All art is political. That’s what they teach you in art school, and it’s what they teach you in criticism school. It’s apparently not what they teach you in internet troll school.
When Dead People Have Something Useful to Say: Sexuality and Feminism in Neil Jordan’s Vampire Movies
Neil Jordan is best known for ‘The Crying Game’ —aka The Movie Where It Suddenly Turns Out That the Main Character is in Love with a Trans Woman – but he also made two vampire movies, and damn if those weren’t kind of interesting, too. Taken together, they show that the vampire genre can be re-invented in all kinds of ways, as long as there’s substance under the biting and blood.
‘Masters of Sex’ is not a great show. It’s awkward and safe and seems to think that we’re impressed by watching people masturbate. But it’s also this really strange, kind-of cool story all about the masculine ideal and a time traveler who tries to break the cycle of self-hatred that supports it.
’22 Jump Street’ alternately endorses and makes fun of the idea that we should be sensitive, tolerant people, but it isn’t mean-spirited or offensive – it’s just sort of harmlessly dumb.
Pitchy, breathy, raspy, screamy – all the notes are there as A-list Hollywood actors hurl themselves at the camera, relishing the chance to look and sound as ugly as their quasi-operatic characters feel. The soundtrack is probably not going to go on your iPod.
That said, there’s something amazing about the pitchiness / raspiness / screaminess / ugliness that serves to draw us in.
Ugly singing; ugly make-up. ‘Les Misérables’ is deservedly known as the film that tried too hard to bum us out, and Anne Hathaway is known as the actress who tries too hard to be liked. But, isn’t it nice, sometimes, when somebody makes an effort?
‘Softcore Porn Roulette with Vampires’ is entering its final season and, while it’s never been good, it embraced being bad with such glee that I’m a little bit sorry to see it go. With that in mind, let’s take a moment to reflect on the awkward, sometimes hilarious, sometimes unintentionally hilarious, sometimes kind of offensive journey we’ve taken with the show that was nothing but humping and gore.
The second season of ‘Orange is the New Black’ is all about respect: how you get it, how you keep it, whether it’s something that someone can give you, or something you hold for yourself. Anchored by a standout performance by Lorraine Toussaint, this season is darker and richer than its predecessor, but still extremely fun to watch.
The acting is poor, the dialogue is terrible, and the production values are low, but the first season of ‘The 100′ has its moments, and most of them are pretty effing dark.
That’s right, you guys. I’m gonna try to analyze ‘Mulholland Drive’ for sexual desire week. I do this partly out of love for you, and partly out of hate for me. Let’s get this party started.
ABC announced late last week that ‘Super Fun Night,’ Rebel Wilson’s half-hour comedy about being supremely uncool, was getting the axe. After 17 very strange episodes, it’s time to look back and figure out what went wrong (and right) with this offbeat series.
Quick – you’re all settled down in front of the TV with Cheetos and soda when you start to have an uncomfortable feeling. The characters are being really hateful, and you can’t quite tell if the writer supports them. Do you: a) keep watching the movie to see how this ends; b) stop watching the movie and do something else; or c) read spoilers for the ending, to find out if you’re wasting your time? If you answered a, b, or c to that question, congratulations! You win. There’s no single Right Way to respond when it seems like a movie might hate you.