That woman deserves her revenge…and we deserve to die”. ~ Budd, Kill Bill: Vol 2
In a world devoid of fairness, these words amply sum up the moral code of the rape and revenge film universe.
Ushered by the washed-up, has-been villain Budd (A.k.a Sidewinder) in part 2 of Quentin Tarantino’s Kill Bill series, they highlight the righteousness of necessary evil in righting the wrongs against the main or supporting characters in the genre’s stories.
In Revenge, a 2017 French film written and directed by Coralie Fargeat, a young woman gets retribution against the men who left her for dead…
In my last write up, in which I discussed my take on 1992’s Candyman,
I wrote that both Helen Lyle and Bernadette Walsh, a black and white duo of graduate students:
“Carelessly seek ‘truth’ in the wrong part of town, at the darkest hours of night, disrespectfully appropriating a way of life they cannot grasp, claiming the legacy of its pain for their own selfish financial and academic pursuits, and intruding into spaces uninvited, as if people didn’t live there — But rather were inanimate objects in a museum.“
Simply put, they are pseudo-ethnographers who feign to care about their…
At a time when we’ve been confronted with the everyday reality of violence, growing steadily at an exponential pace, my rewatch of the 1989 Dark Comedy Heathers struck a different chord than it did the first time I watched it.
Back then I was as a freshman in college.
At the time, the social commentary didn’t quite seep into my consciousness as much as its cool factor — a blend of high school tropes, melding into a highly volatile mix of personal values and egoism.
I knew it was dark.
But I didn’t read between the lines beyond that. …
Since 1992, Clive Barker’s urban folk horror Candyman has been a staple in highlighting racial injustice in the genre.
However, what the film also does well, perhaps even better, is highlight the cost of white ignorance in the relationship between fellow grad students, Helen Lyle (Virginia Madsen) and Bernadette Walsh (Kasi Lemmons).
Bernadette Walsh is a young, privileged woman of color.
In fact, she is the only other woman of color shown in a definitive position of power in the film.
Whereas other women of color are presented in either a servile or destitute fashion, she is a graduate student…
A 40s style silent neo-noir thriller about the price of vengeance in a man’s world.
In the classic world of Film Noir, ethics and morals are as cut as dry as the films themselves are black and white.
The motives of the genre’s characters may not always be known, but their wants and needs are uncomplicated, compared to the soap operatic web of intrigue that defines storytelling today.
Nowhere is this truer than in its depiction of women, who represent one of two opposing archetypes: Femme Fatale & Damsel in Distress.
Victim or Villainess.
Or, as Claire so bluntly put…
Body Horror. Nature’s fiends turn the human body into prime real estate for infestation.
One of the principal terrors of the Body Horror genre is the illusion of normalcy.
Long before the main protagonist is confronted with a malevolent infestation of the bug or parasite kind, they are all but blissfully unaware of the changes taking place within (i.e. Seth Brundle’s gradual transformation and eventual decay in 1986’s The Fly) and without (i.e. The hostile takeover of mankind in 1978’s The Invasion of the Body Snatchers).
In Bugs: A Trilogy, a three part anthology of short films about the creatures…
The 80s horror flick reveals lack of female agency is the true plot twist
Warning: Spoilers ahead.
Directed by David Cronenberg, 1986's The Fly is a Science Fiction/Horror film in which a scientist unwittingly becomes the recipient of genetic material from a common house fly. Over the course of the film he evolves into a half-man, half-fly hybrid and loses every bit of the humanity he once possessed.
But while the focus of the film is on its male character, a scientist by the name of Seth Brundle (Jeff Goldblum), it’s the female character (Veronica Quaife, played by Geena Davis)…
“Whoever controls the media, controls the mind.” ~ Jim Morrison
An ex-Black Metal musician takes up a gig as the host of a children’s tv program, where he plays one half of a human-muppet duo. The muppet is a cat named Grinch, who steals every moment he can to make fun of said musician’s brooding disposition.
The rest of the cast includes a feisty network executive, a Korean-American millennial intern, a woman from the Westboro Baptist Church dressed as, what else, a seductive angel, and a host of other characters.
Nekfrit and His Fluffy Cat Grinch is easily one of…
The capitalistic quest for progress has always furthered the gap between man and the wild.
In Waikiki, an experimental mystery-drama from Christopher Kahunahana (the 2014 recipient of Sundance Institute’s Screenwriters Lab Fellowship for Native American and Indigenous filmmakers), it’s that classic battle between the natural world and modernization that comes at a terrible price for indigenous Hawaiians.
The story takes place on the south side of Honolulu, in the city of Waikiki. …
Ripley does what she’s told. Until she doesn’t.
Possible spoilers ahead.
I rewatched Alien (1979) a few weeks ago. I can’t tell you when’s the last time I saw it, but I can definitely say i’ve never seen it quite as profoundly as I have now.
Along with being at the top of its class in the sci fi and horror genre, it also provides great commentary on discrimination against women in the workplace.
Keep in mind that a male director and screenwriter were at the film’s helm (Ridley Scott and Dan O’Bannon), creating this story at a time when…