You know how the past decade or so has brought us countless films with a male protagonist who is juvenile and irredeemable, and it's kind of a problem? Wouldn't it be so equally problematic edgy and trendy and subversive if filmmakers started casting WOMEN in those roles instead of men?! Well, it didn't work in Bad Teacher, so Jason Reitman and Diablo Cody are giving it a try with Young Adult:
Unlike Miyazaki, Hosoda embraces our dependence on virtual worlds, but not naively. He's aware of its dangers and isn't above satirizing it; the resemblance of the OZ hub to Murakami's deranged pandas, combined with its toothy, walleyed grin, makes even the pre-Love Machine OZ appear fun, but slightly dangerous, and the entire Love Machine storyline is a cautionary tale against putting all of one's faith in online solutions. That combination of wariness and recognition of digital culture is something I don't think we would ever see from Miyazaki.
This post discusses abuse in asylums, including sexual assault. It discusses the history of lobotomies and describes (briefly) the procedure. It also contains spoilers for the movie Sucker Punch.
I went to see Sucker Punch expecting a light piece of fluff that involved conventionally attractive young women with swords fighting a dragon. It's a movie where one of the lines highlighted in the trailer is "If you don't stand for something, you'll fall for anything." I was prepared for a light popcorn-type film and showed up for a midnight screening with one of my friends, two martinis to the wind.
I was really not expecting a film that laid out how abusive asylums and long-term care centers can be—and often are. I was not expecting a film that laid out how asylums could be used to silence uppity women. And I was really not prepared for a film that showed bluntly and horrifyingly what lobotomies involved and how they completely destroyed people's personalities.
A few of us saw The Change-Up for the most recent Popaganda podcast (the things we'll do for you...) and one of the many things I was struck with during the movie (among an inexplicable plot, a million penis jokes, etc.) was the character of Sabrina, played by Olivia Wilde. Around the time she called her date out for ordering a bottle of wine (the nerve!) and ordered a manly scotch instead, I knew what we were in for. She's a conventionally hot and sexy legal aid who loves drinking, sports, and daring people to get tattoos: A version of a trope—a woman who likes "dude things" yet is still traditionally feminine—that we've all seen before in countless movies and TV shows.
The dogs are hot and so am I! Baseball!
However, my scouring of TV Tropes for a name and a clever description yielded no results. Thus, it's time to Name That Trope!
This post includes spoilers for Inception. It also discusses domestic violence.
There are multiple interpretations of Inception, but for the basis of this discussion I'm going to take the movie at face value. The central story is about Dominic Cobb needing to come to terms with the tragic circumstances of his wife's suicide. Once he is able to let go of his guilt and grief, he escapes limbo and comes back to his children. It's a nice little metaphor about mourning.
The most annoying way in which this film tries to encapsulate 2011 is by making its characters as media-saturated as possible. In the twenty-first century, we have apparently transcended platitudes simply by becoming conscious of their presence in our lives. These hip young New Yorkers with their telephone cameras and their rainbow parties are too self-aware to internalize movie cliches without repeatedly making self-deprecating verbal references to said cliches in casual conversation, preferably while incorporating pop psychology terms like "emotionally damaged," "intimacy issues" and "coping mechanism." Their banter is wholly unsatisfying because it's not actually witty, it's just a bunch of semi-tactless observations and mashed-together pop culture references delivered as if they were jokes (I haven't heard Third Eye Blind mentioned this many times since... ever).
Okay, I haven't seen The Help, which hit theaters yesterday and web banners way before that, nor have I read the book by Kathryn Stockett it's based on. But based on the critical reviews it's gotten, even prior to the film release, I don't think I'll be checking out either. Here's why...
This post includes spoilers for the movies Single White Female, The Craft, and Perfect Blue. These three movies have several things in common:
The main point-of-view character in each one is what I've called "fake-out crazy." Each one exhibits some sort of behavior within the movie that could be viewed as "insane," but unlike the villains, these women end up being "strong enough" to overcome this. (Earlier in the film, the "crazy" character always accuses the "sane" one of being "too weak" or "pathetic".)
None of the characters are actually diagnosed with anything within the films, although psychiatrists are contacted in all cases. The Internet has provided the "crazy" characters with a variety of diagnoses.
Two of the movies have a red herring character who is "crazy" and is obsessed with the main character.
Each movie uses sexual behavior as a way of showing how "out of control" one of the characters has gotten.