A film critic quits after his new publisher objects to reviews of movies with strong female leads, "fuzzy feminist thinking," and "pandering to creepy hollywood mores produced by metrosexual imbeciles."
There are movies you see once and you never want to see again. Other movies require multiple viewings in order to pick up on the subtext and subtitles. And then there are the enjoyable enough movies to leave on the TV over and over again just because they're fun. Wreck-It Ralph is one of those rare movies that's fun for a revisit yet is peppered with enough hidden references to make to make the rewatch worthwhile. After a second viewing this weekend, I still walked away impressed. Ralph keeps to the 8-bit world of old-school arcade games and moves flawlessly into the HD gaming experience that was starting to take root when I stopped going to my local arcade.
Three Men and a Baby isn't the first pop cultural example of a male primary caregiver, but it is arguably the most iconic and definitely one of the most successful. Released in 1987, it was the first Walt Disney Studios production to gross over $100 million domestically, taking $168 million worldwide and making men with kids a hot proposition. I loved the movie as a kid, but I dreaded re-watching it.
I imagined it to be rife with gender stereotyping, goofy gags demonstrating that men can't cope with babies, and jokes about the how emasculating being a father can be. Turns out, I was way off. Three Men and a Baby is a lot of fun, and more progressive than you might expect.
Two recent documentaries, two different coasts, one scary enemy, and hundreds of hours of footage. This is the history and legacy of the AIDS crisis in North America, as told by the cameras and concerned filmmakers who were there.
It has been a privilege and pleasure to write for Bitch for the last eight weeks. Thanks to Kelsey and Kjerstin for all of their support, and thank you to everyone who read, commented on, and shared my posts. As a long-time Bitch fan, I've felt honored to share this space with you and participate in much-needed conversations about the state of bisexual visibility in the media.
When I was 11, I saw the trailer for Chasing Amy. I don't remember why it caught my attention—I didn't recognize the actors, and I don't think I consciously knew what it was about. It certainly wasn't targeted toward 11-year-olds, so I'm not even sure where I saw the ad. But something in my gut told me that this was a movie I needed to see. It was the first time I experienced such a strong, immediate response to a movie, let alone a trailer.
I have noticed that often such stories use sexual fluidity among young women to signify rebellion against hegemonic institutions. In stories ostensibly about conflict between women and their families and women and male lovers, hints of bisexuality are present as indications of the larger ways in which the women in question are opposing oppression.
Full disclosure: I love Paul Verhoeven's movies. I'm a fan of RoboCop, Total Recall, Starship Troopers...and, yes, even Showgirls. (Stay tuned for more about Showgirls later in this series.) These movies may not be cinematic masterpieces, but they are entertaining, escapist fun. So when I decided to give Basic Instinct a try, I was actually looking forward to it. I expected to enjoy it, even if only in a campy sense.