The remake of The Karate Kid surprised many Hollywood insiders–worn down by under-performing overly hyped films (Robin Hood, Sex and the City, Killers) and the audience's reluctance to shell out upwards of $17 for gimmicky 3D summer releases–by ringing up an impressive $56mil over the weekend.
2. Even female action stars must submit to the Makeover trope.
The trailer for the hotly anticipated Salt finds Angelina Jolie rocking the mess out of a pencil skirt and taupe heels, only later to revamp her exterior with some snug black clothes and Miss Clairol's bluest black. While it certainly makes sense for a person to alter their looks when being chased by the CIA, I'm not sure if why the trailer evoked films like Clueless, Pretty Woman and 13 Going on 30. More importantly, it's possible the audience can take for granted that Jolie has altered her appearance without being shown every detail of her transformation. The makeover trope is utilized for men, but often–even in action films–it's played for comedic effect. Harrison Ford might have grimaced his way through an application of Just for Men in 1996's The Fugitive, but it was clearly meant to be an amusing respite from all that heart pounding action. Yet Jolie's transformation feels like a rite of passage rather than a necessary element of survival.
Whenever I opted to play "superheroes" with neighborhood kids, I was often assigned Catwoman, since other gals had already called dibs on Batgirl, Superwoman, Mary Jane (didn't realize she was a superhero) and Wonder Woman. Backyard rules apparently dictated there could only be one of each female superhero, but had no prescriptive on the number of Batmans, Supermans and Spidermans battling the faux forces of evil in one backyard at any given time. Initially, I would rebuff the assignment, opting instead to battle the forces of evil as Chaka Khan. While being a superhero in my own personal world, Chaka Khan was not recognized as such by the Neighborhood Children's Superhero Committee - a governing body with chapters all over the universe - and therefore was prohibited. Despite its rather sexist and draconian guidelines in the case of female superheroes, the Neighborhood Children's Superhero Committee was rather flexible with male superheroes. Anyone - and I mean anyone - could be Batman, Superman or Spiderman. Though the first one calling dibs on Superman was the leader and free to restrict the number of Superman also-rans under his/her command. As Catwoman I was tasked with reconnaissance and retrieval; as children we were well acquainted with the naughtiness of theft, but not acquainted with the concept of moral ambiguity. My job was to find object and information - by any means necessary, even a tap dance (the "sexiest" interrogation tactic we knew) - and report back to the primary Superman, who often ate cookies and stabbed holes in his spent Capri Sun drink.
Huffington Post blogger Scott Mendelson wrote an intriguing analysis of the Megan Fox/Michael Bay dust up which may or may not have been the catalyst for Fox's departure from the successful Transformers franchise. Buried in the largely astute criticisms of Fox's appeal and backlash from said appeal was this gem:
But the sheer outpouring of joy that greeted the allegation that Fox had been canned for trashing Michael Bay in public was more than a bit obnoxious. The same geeks and entertainment columnists who called co-star Shia LeBeouf honest and gutsy for criticizing Transformers: Revenge of the Fallen (and Indiana Jones and the Kingdom of the Crystal Skull) were basically applauding the idea that Fox had been fired for basically doing the same thing. Why do so many people hate Megan Fox? Who do they even care?
Of Katherine Heigl's box office currency in Killers–the disappointing rom-com action flick now bombing in a theater near you–Time magazine's Richard Corliss had this to say:
[Katherine Heigl] has come close to the traditional definition of a star: someone who will get people to pay to see her in bad movies.
The article goes on to deconstruct why the derivative spy rom-com isn't performing up to expectations, which weren't particularly high to begin with. While some exploration of seasonal box office precedent–early June is the largely the time for gross-out comedies–is legitimate, Killers misses the mark for one specific reason: the filmmakers' failure to understand what constitutes successful use of the "So I married a secret agent" trope.
In the early '90s–before Goldeneye–I created a silly 'zine called "Judi Dench: Action Hero." In it I presented an alternate universe where Dame Judi Dench was a cheeky action hero in the manner of Bruce Willis or Jason Statham, complete with fake film posters, movie reviews and interviews with the woman herself–fashioned from my vivid imagination and repeat viewings of 84 Charing Cross Road and A Room with a View.
"FEMINISTS, WE'RE CALLING YOU! PLEASE REPORT TO THE FRONT DESK!"
It's fucking hard to be feminist. (If you just made a dick joke to yourself then get the heck outta here!) No one said negotiating power was easy, but that doesn't mean that you can't rock out while challenging the status-quo, being politically active and refusing to compromise your principles. Enter Le Tigre, and for fun's sake, let's put 'em on tour!
Toronto-based filmmaker Deepa Mehta was born in Amritsar, India in 1949. Because her father was a film distributor and theater owner, she was exposed to film at a very early age. She grew up watching commercial Indian cinema, and realized the emotional power of cinema when she was just thirteen.
She went to the University of Delhi, where she received a degree in philosophy. With no formal training in filmmaking, she began her career after graduation when she joined a company making documentaries. She moved to Toronto at the age of 23, where she began to create films that would soon establish her as a talented and controversial filmmaker.
Mehta describes herself as "a citizen filmmaker of the world. Or at least one that has one foot in India and one in Canada." She initially moved to Toronto with plans to move back to India, but ended up staying and becoming a Canadian citizen. Her films, however, are mostly set in India, and they challenge traditional beliefs prevalent in Indian culture. As a result of her controversial subject matter, her films have been fiercely protested by various Hindu fundamentalist groups. Because of this, Mehta is often accompanied by armed bodyguards when traveling in India.
Iranian lesbian activist Kiana Firouz is currently seeking asylum in the United Kingdom after a controversy over the upcoming release of Cul de Sac. The film, which stars Firouz and includes explicit lesbian sex scenes, is based heavily on Firouz's life and struggles as a lesbian in Iran. Directors Ramin Goudarzi-Nejad and Mahshad Torkan posted the trailer on YouTube in December 2009 (below, NSFW) and since then, the Iranian government has attempted to deport Firouz back to Iran to be tried and punished for her crime of homosexuality. Firouz applied for refugee status in the UK, but was rejected.
If she is not granted asylum in the UK, she will be sent back to Iran, where the minimum punishment for homosexuality is 100 lashes. The punishment for "unrepentant" homosexuality, which Firouz's LGBTQ activism clearly demonstrates, is public execution by hanging.