There are a few disturbing scenes in Wetlands. But they’re not the ones that are vulgar or sexual or unhygienic. In fact, the most bizarre scenes in director David Wnendt‘s new film are also surprisingly joyful.
Last week, the White House’s Hispanic Heritage Awards announced that actress Zoe Saldaña would be among its honorees. Saldaña, a Puerto Rican-Dominican-American actress, has become the most high profile Afro-Latina in Hollywood history, and it’s about time. However, in an industry that lacks roles for actors of color and is driven by name recognition, Saldaña’s status as racially black and ethnically Latina does present some challenges.
It’s a tale as old as…well, the modern action movie. Boy meets girl, boy and girl kick some ass together, boy delivers snarky line that elicits an audience laugh, girl stares at boy like he just announced that maybe the bad guys were right all along.
Who is April O’Neil? As the entirely unnecessary new Teenage Mutant Ninja Turtles film floods theaters this month, the sassy reporter and number one mutant turtle documentarian is once again in our cultural consciousness.
Film adaptations of dystopian young adult fiction are officially a “thing.” This year alone will see the release of at least four: the third Hunger Games, new blockbuster Divergent, Maze Runner, and finally The Giver, which opened last Friday.
In "Dawn of the Planet of the Apes," gestures and body language communicate more than spoken words.
There are some movies you see because you actively seek them out, and some you see because just giving up and buying a ticket seems easier than resisting the tidal forces that conspire to pull you into the box office. It was in this latter spirit that I saw Dawn of the Planet of the Apes: my friend and I had missed the showtime for the movie we wanted to see, and found nothing but apes for the rest of the afternoon.
Sinister lighting, innocent child, creepy closet full of demons... check, check, and check!
I’ve always appreciated horror as a genre full of little experiments. If a director’s goal is to scare, disturb, or unsettle the audience, she has to manufacture a Rube Goldberg-like system of tense silences and jump scares to find success.