Search Results for: sucker punch

Empowerment in the Imaginary Spaces of Zach Snyder’s ‘Sucker Punch’

By creating her own worlds where she is a force to be reckoned with, Babydoll reclaims that very thing that was taken away from her by her stepfather and the hospital: her humanity.

‘Violet & Daisy,’ ‘Sucker Punch,’ and Poe’s Law

And the main thing about ‘Violet & Daisy’ I couldn’t puzzle out is what we’re meant to make of the incessant and brutally unsubtle reminders of the title characters’ schoolgirl trappings: popping bubble gum while blasting machine guns, stopping to play hopscotch on the way to pick up ammo, sucking lollipops while chatting with their boss and sharing cookies and milk with their target, giggling while jumping on the bellies of their victims to see blood spew from their mouths. I get that there is a “shocking contrast” between these innocent activities and their professional murdering, but could Fletcher really think that was novel or interesting enough to warrant a whole movie?

And then I think: Oh god, is this a sex thing? This is probably a sex thing. Wait, that’s too gross. This can’t be a sex thing. But oh god, lollipops. Lollipops are always a sex thing.

‘Sucker Punch’ Might Leave You Wishing for a Lobotomy

My main issue with the film is that it is speckled with meaningless platitudes and clichés about girl empowerment when the film simply isn’t empowering. The women in the film are portrayed as oversexualized, helpless, damaged goods. Though there are metaphors at work that symbolize abuse or objectification of women, nowhere does the film stress an injustice or seek to dismantle its source. It is just like any other formulaic action movie complete with boobs, guns, and explosions, but it has a shiny, artificial veneer of girl empowerment. The false veneer is the aspect of the film that truly infuriates me, along with the side of artsy pretentious bullshit.

Guest Writer Wednesday: Girl Power in Sucker Punch, Hanna, and Winter’s Bone

This guest post by Marina DelVecchio also appears at Marinagraphy.  In the past year, directors have been trying to feed our womanist pangs for more girl power in films. At least this is how I see the trend. Because as a woman and a mother, I want to see movies that represent my gender as … Continue reading “Guest Writer Wednesday: Girl Power in Sucker Punch, Hanna, and Winter’s Bone”

Guest Writer Wednesday: Sucker Punch

Sucker punched by “Sucker Punch”– Girls and guns don’t equal female empowerment This is a cross-post from What Tami Said. This really is the best movie ever cuz its like hollywood finally said to me Fuk yeah you my man are all we care about heres some awesome shit for you to get off on and … Continue reading “Guest Writer Wednesday: Sucker Punch”

Eva Green vs. Frank Miller: A Feminist Revolt in a Man’s World

Even when Eva Green chooses to take part in obviously bad movies, she somehow manages to carry them to a higher level of quality all on her own. Such is the case with two of her films: ‘300: Rise of an Empire’ and ‘Sin City: A Dame to Kill For.’ …Both of which starred Green in major femme fatale roles, and both of which feel, in part, like pro-feminist reactions to the original films they follow.

The Repercussions of Repressing Teenage Girls in ‘The Virgin Suicides’ and ‘Mustang’

Both are critically acclaimed dramas directed by women documenting the coming-of-age of five teenage sisters under close scrutiny for their behavior — especially when it comes to their sexuality. And in both films, the girls’ response to this repression is to resort to desperate measures to regain control, resulting in tragedy that could have been averted if they were given the freedom for which they hungered.

“A Truth Universally Acknowledged”: The Importance of the Bennet Sisters Now

But more and more it seems you can judge the quality of modern adaptations on how the filmmakers view Lizzie in relation to her sisters. Even though the representation of women has greatly expanded since Austen’s time, a story that revolves mostly around sisterly relationships remains rare, which makes it even more vital. And while it is true that Austen’s romance has a timeless quality that makes it popular, the narrative of sisterly love remains transcendent.

Sugar, Spice, and Things Not Nice: Violent Girlhood in ‘Violet & Daisy’

The character of Daisy personifies the film’s juxtaposition of violence and girlhood. Daisy loves cute animals and doesn’t understand Violet’s dirty jokes. The twist is even that she has not really killed anyone, thus remaining innocent of all crimes. The opening scene displays the most daring oppositional iconography — the young girls dress as nuns, the ultimate image of pure goodness, while having a shoot ‘em up with a gang.

TV and Classic Literature: Is ‘The 100’ like ‘Lord of the Flies’?

On the contrary, Octavia moves away from the explicit sexuality of her role in the pilot, and although her initial training is linked to Lincoln, she gravitates toward a warrior’s life to gain the respect of Indra. Although some critics have seen this as a drastic change in her characterisation, looking back at her first scene in the pilot, where she is held back by Bellamy while trying to attack the others for repeating rumours about her, it feels more like a development.

Call For Writers: The Female Gaze

The concept of the female gaze emerged in response to that of the male gaze, wherein the female viewer, and often the female creator, are the focus for a piece of media. However, finding instances of film or television that are truly representative of the female gaze is tricky. Just because something is about women doesn’t mean it is for women or even a realistic portrayal of how women see themselves.