In Theaters Now
While both the novel and the film are sure to point out Ma’s anguish, ‘Room’ can be seen to paint a romanticized, sometimes insensitive and propaganda-esque…fantasy of immersive, attachment motherhood in which nothing else matters but the child.
‘Spotlight’ isn’t the kind of film that just changes some facts (though I never understand “based-on-a-true-story” films that do so: if you’re going to fictionalize their lives why not fictionalize their names too?), it’s one where the most basic plot summary contradicts what happened.
To have a Black character like this to not only be the co-lead in an iconic franchise but to also include him in a healthy, positively portrayed relationship with a white woman is a brilliant statement. … Finn and Rey’s difference in race doesn’t put any limitations on what this couple can and do achieve.
The newly released Marvel “superhero” movie ‘Deadpool’ is more of a self-aware, raunchy antihero flick that solidly earns its R rating with graphic violence, lots of dick jokes, and a sex scene montage. Basically, it’s a good time. While ‘Deadpool’ is entertaining, self-referential, self-effacing, and full of pop culture references, how does it measure up with its depiction of its female characters?
From the thousands of immigrant stories that could have been told, that Hollywood chose a heterosexual love story between two white Westerners in the 1950s is telling — that critics and audiences have lauded and lavished it with praise is even more so.
‘The Danish Girl’ and ‘Tangerine’ collide in their allusion to the notions of gender identity, gender expression and beauty in conversations about trans women. But ‘Tangerine’ takes that necessary next step by centering and humanizing the lives of trans women, which ‘The Danish Girl’ pointedly fails to do.
The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.
If only ‘Carol’ the much lauded movie from director Todd Haynes (adapted by Phyllis Nagy from Patricia Highsmith’s novel ‘The Price of Salt’) were as good as its trailer, a one minute ten second masterpiece of close-ups, pitch-perfect period detail and barely contained emotion.
Let’s All Calm Down for a Minute About ‘The Hateful Eight’: Analyzing the Leading Lady of a Modern Western
In an action movie, violence is due to befall all characters. Is violence against any female character inherently woman-hating, inherently misogynist? … It’s possible that subconscious sexism makes people quick to see her as a victim, and then criticism of the trope of women as victims may be getting in the way of seeing the agency and complexity of a character like Daisy Domergue.
I was surprised at how enjoyable and skillfully made ‘Brooklyn’ is: I cried when everyone else did and gasped when the rest of the audience did too, but in spite of its excellent art direction and affecting performances the film is mostly hokum. New York in the 1950s is a place where no one the main character hangs out with smokes (when all of the men and the majority of women were smokers). Most of the characters barely drink (just one glass at Christmas) and, except for a child’s brief outburst at a family dinner table, (“I should say that we don’t like Irish people”) none of its white, working-class, ethnic characters have any problem with any other ethnic group.
When we first meet her, Kate seems, like a lot of older women, serene in the unspoken knowledge that she’s at least a little too good for her unshaven, bumbling husband, Geoff (Tom Courtenay) who may or may not have the early symptoms of dementia.
Another way for a male actor to win an award is to put on a dress and play a trans woman (see Jared Leto and ‘Transparent’) which explains why we now have ‘The Danish Girl’ in theaters, directed by Hooper and starring Redmayne as trans pioneer Lili Elbe. At least one trans woman has already pointed out how this film, like ‘Blue Is the Warmest Color’ before it, has scenes that could have been lifted from porn (not the best place to find versimilitude) but also how the script forces Elbe into the “tragic degenerate” trope, just like queer characters invariably were in the bad old days.