Directed by Karyn Kusama
Starring Megan Fox, Amanda Seyfried, Johnny Simmons, J. K. Simmons
When I reviewed Byzantium, I spoke about the horrors genre's reputation regarding its female characters and general attitudes to women. I praised Neil Jordan's film for avoiding many of the pitfalls associated with female characters in horror, possessing as it did two well-written, very different women with agency and complex personalities. While the film was not without its problems, it was a refreshing example of how something so easily written off as tacky and tedious still has the power to innovate and reflect changes in social attitudes.
Flash Gordon and Monty Python and the Holy Grail. The second, and most typical, are those so far outside the mainstream that they never stood any real chance of turning a profit. Pink Flamingos, The Bed-Sitting Room and Eraserhead never courted popularity in the first place, being either knowing and provocative trash or at the weird end of the arthouse circuit.
Scott Pilgrim vs. the World, the film contains at least one bankable star with mainstream hits behind them (Michael Cera and Megan Fox respectively), and a screenwriter or director with critical and commercial acclaim (Shaun of the Dead and Hot Fuzz with Edgar Wright, Juno with Diablo Cody).
Carrie, which is visually referenced in Fox's blood-soaked prom dress towards its climax. Both films have protagonists who are dealing with a sudden rise in their sexuality, whether through menstruating for the first time or being the most popular girl in school. And both films use their characters' ultimately malevolent power as a metaphor about underestimating women: the men who come a cropper in these films are generally those who try to take advantage of the main character.
An American Werewolf in London, and turned them from a very male tale of lust and rage into a story about relationships between women, and how people deal with their best friends altering beyond all recognition. The relationship between Needy and Jennifer is to some extent an American version of Ginger Snaps, while Jennifer's feeding on men reflects her Canadian counterpart's first attack after she is bitten.
Scott Pilgrim fame making an impression.
reviewed the film, he remarked that Cody was in danger of becoming "the female Quentin Tarantino", namely writing dialogue in such a way that all her characters sound the same. It's not so bad that it runs the film into the ground, but having all one's characters as spiky and hipsterish isn't a good way to go.
The Evil Dead. But the film is more unnerving that it is scary, and only moderately unnerving at that, while the comedy is fun but not fully realised. It's not enough to derail the film, and non-horror audiences may get more out of it, but for dyed-in-the-wool horror fans, it's not quite the hearty meal it needs to be.
NEXT REVIEW: Shrek 2 (2004)