Search Results for: night of the living dead

The Internal Monologue of ‘Wild’: Lone Woman Walking, Lone Woman Writing

In a film, as in real life, with no language to defend herself, the lone woman is a suspect. She gets stared at and scowled at and catcalled and often told that she’s making herself vulnerable, or taking unnecessary risks. In short, our culture says she’s asking for what she gets. A woman alone is unloved, uncared for and written off. In ‘Wild,’ the film based on Strayed’s memoir of her months solo hiking the Pacific Crest Trail, she has several uncomfortable and frankly terrifying encounters.

‘American Sniper’: We Can Kill It for You Wholesale

This cowboy motif is no accident, as it connects this film to the old John Ford Westerns and the nostalgia some folks feel about John Wayne flicks and the mythology of good white cowboys fighting off savage Indians who were keeping good white settlers from utilizing this “wilderness” that would become the U.S.A. Dehumanizing non-whites is the foundation for creating this nation. It’s the glue that holds apple pies and hot dogs together.

‘American Sniper’: We Can Kill It for You Wholesale

This cowboy motif is no accident, as it connects this film to the old John Ford Westerns and the nostalgia some folks feel about John Wayne flicks and the mythology of good white cowboys fighting off savage Indians who were keeping good white settlers from utilizing this “wilderness” that would become the U.S.A. Dehumanizing non-whites is the foundation for creating this nation. It’s the glue that holds apple pies and hot dogs together.

Eve and the Second Sight

The story of Eve also elevates the image of Black women as the foundation of families. This element becomes most important as the film progresses.

The Superficial Yet Satisfying Feminism of ‘Agent Carter’

It’s not just seeing a badass chick beat the wide ties off of sexist dudes with a stapler that makes ‘Agent Carter’ so gratifying (although that’s a big part of it). I’ve been lucky enough to live my adult life in a post-‘Xena’ and ‘Buffy’ world where I can count on a fairly steady stream of ladies who can kick butt in my media. I think the heart of what makes ‘Agent Carter’ feel like a feminist triumph is that we are watching a would-be love interest as the hero of her own story

Gibson’s Gonna Be OK: The Comfort of Hypercompetent Heroes

The lead character in BBC’s ‘The Fall’ is impervious to fear, but that’s OK. She’s doing the modern detective’s work of making us all feel safe in a world that’s anything but.

Nolan Superfans and Antifeminist Trolls: How Much Overlap?

Singer writes of Nolan’s fans’ approach: “If there’s a potential mistake or flaw, it’s always the viewer’s fault, never the film’s (or, Nolan forbid, the director’s).” This is all too familiar in feminist media criticism. How many times do commenters assert we’re “just looking for something to be upset about”; that is our criticism should be attributed to our own over-sensitivity rather than the actual presence of flaws in the subject?

Mariel Hemingway: ‘Running From Crazy’

Most of us, to some extent, want to get away from the families we grew up in, to not be reminded of the people we were at 5, 10, or 15. Actress Mariel Hemingway had more reason than most: not only did her famous grandfather, Ernest, kill himself in his home, not too far from the house where she grew up, but her parents had their own problems, spending their nights drinking in the kitchen, then fighting, sometimes breaking glass and drawing blood, which Mariel, when she was still a child, would clean up.

Talking with Horror’s Twisted Twins: An Interview with the Soska Sisters

To get an idea of the Soska sisters, picture ‘The Shining’s Grady twins, only all grown up and in control of their destinies. Just in time for Halloween, Jen and Sylvia Soska spoke with us about their favorite horror movies, the hardships of working as female directors in masculine genre, their work on ‘See No Evil 2’ and what’s next for their careers.

‘Life After Beth’ and the Trouble With Absent Presence

Though Plaza gives a committed physical performance, clearly having a ball in monster make-up, it’s really all she’s given to do. She isn’t even given much room to be funny in the supposed comedy. It’s as if Plaza has been cast in a feature length sketch-show, playing all manner of stereotypical “girlfriends from hell.” I imagine it on ‘Saturday Night Live’: first a short musical theme, “The Girlfriend from Hell,” then Plaza making a snarky comment to her boyfriend and vomiting pea soup all over him.