole story with her audacious voice-over and occasional breaking-the-fourth-wall look straight to the audiences sassily. Harley's narration is...
It's difficult not to notice that, oftentimes, Hildur Guðnadóttir's sad, dismal cello-led composition sets the mood for Todd Phillips' Joker. The mournful scoring accompanies us as Lawrence Sher's camera sweeps the fictional Gotham city (that somehow resembles the 1970s New York from Martin Scorsese's Taxi Driver) that has gone decayed with moral degradations and severe social gaps. Against the beautiful melancholy, we've witnessed the poetic descent of a social pariah named Arthur Fleck into a character infamously known as Joker, Batman's archnemesis in any incarnations.
Phillips (Hangover trilogies) models Joker after Scorsese's nuanced New York movies, specifically Taxi Driver and The King of Comedy. It's a story of a sad man who aspires to make living by trying to be funny. Joaquin...
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