“Joker,” director Todd
Phillips’ “origin” tale about Batman’s greatest foe scored a total of 11
Academy Award nominations today, leading all films this year. The film earned nods in several major
categories, including Best Picture, Best Director (for Phillips) and Best Actor
for Joaquin Phoenix. “1917” and “Once
Upon a Time…in Hollywood” tied for second place with 10 nominations each.
This year saw an amazing
batch of first time nominees, many who have done award-worthy work in the past
and have never been recognized. They
include Antonio Bandares (“Pain and Glory”) and Jonathan Pryce (“The Two Popes”)
for Best Actor and Florence Pugh (“Little Women”) for Best Supporting
Actress. Scarlett Johansson earned her
first two nominations this year, scoring nods for Best Actress (“Marriage Story”)
and Best Supporting Actress (“Jo Jo Rabbit”).
But no less than eight of the acting nominees have Oscars already on
their mantle while others, like Brad Pitt and Phoenix, have been nominated
several times in the past. The South
Korean film “Parasite” also did well, earning six nominations, including Best
Picture and Best International Feature Film (formerly Best Foreign Film).
Composer John Williams
received his 52nd nomination for his score the “Star Wars: The Rise
of Skywalker.” Here are the nominees in
the major categories:
FORD v FERRARI
ONCE UPON A TIME…IN HOLLYWOOD
Martin Scorsese –
Todd Phillips –
Sam Mendes –
– ONCE UPON A TIME…IN HOLLYWOOD
Bong Joo Ho –
BEST ACTOR IN A LEADING ROLE
– PAIN AND GLORY
– ONCE UPON A TIME…IN HOLLYWOOD
Adam Driver –
Joaquin Phoenix –
Jonathan Pryce –
THE TWO POPES
BEST ACTRESS IN A LEADING ROLE
Cynthia Erivo –
– MARRIAGE STORY
Saoirse Ronan –
Charlize Theron –
BEST SUPPORTING ACTOR
Tom Hanks – A BEAUTIFUL
DAY IN THE NEIGHBORHOOD
Anthony Hopkins –
THE TWO POPES
Al Pacino – THE IRISHMAN
Joe Pesci – THE IRISHMAN
Brad Pitt – ONCE
UPON A TIME…IN HOLLYWOOD
BEST SUPPORTING ACTRESS
Kathy Bates –
Laura Dern –
– JOJO RABBIT
Florence Pugh –
Margot Robbie –
This year ushers in a few
things that you may be able to use when you play Trivia in a few years. Should Phoenix win, he would become the
second actor, following the late Heath Ledger, to win an Oscar by portraying
the Joker. This achievement has only
been done once before, when both Marlon Brando (“The Godfather”) and Robert
DeNiro (“The Godfather Part II”) each won Academy Awards for portraying Vito
Corleone. Also, this year marks the
first time that a husband and wife were both nominated separately in writing
categories. Noah Baumbach is nominated
for his original screenplay for “Marriage Story” while his wife, Greta Gerwig,
is nominated for her adaptation of “Little Women.”
Between us I’d have to estimate that Mike G, Lauren, Jeremy, Michael D. Smith, Becki and myself see no less than 150 films a year here at Media Mikes. So when the year comes to an end, many of us like to share with you what films we felt were the Best. And, because they can’t all be winners, we like to tell you which ones we wished we had stayed away from. Ideally, if you haven’t seen any of these particular films you will either be intrigued enough to seek it out…or make the mental note to avoid at all costs! Enjoy!
#1. 1917 Sam Mendes has created an epic film that thrives on its small cast and “continuous shot” presentation. Cinematographer Roger Deakins, who shot many of the Coen Brothers’ films, will surely earn Academy Award nomination number fifteen for his work here. (He won previously for “Bladerunner 2049”)
#2. JUST MERCY This film doesn’t open wide for another week but it has been playing in select cities since Christmas. An emotional look at the injustice heaped upon one man and the attorney who works tirelessly to find the truth. Michael B. Jordan and Jamie Foxx give award-worthy performances. #3. MOTHERLESS BROOKLYN Edward Norton laid it all on the line as he not only starred in this film but wrote and directed it. His eye as a director is keen and changing the time setting of the story from the present to the 1950s was a masterstroke. #4. JOKER Todd Phillips’s look at an almost dystopian society and the people who inhabit it. In my mind, it’s between Joaquin Phoenix and “Marriage Story” star Adam Driver for the Best Actor Oscar. #5. KNIVES OUT When I was a teenager I loved the Neil Simon-penned comedy “Murder by Death” and, when I saw the trailer for this film I thought it would be similar. Wrong! Funny? Yes. But amazingly crafted. Extra credit for Daniel Craig pulling off a southern accent. #6. YESTERDAY What if you woke up tomorrow and found that the Beatles never existed? A true masterpiece that pays tribute to the universal joy brought to us by the four lads from Liverpool. Also contains the year’s most emotional moment. I won’t spoil it but, if you didn’t tear up, it’s quite possible that YOU’VE never heard of the Beatles. #7. (tie) LINDA RONDSTADT – THE SOUND OF MY VOICE / DAVID CROSBY-REMEMBER MY NAME Two amazing documentaries that give viewers an inside look at two of the most influential singers and musicians of their time.
#8. THE IRISHMAN When people look back at the history of film making they will probably be flabbergasted to see that Martin Scorsese won his first directing Oscar for “The Departed.” The creator of arguably the greatest film of the 1980s (“Raging Bull”) as well as “Taxi Driver,” “The King of Comedy,” “Goodfellas” and “Gangs of New York” just may take home his second one for this 3 1/2 hour masterpiece. #9. ONCE UPON A TIME…IN HOLLYWOOD I will admit that, while I enjoyed the film, I didn’t LOVE it when I reviewed it. But a second viewing put it on my list. Great performances and a beautifully recreated Los Angeles, circa 1969. And boy…that ending! #10. AVENGERS: ENDGAME The final film in a 23-film series, the likes of that Hollywood will never see again (unless Marvel does it). When Robert Downey, Jr declares, “I AM Iron Man” the emotional explosion in the theater is jaw-dropping. HONORABLE MENTIONS: US, MARRIAGE STORY, BLINDED BY THE LIGHT, STAN and OLLIE
When a web site includes your name you have the opportunity to stay away from most of the stink-burgers that come out. Luckily (and sadly) these two lured me in. ANGEL HAS FALLEN: There is a great “Mean Tweet” in which Gerard Butler reads, “Does Gerard Butler have a lot of student loans to pay off? He’s always doing shitty films?” To which Butler replies, “No, I don’t have any student loans. I just like doing shitty films.” Add this one to the list. DUMBO: Damn you, Tim Burton. My wife and I skipped the critic’s screening of this so we could take our granddaughter. She hasn’t talked to us since!
#1. PARASITE Wild, entertaining, shocking, gripping and a movie you’ll be thinking about for days, if not weeks. This is Bong Joon-ho’s magnum opus. This isn’t just the best movie of 2019, this is easily one of the best movies of the 2010s. #2. 1917 We’re treated to way more WWII movies than we are WWI. “1917” is not only a visual masterpiece, but the kind of movie that reminds us why WWI shouldn’t be forgotten and just how devastating it truly was for the brave soldiers in it. #3. THE LIGHTHOUSE If it wasn’t for “1917,” this would have been the most visually impressive film of the year. Marketed as a horror, I’d say it’s more a suspenseful comedy, with a pair of tour de force performances.
#4. TOY STORY 4 Not to be a narcissist, but to quote my own review earlier this, “I would have never guessed back in 1995…that these plastic toys come to life would make me cry twice later in my life.” #5. JOJO RABBIT Channeling Charlie Chaplin and Mel Brooks, Taika Waititi has given audiences one of the most heartwarming, tragic and uplifting films of 2019, and it’s about a boy and his Hitler. #6. THE IRISHMAN I wouldn’t say this is Scorsese’s best, but he certainly has book-ended a beloved genre and given several actors a much-deserved swan song. #7. MIDSOMMAR An unsettling nightmare in broad daylight. Besides the unforeseen horrors happening in the sun, there are plenty of laughs to go along with this outstanding horror film. #8.US Jordan Peele raved about “Midsommar.” So I’m sure he wouldn’t be upset to see his stellar sophomore outing below “Midsommar.” I can’t wait to see what he does next. #9. BOOKSMART I absolutely adored this film and its messages. But just as impressive as the script, were the performances by Kaitlyn Dever and Beanie Feldstein, as well as the direction by Olivia Wilde. #10. CLIMAX If you’ve ever been on the fence about trying LSD or any other kind of hallucinogens, I wouldn’t recommend “Climax.” It’s a delirious technicolor nightmare that entrances viewers.
HONORABLE MENTIONS: HONEY BOY, LORDS OF CHAOS, ONE CUT OF THE DEAD, EL CAMINO, UNCUT GEMS, ONCE UPON A TIME…IN HOLLYWOOD, SHAZAM, THE REPORT, MARRIAGE STORY
#1. AFTER Everyone involved in this should be ashamed of themselves. What’s that you say? They’re making a sequel? This is further proof we’re living in the darkest timeline. #2. SECRET LIFE OF PETS 2 Illumination knows exactly what it’s doing and they feel no shame. I wish people would stop giving them reasons to make awful sequels. #3.A DOG’S JOURNEY Sappy sentimentality tries to mask the flawed and unethical morality. I love dogs, but this is a crap story and film. #4. MIDWAY When Michael Bay said, “No one can top my crappy WWII movie,” Roland Emmerich said, “Hold my beer.” #5. DETECTIVE PIKACHU Knowing that some people loved this movie makes me hate this cliche, predictable, trite flick even more.
Here’s my Top 9, leaving open that 10 slot as the end of the year has so many films on offer that I’m sure one I’ve missed would be bound to swoop in!
#1. MIDSOMMAR Oh “Midsommar,” how much did I love this film? Enough to come back for the 171 minute director’s cut at Lincoln Center this August for even more. Ari Aster’s follow up to “Hereditary” showcases yet another powerhouse female performance in Florence Pugh. The film is hard to call a “horror”, unless you’re in the middle of a fight with your romantic partner, but it definitely isn’t for the faint of heart. Aster packs this film with so much visual detail that return trips continue to prove satisfying. This film also has a pitch dark streak of savage humor that gave me one or two of the most morbid laughs of the year. #2. JOJO RABBIT I elaborated in my five star review of Taika Waititi’s WW2 satire, but this is for me the funniest film of the year while still tugging on a ton of heartstrings. For me, it is Scarlett Johansson’s best performance (and yes, I’ve seen “Marriage Story”)
#3. KNIVES OUT Chris Evans and Daniel Craig played wildly against type in Rian Johnson’s murder mystery whose twisty turny finale was a delight, or maybe it was a donut… #4. AVENGERS ENDGAME I may not be fully on board with all of the character choices for Marvel’s epic Infinity Saga conclusion, but man, if this didn’t do justice to the 21(!) films whose job it was to wrap up. The “Portals” sequence playing to a sold out crowd on opening night was chills, cheers and tears inducing in a way I have never experienced at a movie theater. #5. JOHN WICK: CHAPTER 3 – PARABELLEM In a year without a “Mission: Impossible,” John Wick came to the rescue in terms of just absolutely satisfying stunt sequences. That knife fight IN a knife store alone earned the whole movie’s placement on this list. #6. FORD v FERRARI I fortunately saw this one in IMAX where the roar of the impeccably edited racing sequences could be felt in my bones. James Mangold delivered a solid spectacle lead by the always-reliable Matt Damon and Christian Bale. #7. ROCKETMAN “Rocketman” was everything I wished last year’s “Bohemian Rhapsody” would have been. From star Taron Edgerton actually recording a slew of Elton John classics himself to the integration of said songs into lively and visually fun musical numbers. Bonus points for a lovely turn from Jamie Bell as Bernie Taupin. #8. LITTLE WOMEN Greta Gerwig’s sterling adaptation of Louisa May Alcott’s classic assembled one of the strongest acting ensembles of the year and showed the March sisters in a whole new light. #9. THE LIGHTHOUSE Robert Eggers’s follow up to 2015’s “The Witch” was just as steeped in atmosphere–this time of an isolated New England lighthouse in the 1890s where Robert Pattinson’s Thomas is taken under the lunatic wing of Willem Defoe who may or may not have a supernatural connection to the beacon they tend to. In stunning black and white, Eggers produced some of the most memorable imagery of the year.
In lieu of a Worst list–since I don’t see enough to pull a whole list confidently–I’m sorry to say MEN IN BLACK: INTERNATIONAL was the biggest disappointment. Taking Hemsworth and Thompson, who have a proven comedic chemistry and just throwing them into this lazy script was a huge wasted opportunity.
MICHAEL D. SMITH
#1. 1917 Selected by the Kansas City Film Critics Circle as the year’s Best Film, “1917” is simply a stroke of genius. Nominated for three Golden Globes, “1917” is not only a masterful example of the war film genre, but it is also a masterpiece of cinema in general. Directed by Oscar-winning British filmmaker Sam Mendes (“Skyfall,” “The Road to Perdition”), who co-wrote the screenplay with Krysty Wilson-Cairns (“Penny Dreadful”), “1917” is an accurate depiction of the Great War with an edge-of-your-seat plot that is essentially Great Britain’s “Saving Private Ryan.”
#2. KNIVES OUT An impressive piece of creative writing, “Knives Out” deserves to be in the pantheon of great murder mystery flicks. With a terrific cast including Jamie Lee Curtis, Don Johnson, Christopher Plummer and Michael Shannon, “Knives Out” is led by Daniel Craig in a wonderfully entertaining performance that makes you forget all about his more famous alter egoJames Bond. Whether you guess who done it within 15 minutes or not until the very end, “Knives Out” provides a great way to spend the night out at the movie theater. #3. JOKER Featuring by far the best male lead performance of the year, “Joker” is the most in-depth character study captured in cinema in 2019. Joaquin Phoenix goes to Herculean lengths to tap into the essence of a man so ostracized by society that when his last thread to sanity is cut, he becomes something that lies somewhere in the middle of being a villain and a hero. Dark, gritty and violent, “Joker” is not your typical comic book or even graphic novel movie. It eclipses both. Phoenix is supported by a memorable supporting performance from Robert De Niro. #4. MOTHERLESS BROOKLYN Edward Norton’s effort is a triumph of cinematic art and deserves to be an Oscar contender in multiple categories. Adapted from the 1999, National Book Critics Circle Award-winning novel of the same name by American novelist Jonathan Lethem, “Motherless Brooklyn,” written and directed by Norton, is a brilliant, throwback detective story with an all-star cast that delivers the goods. It mirrors early 1950s Brooklyn in such a palpable way that it makes you feel like you are there. Despite its arguably long, two-hour plus running time, the puzzle-like central story is so engrossing with its twists and turns that you can end up losing yourself in it. #5. US Academy Award-winning writer Jordan Peele followed up his magnificent horror thriller “Get Out” with another stroke of genius thatwhich should not be watched immediately before bedtime. An inventive work that will give you goosebumps throughout as the Wilson family, led by Lupita Nyong’o and Winston Duke, tries to stay alive in the face of eerie doppelgangers who want them all dead. Nyong’o was recently selected by the Kansas City Film Critics Circle as 2019’s Best Actress for her memorable performance. #6. ONCE UPON A TIME IN HOLLYWOOD Love or hate him, there is no denying the talent of Quentin Tarantino. In this, his ninth and allegedly next-to-last film, Tarantino pays tribute to Hollywood’s Golden Age by putting his own unique spin on the August 1969 Sharon Tate murders. With enthralling performances by Leonardo DiCaprio and Brad Pitt, Tarantino dug deep into his imagination with an entertaining “what if?” story with a climax that will drop your jaw to the floor and imagery that will be stuck in your head for days afterwards.
#7. THE IRISHMAN At three hours and 29 minutes, “The Irishman” is a Martin Scorsese film not to be tackled lightly. However, if you are a fan of not just mafia-related stories but also a trio of iconic actors – Joe Pesci, Robert De Niro and Al Pacino – then you will be greatly rewarded. It is the supposed story of mob hitman Frank “The Irishman” Sheeran who worked closely with the mob for decades and claimed that he was the one who made labor union leader Jimmy Hoffa famously disappear. Of the three, it is Pesci who outshines everyone as a mob boss. It is nothing less than the greatest performance of Pesci’s long career. #8. QUEEN & SLIM Ideally, a great work of art, especially one that is controversial, will have a deeply emotional and/or intellectual impact on the viewer. It is no different with the genre of cinema. Erroneously labeled by some as a Bonnie and Clyde-type story, “Queen & Slim” explores the fear and outrage felt by many in America over numerous fatal shootings in recent years of black men, often young ones, by white law enforcement officers. While its climax is heavy-handed and the overall portrayal of the police is too generalized, “Queen & Slim” remains a terrific specimen of cinematic art. #9. A BEAUTIFUL DAY IN THE NEIGHBORHOOD Last year, I had the fantastic documentary “Won’t You be My Neighbor?” in the eighth spot of my 2018 top ten list. This year, another Mister Rogers film makes my year-end highlights. Inspired by true events, Tom Hanks puts in a mesmerizing supporting performance as the late, beloved PBS show host as he tries to help a jaded newspaper reporter remember what is most important in life. It is a sweet, lovely story amidst harsh times. #10. AVENGERS: ENDGAME Ten years’ worth of Avenger-related movies, some better than others, culminated with “Endgame” and it was all worth it with a tremendously rewarding finale. What made it so spectacular was not that it had great special effects or a cast with enough stars to fill up the nighttime sky. Rather, it contained an emotional story that did not have a neat and tidy ending. It was a true struggle of good vs. evil with many of those on the side of good having to pay a terrible price for their collective success. It does leave one to wonder how the gang at Marvel Studios will do with the next phase of Avenger flicks. HONORABLE MENTIONS: AD ASTRA, I AM MOTHER, PEANUT BUTTER FALCON
Starring: Joaquin Phoenix, Robert DeNiro and Zazie Beetz
Directed by: Todd Phillips
Running Time: 122 minutes
Warner Bros. Pictures
Much like the Joker’s origin in “The Killing Joke,” Arthur Fleck (Phoenix) is an aspiring stand-up comedian. Before he can reach that pie in the sky dream, he makes ends meet as a clown-for-hire, takes care of his ailing mother in a rat-infested apartment, and attempts to deal with several mental illnesses. There’s actually nothing particularly extraordinary about Arthur, and that seems to be casually ingrained into him by his co-workers, passersby on the street and even his own mother. But if the title of the film wasn’t a big enough clue, there’s a lot in life that’s in store for Arthur.
It’d be disingenuous to try and rank all those who’ve portrayed the Joker (minus Jared Leto) because of the drastically different material they were given. However, “Joker” stands tall in its own category because it’s surrounded by subpar films. Villain origin stories aren’t great fodder, just look at “Venom” and “Hannibal.” But “Joker” isn’t just an origin story for the clown prince of crime, it’s a character study, something that’s never been done before on screen. Breaking down the Joker is a tricky task and there’s really no right way to do it, but there’s definitely a wrong way to do it. While Phoenix does it magically nuanced way, director/writer Todd Phillips handles it in ham-fisted fashion.
Phillips is more well-known for his “Hangover” trilogy or juvenile 2000 film, “Road Trip.” Behind the camera, Phillips is more than capable of telling a gritty crime story, drawing from what I can only assume is movies he grew up on and influenced him to become a filmmaker in the first place, “Taxi Driver,” “Kings of Comedy” and “Network.” He encapsulates that late 70s/early 80s glow well, emulating its style, color palette and nihilism. Where he falls remarkably short is writing a script that’s on par with those classics. Phillips makes a lot of leaps in logic, despite grounding the main character in a very realistic Gotham.
There’s nothing supernatural or superhuman about Fleck’s life. There’s no vat of chemicals to fall in or scars that he’s telling conflicting stories about. Everything that makes Fleck the hero and villain of his own story, is inside. So what makes a lot of the “Joker” work is the acting and not Phillips. That’s because the director gives away several mid, and late, storytelling reveals by relying on clichés early on. Anyone familiar with the Batman lore or movies involving psychosis will be able to spot plot twists and turns involving characters or the plot. Phillips’ maturity with his hands behind the camera unfortunately doesn’t translate when the pen meets the paper.
I’ll give credit to Phillips for one aspect, and that’s at least using one of the film’s tropes to set-up discussion about the ending of the film. Since Phillips has noted this is a stand-alone film (meaning it doesn’t fit into the DC Cinematic Universe and won’t have a sequel), there’s a lot to take away from the final 15 minutes. That’s where I assume a lot of the pre-release controversy stems from. Several people have weighed in on what they believe Phillips is intending to say, but I’m in the minority because I’m not sure Phillips is actually trying to say anything in particular. I believe he structured it in such a neutral fashion, that the discussion will simply be guided by the ideology of the viewer.
But for all the hype, controversy, praise, condemnation and mystery, the only thing worthy of discussion for years to come is the performance by Phoenix; everything else feels like contemporary background noise. Phoenix, as he’s done in nearly every role he’s been given, is absolutely magnetic. Despite the derivative nature of the script, Phoenix keeps his character wildly unpredictable while combining antihero elements and sociopathic tendencies. We’re not just witnessing the birth of a supervillain, we’re watching a true descent into madness.
Starring: Will Smith, Jared Leto and Margot Robbie
Directed By: David Ayer
Running Time: 130 minutes
Our Score: 3.5 out of 5 Stars
The Suicide Squad is a generally unheard force in the DC Universe. They’re a group of underdog villains attempting to do good, drawing comparisons from some that this is Warner Bros. attempt at their own version of “Guardians of the Galaxy”. While the comparison is fair, “Suicide Squad” is a far more sinister beast. While Marvel’s Peter Quill and Rocket Raccoon are likable thieves and thugs, the members of the Suicide Squad are a terrifying ragtag bunch of assassins, murderers and sociopaths.
The Suicide Squad is made up of the smooth talking Deadshot (Smith), Joker’s squeeze Harley Quinn (Robbie), the beer drinking Boomerang (Jai Courtney), the gang banger El Diablo (Jay Hernandez) and the hulking monster Killer Croc (Adewale Akinnuoye-Agbaje). They’re all led by the self-righteous Rick Flag (Joel Kinnaman). The founder of this group is Amanda Waller (Viola Davis), who may as well be the villain of the movie. She’s an unsympathetic, calculating, and murderous government official who abides by her own rules.
Her basis for creating the Suicide Squad is so that the U.S. military has an controllable force that can stop the next Superman (spoilers if you didn’t see the disappointing “Batman V. Superman: Dawn of Justice”). Waller has a working knowledge of nearly every villain on the planet, and seemingly every superhero, which gives pause as to why she thinks this would ever be a good idea. Despite the rather large nature of the cast working under Waller’s character, director and writer David Ayer wisely chose to focus the movie’s attention on the best actors, Davis, Smith and Robbie.
While the media lead-up to “Suicide Squad” has been about Leto’s disturbing antics off-screen, his on-screen Joker portrayal is underwhelming. It’s not because it comes on the heels of Ledger’s performance back in 2008, but because I still can’t imagine the Joker having the patience to get a tattoo or ever concerning himself with fashionable bling-bling. Despite the disappointment of Leto’s Joker, Robbie wows as the stunning lover of Mr. J, Harley Quinn. While we’ve never had a theatrical version of the Clown Prince of Crime’s murderous hunny, Robbie has set the bar, and it’s pretty damn high.
Robbie displays a natural ability to blend Quinn’s flirtatious, deadly, and juvenile nature seamlessly. She manages to convey her as a trashy, demented high school cheerleader most of the time, while displaying a softer, human side to the villain in brief glances. Matching her scene-by-scene is Smith, who’s back to his action movie roots as the assassin that never misses, Deadshot. Both of them provide most of the back story and emotional depth amongst the Suicide Squad, and rightfully so.
El Diablo has a heart breaking backstory, but Hernandez isn’t a strong enough actor or given enough dialogue to feed into his tragic past. Killer Croc is simply a grunting brute covered in scales and Boomerang is the wisecracking comic relief, minus the comic relief. The movie also finds time to wedge in Ben Affleck’s Batman, Ezra Miller’s Flash, and a brief nod to the future “Justice League” movie. Sometimes it’s a visual buffet that finds the right balance without making you too nauseous, as long as you know what the hell the movie’s talking about.
The characters are what make “Suicide Squad”, not the story, which clearly came second. When David Ayer needs to introduce the characters, he establishes a pecking order and focuses on the most relatable. As for the plot, it’s a mess involving the mysterious Enchantress (Cara Delevingne), who’s never explained, possibly angering those unfamiliar with comic books, and maybe even those familiar with them. The exact reasoning behind the Suicide Squad’s pact is a little iffy and the movie doesn’t find a satisfying conclusion after the bombastic finale.
“Suicide Squad” is a wham-bam action punch with enough exuberant and unique performances to help overshadow the lacking plot structure. You’ll be talking about Robbie’s Harley Quinn more than you will about Leto’s Joker. And that’s not a bad thing when DC is trying to establish some girl power. If DC wants to start working on a solo Deadshot or Harley Quinn movie, go ahead and buy my tickets right now.