You would be right in thinking with a title like this The Boom Boom Girls Of Wrestling would be a lot of fun even if it wasn’t very good. Made by independent filmmaker Carolin Von Petzholdt, The Boom Boom Girls Of Wrestling claims to be inspired by true events (but I’m pretty sure this is just a gimmick), and tells the story of a group of out of work actresses who train to be wrestlers as part of some kind of reality show. However, on their way to their first event in Las Vegas their bus breaks down and they are stranded in a ghost town where a mysterious slasher (dressed as chicken, because, why not?
Dalton Trumbo is not a household name today, but he was one of the most influential screenwriters in the old Hollywood studio system. Many of his films like Roman Holiday and Spartacus are beloved classics, but Trumbo is also a significant figure for his part in the Hollywood blacklist, a period of anti-Communist hysteria that swept through the United States in the 1940’s and 1950’s. Trumbo, like many Hollywood intellectuals, was targeted for his progressive politics in an unprecedented purge that saw many actors, directors and writers, lose their livelihoods, their freedom and even their lives.
In The Dressmaker, set in 1950’s Australia, Tilly (Kate Winslet) returns to the small rural town she grew up in, to find closure and to take care of her ill mother, Molly (Judy Davis). When Tilly was ten years old, she was sent away after she supposedly killed a boy – although she cannot remember what happened. She spent twenty years travelling around the world, from Melbourne to London, from London to Italy and Spain, and eventually, Paris, France, where she studied at the great Parisian Couture Houses, and became an expert dressmaker.
I love Joe Wright and while I was not overly interested in yet another version of the Peter Pan story, I was excited to see him take on Pan. But the very fact that it spent many more years in production than it probably should have, and the idea of Wright as a CGI movie director did make me uneasy. It turns out that I was right to feel that way, because while it must have been difficult to reinvigorate the Peter Pan story, the problematic production of Pan meant that this version of the story was always going to be something of a bust.
Welcome to the second episode of our monthly Film In Focus podcast. Each episode features myself (Alex Lines) as I’m joined by two of our writers each month to tackle a different film and all the questions and angles that arise from breaking down these films. To celebrate the recent hullabaloo around the 30th Anniversary of the original Back to the Future film, we decided to look back at the trilogy as a whole and wonder why they are so universally loved still.
Beasts of No Nation made headlines before even a trailer dropped early in 2015. The Cary Fukunaga drama about child-soldiers in Africa was bought for $12 million by the streaming powerhouse Netflix. This meant that it would be the first time in history a potential Oscar-nominated film would be available online to Netflix subscribers the same day it would be released in theaters.
It may be fair to say that in the film industry, any motion picture that is not spoken in the English language is tagged under ‘foreign’. As we all know, Hollywood cinema is dominant among the world of film due to technological advancements, box office strategies for blockbusters, and stardom. For this reason, audiences are usually very selective when it comes to watching ‘foreign’ films.
It’s the next inevitable step for an industry that refuses to try new ideas. Adapt a film that utilizes voice-over so “star” power is no longer or rarely necessary. If star power is no longer necessary, studios don’t have to shell out millions of dollars to have that one actor everyone likes.
Remember when 3D movies dominated our cinematic landscape? No, not the 1980’s, where blurry red and blue glasses gave way to gimmicky horror films such as Jaws 3D and Amityville 3D. I’m also not talking about the early 2000’s, where 3D was turned over to children’s films, producing flops like Spy Kids 3 and The Polar Express.
When asked about who his favourite American directors were, Orson Welles replied: “I prefer the old masters; by which I mean: John Ford, John Ford and John Ford.
I just can’t stand Jane Austen’s Pride and Prejudice no matter how much coffee I consume. You may think me an uncouth beast for saying so and…you would be quite right.
Over the course of history, Hollywood has given female filmmakers few chances to work on film projects. Fewer chances than their male cohorts, to be sure – no matter their experience or education. Male directors are hired invariably and without doubt, and they are featured and lauded in media frequently.
Over at our official Facebook page, we are currently posting daily film recommendations, with each week being a different theme. This is a collection of those recommendations! This week’s theme is focused on the year 1973.
Laura Mulvey is a feminist film theorist from Britain, best known for her essay on Visual Pleasure and Narrative Cinema. Her theories are influenced by the likes of Sigmund Freud and Jacques Lacan (by using their ideologies as “political weapons”) whilst also including psychoanalysis and feminism in her works. Mulvey is predominantly known for her theory regarding sexual objectification on women in the media, more commonly known as The Male Gaze” theory.