It’s now officially spooky season, everyone! With restrictions on gatherings and people not feeling comfortable going out, it’s really easy to simply think that Halloween has been cancelled this year. While that may pertain to costume parties and fun social activities like that, Halloween can live on in other ways. Members of one particular social media outlet are making sure that Halloween is just as spectacular this year as it always has been.

Letterboxd is a film social media app where you can log the films you watch, review them, see what your friends are watching, and make new friends in the film community that have similar interests. I’ve been using Letterboxd for four years now to simply log the films that I watch, just to keep track as I watch so many. During quarantine this year, I decided to look further into the social elements of the app and discovered a really rich and excited horror film community that I am now a part of.

For 27 consecutive months now, Letterboxd has been the home of what is called the “Horror Hunt.” For this monthly event, all you need to do is follow the guidelines for that particular month and pick one horror film to watch each day. This obviously isn’t an activity that is possible for everyone, as that is a lot of movie watching, but there are plenty of folks on there that slowly get to their lists and spread them out over a couple of months or more. My first experience with Horror Hunt was in August this year. I watched 31 films in 31 days, and I loved every minute of it. Commenting on the concept of the horror hunt challenge, Letterboxd member Emperor Cupcake states, “It motivates me to watch a film every day, including some that have been on my watchlist for years.” Many Letterboxd members have film watchlists that include well over 1,000 films. Emperor Cupcake continues, “I don’t really know anyone into horror in real life, so it’s nice having an online community of like-minded folks.” Letterboxd provides a great outlet for genre enthusiasts to connect with similar fans who can discuss films they love and also find new films that they haven’t even heard of before. 

In searching through Letterboxd, it is quite clear that the horror community is the most active and engaged with these challenges. There are other challenges but many of them include all genres or focus on periods in film history. Letterboxd member Jon Ursenbach is no stranger to Letterboxd challenges. Ursenbach writes, “This coming Hooptober is going to be my third year participating in it, but beyond that I’ve made a couple monthly horror challenges as well as a Quarantine Staycation Film Festival I ran earlier this year that had me watching 15 Godzilla films and 10 Terminator ripoffs (sourced from a list I’ve been curating) over 3 days. Later this month, in lieu of this year’s Fantastic Fest being cancelled, I’m also doing an Ordinary Fest where I watch 40 films (over 8 days) that’ve run at past Fantastic Fest years.” Many of the challenges were developed to help people get through quarantine while stuck at home.

The most popular of the horror film challenges is called “Hooptober” after iconic horror filmmaker Tobe Hooper. Created by a Letterboxd member known as Cinemonster, Hooptober is currently about to begin its seventh year. To hear Cinemonster talk about the origins of Hooptober and how it has evolved over the years, give a listen to The Podcast Macabre’s interview with him here. 

Some of the criteria. in the various horror challenges can be kind of difficult, sending members on lengthier searches for films that fit the challenge. When asked what one of the more difficult challenges has been, Emperor Cupcake states, “When I have to watch something terrible (like The Bye Bye Man (Stacey Title, 2017), but at least I usually get a good review out of it.” On the September Horror Hunt, we were asked to watch one of the lowest ranked horror films on Letterboxd, Mine ended up being I Know Who Killed Me (Chris Sivertson, 2007) the Lindsay Lohan vehicle where she plays a stripper who loses a leg and a hand to a sadistic abductor. Ursenbach writes, “This year’s August Horror Hunt had a criteria that was “Find a horror movie with positive LGBTQ+ representation and then watch it!” and it was easily the most difficult criteria I’ve faced since I started doing challenges three years ago. I ultimately settled on Lyle (Stewart Thorndike, 2014), after browsing some other user lists that were participating in the challenge, but that was after spending what seemed like hours trying to narrow down films that were LGBTQ+ positive. Just like Black horror seems to be having a resurgence lately, I hope that queer horror can as well at some point because they’re unfortunately underrepresented right now.”

So what exactly do you have to do if you want to participate in this year’s Hooptober? First, simply getting a Letterboxd account will allow you to make your own list. But after that, it’s really up to you. The criteria for the event are pretty open, leaving you the chance to select as many or as few films as you want to complete the challenge. In his original post for the event, Cinemonster notes that the films you select can check off multiple boxes.

You’ll Need:

• Films from SIX countries
• Films from SIX decades
• SEVEN films that are the 2nd film in their horror franchise (i.e. Halloween II (Rosenthal, 1981), Friday the 13th: Part II (Miner, 1981), etc.)
• FOUR films from the body horror sub-genre
• TWO horror films released in 2020
• THREE disease-based films (quite timely!)
• The highest rated horror film from the 1950s that you haven’t seen and can access
• ONE film that is set in entirely one location
• ONE invisible person film
• ONE film that doesn’t include Dracula from the classic Hammer horror film studio
• TWO films from a Black director or with a predominantly Black cast or lead actor
• ONE film with a movie theatre in it
• And finally, ONE Tobe Hooper film

I was able to condense my list down to 23 films, as many of the criteria overlapped. Some members have lists going well past 30 films. Hooptober officially begins on September 15th, as many people are busy and simply can’t watch a horror film every day, giving them an extra 15 days in addition to the month of October to watch all of their films. They must be watched by 11:59 PM on October 31st, however.

For his second year in a row, Jon Ursenbach is adding a charitable donation element to his Hooptober. He writes, “Since moving back to Oakland last year, I had been looking for a good way to help out with the struggling community and class divide out here and decided ‘Hey I’m going to be doing Hooptober 6 anyways, why not put it to a good cause?’ I ended up donating a total of $550 to a local food bank, and it felt really great to help out a local organization while also discovering something like Bones (Ernest R. Dickerson, 2001) and Petey Wheatstraw (Cliff Roquemore, 1977) at the same time. I’m doing the same again this year, again donating $10 for each film I complete, for People’s Breakfast Oakland because they help a lot of the same community here that’s really struggling right now. If I can help them out by finally getting around to seeing Videodrome (David Cronenberg, 1983), why not? As for sourcing donations, I generally just tell people if they’d like to help out to donate directly to the organization and let me know on my Hooptober 7 list or a DM on Twitter so I can keep track for future lists.” Other Letterboxd members have stated that they’ll also be donating for each film that they view.

To wrap this up, here are some of these Letterboxd members’ films suggestions:

Emperor Cupcake: “Lips of Blood (Jean Rollin, 1975) which got me into Jean Rollins’ work!”

Jon Ursenbach: “Tobe Hooper’s follow-up to The Texas Chain Saw Massacre (Hooper, 1974), Eaten Alive (Hooper, 1976). [It’s] a film so bathed in red hues and sweat that you feel you’re watching an actual nightmare. I’m a big Tobe Hooper fan with his work on the aforementioned TCSM, but had never heard of Eaten Alive before, just the other Eaten Alive! (Umberto Lenzim, 1980). It’s currently streaming on Amazon Prime and Tubi, so if you haven’t seen it add it to your Hooptober list while you still can. And stay away from swamp hotels while you’re at it.”

And to close, my suggestion is Silver Bullet (Daniel Attias, 1985) which features a very enthusiastic Gary Busey and a young Corey Haim in addition to the original Anne of Green Gables, Megan Fellows, battling a werewolf in their small town.

Click HERE to support People’s Breakfast Oakland!

And HERE to get started your very own Hooptober line-up!

Until next time, folks!

Film is a medium that combines so many elements to present one work to the viewer. It’s made of images, sound (or lack of sound), movement, color, performance, and so much more. Looking more in-depth at color in film proves that the variances in pigment on screen yield emotional responses and resonate with the themes of the movie. I’ve always been a fan of really dramatic instances of color that set films apart from standard and bland Hollywood fare. That’s not to say that blockbuster films can’t have incredibly colorful visual components, however. It’s just not usually the focal point of your average Fast and Furious vehicle. I love when filmmakers really attempt to connect the viewer to the characters through specific color palettes. It’s details like this that, while clearly visible, can often go unnoticed by someone casually viewing a movie.

Amélie (Jean-Pierre Jeunet, 2001)

When you think of color in film, Amélie is generally a great jumping off point. The palette of Jean-Pierre Jeunet’s 2001 romantic comedy is one of lush greens, vibrant reds, and calming yellows. This is the definition of a feel-good film and the color in the images only adds a layer of calm and beauty. Paris is shown as this magically surreal world where Amélie helps those around her, solves mysteries, and falls in love. Romance is paired with awkwardness and tender self-revelation as she discovers herself through her desire to learn more about the world around her.

The Life Aquatic with Steve Zissou (Wes Anderson, 2004)

I’m about to hit you with a pretty unpopular opinion. The Life Aquatic with Steve Zissou is my favorite Wes Anderson film. I can’t even really explain why. It’s a hot mess. But for some reason, this one always hits me in a more emotional way than any of his other films, which I love. One thing that does stand out here is his use of more vibrant and bold colors. Anderson is usually one of the first filmmakers that pops up when discussing color in film, and that’s because each of his films feature very dramatic and calculated color to accompany the feel of each work. The Life Aquatic uses bright blues, soft greens, strong yellows, and bold reds to accompany the maritime surroundings and the decaying ship the characters live on. Like his other work, this film ties its use of color to the thematic content, as well. Passions run high throughout the entire film as romances bloom and die, pirates attack, familial relationships are challenged, and the sea creatures are examined with stunning stop-motion images.

Moulin Rouge! (Baz Luhrman, 2001)

Chicago (Marshall, 2002) is often credited with rejuvenating the modern Hollywood musical. But I think that credit must be paid to Baz Luhrman’s lush pop music production of Moulin Rouge! Luhrman’s films are all known for their spectacular production design. Romeo + Juliet (1996) brought Shakespeare’s tragedy up to date with tropical shirts and a stellar pop soundtrack. Moulin Rouge! fuses its romantic tragedy with images so colorful and vibrant that it’s nearly impossible to catch everything. Luhrman’s frenzy of a film delivers one beautiful moment after another, capturing the love of Christian and Satine in nearly every color imaginable. This is a film meant to soak in the look and feel of the period while you listen to fun music being played.

Cold War (Pawel Pawlikawski, 2018)

Going against the rest of the films here, Cold War tells its tragically romantic tale in a 1.33 aspect ratio with stunningly beautiful black and white images. With the A24 crowd proving that black and white films in classic aspect ratios can be successful (looking at you, The Lighthouse), contemporary B&W films are becoming more and more visible. While a lot of this can often be linked with hipster film trends, Cold War proves that it is the genuine article. This is a film that was truly meant to look this way. It was my favorite film of 2018 and continues to be just as emotionally effective for me. That is in no small part because of the spectacular cinematography. With such a small image, the lingering moments with these characters in these stark spaces add an extra punch. If you haven’t seen Cold War and are into depressing films that make you feel all of the emotions while being gobsmacked at just how beautiful the film looks, this one is definitely for you.

Three Colors Trilogy (Krysztof Kieślowski, 1993-1994)

With each of the three films being named after one of the three colors of the French flag, symbolizing the political ideals of the French Republic: liberty, equality, and fraternity. All three of these films are outright masterpieces, with Kieślowski giving each film it’s own thematic narrative while allowing the protagonists to cross over in the background of the other films. As the titles suggest, Blue (1993), White (1994), and Red (1994) all feature their titular color heavily in the aesthetic of their film. Blue and Red remain the most effective for me of the trilogy, but I love all three. If you’re looking for three films to make you feel a wave of emotions and to see incredibly beautiful visuals accompanying these themes, this is the trilogy for you.

Do The Right Thing (Spike Lee, 1989)

Spike Lee’s film could not be more relevant for the climate of the US at this point in time. This is one of those films that somehow has managed to become, tragically, more relevant as time has passed. The messages of how to counter hate in this film are driven by powerful quotes from Civil Rights leaders Martin Luther King, Jr. and Malcolm X, and Spike Lee molds their perspectives together to create a really impactful message for the viewer. While the message about combating racism is clearly the main takeaway from this film, the color palette is critical in assisting Lee with hitting that message home. Red is a color that has always been used to convey passion, ranging from anger to love to desire. Here it’s used to convey all three, in addition to the rising heat in the neighborhood due to the aggressive heat wave in New York City.

Kill Bill (Quentin Tarantino, 2003-2004)

Paying tribute to the kung fu movies he grew up watching, Kill Bill incorporates a very colorful palette that includes over-the-top reds for the many explosive instances of blood spray, blues in the Bride’s stunningly beautiful showdown with O-Ren Ishii, and yellows as in the Bride’s Bruce Lee-inspired jumpsuit as she slays her way through the Crazy 88.

Mad Max: Fury Road (George Miller, 2015)

For a very dry post-apocalyptic world, Mad Max: Fury Road features stunningly colorful sequences to counter the many instances of sand and dirt. The sandstorm that Furiosa drives through highlights explosive bursts of color to accentuate the moment with tension. The nighttime sequences are bathed in a stunning blue. Overall, Miller uses color so effectively here, especially in comparison to his earlier films in the series, which rely mainly on sand-colored aesthetics.

Midsommar (Ari Aster, 2019)

This controversial folk-horror film is one that features aggressively bright colors to tell its increasingly dark story. Most horror films utilize darkness to create moody atmospheres to scare the viewer, like Aster’s previous film Hereditary (2018). Aster goes the complete opposite direction here, with nearly all of Midsommar taking place in the vibrantly beautiful and colorful Swedish countryside. It’s hard to imagine something horrific happening when the space is filled to the brim with vast numbers of colorful flowers, maypoles, and lush green grass. That’s one thing that sets Midsommar apart from the rest, not to mention the graphic and disturbing images that accompany the colors.

As these films show, color is used to capture themes, highlight emotions, and signal meaning to the viewer, sometimes warning them of things to come. While it may seem like a very simple thing, color is critically important to production design, and these are just a few films that prove just how effective it, or the extreme lack of color, can be.

Until next time, folks!

I know what you’re thinking. Why would you watch 15 animated DC films? To be honest, I don’t really have an answer to that question. But over the past few weeks, I have. And to counter that further, I’m glad that I did. Everyone knows that the current state of live-action DC superhero films is pretty messy. With Wonder Woman (Jenkins, 2017), Aquaman (Wan, 2018), Shazam (Sandberg, 2019) and Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (Yan, 2020) being the exceptions, Zack Snyder’s competitor to the Marvel universe is chock full of weak characterization, poorly executed CGI villains that are mainly drawing the heroes to over-the-top lasers shooting up towards the sky climaxes. It’s because of this that the format of the animated universe is so successful.

While their live-action counterparts deal heavily with grandiose and tiresome CGI battles, the animated films focus on character-driven moments that really help the viewer understand the heroes fighting these battles. Did you like some of the characters in Suicide Squad (Ayer, 2016) but were shocked at just how bad that film was and how it rewarded no time to anyone outside of the Will Smith/Margot Robbie/Jared Leto drama? Well, Suicide Squad: Hell to Pay (Liu, 2018) somehow manages to give an absurd level of characterization and development to the anti-heroes without the Hot Topic merchandising focal points. This applies to nearly all of the fifteen animated films in this series.

As a kid, Batman: The Animated Series was one of my absolute favorite things. This was a series that gave my favorite hero adult storylines that were still accessible to children. The creators knew that talking down to kids was not the way to go and made sure that these cartoons were elegant, well-acted, superbly drawn, and were guaranteed to stand the test of time. That vibe has carried over into this series of films. DC has released over forty animated films since Batman: Mask of the Phantasm (Radomski and Timm, 1993). This piece is focusing on what DC has coined the DC Animated Movie Universe which ran from 2013-2020. While the digital animation may not be as appealing as the classic hand-drawn style of Batman: The Animated Series, the films are still well-acted and the narratives are concise and effective.

This is a long journey, so I’m listing them in order below. Naturally, there are a few weak points thrown in, but overall, the majority of these films were very entertaining and stayed true to the nature of the characters. A lot of people may find that they are not always 100% faithful to their New 52 storylines, but as I have not read that many of the comics, I honestly didn’t care. They were entertaining to me, and that was really all that mattered. If that doesn’t appeal to you, now might be the time to stop reading.

Here we go:

Justice League: The Flashpoint Paradox (Oliva, 2013)

This comic event was a huge deal. This was one of the few that I actually had read. This 50-something issue event spanned multiple comic titles and led to the beginning of the New 52 era, where DC re-created each of the superhero narratives. This film deals with the consequences of time travel and how Barry Allen as The Flash must come to terms with his tragic past to ensure the future of the world. This film really simplified the story of the comics, but it had to, really. There simply is no way to pack all of that information into one film. Some people will be mad about that, but I still thought the film was well-done. The Flash working alongside Thomas Wayne as Batman was really great.

Justice League: War (Oliva, 2014)

With the end of The Flashpoint Paradox serving as a clean slate, War sees the origin stories of many of the classic DC heroes. This one focuses on Batman, Superman, Wonder Woman, Flash, Shazam, and Cyborg teaming up for the very first time (in this timeline) to protect Earth from Darkseid (a New God supervillain). I have to say, Sean Astin as Shazam in this series is one of my favorite casting decisions. He’s perfect.

Son of Batman (Spaulding, 2014)

This was the film that I thought would lose my interest a bit. The idea of Batman having a child with Talia al Ghul just seemed kind of odd to me. But I have to say, Damian Wayne is fascinating. Obsessed with violence and exacting bloody vengeance is Damian’s method as the new Robin. Some may not like the legitimate father/son dynamic between this new Robin and Batman, but I think it worked incredibly well, and set up some fun banter between Damian and Nightwing (former Robin, Dick Grayson). This is the beginning of several Batman films that take the attention away from the main storyline of the Justice League.

Justice League: Throne of Atlantis (Spaulding, 2015)

You might have noticed that Aquaman was missing from the inciting battle against Darkseid. That’s because they give him his own origin story film here. This features several plot similarities to James Wan’s Aquaman film. I really enjoyed that film, as well. But this one works very well on its own merits. For one thing, animation proves to be more effective for showcasing underwater movement than the CGI hair movement in the live-action film.

Batman vs. Robin (Oliva, 2015)

This film pits Batman against Robin as they quarrel over Batman’s non-lethal moral code. It also incorporates the well-received Court of Owls story from the New 52 comics, which I have actually read. It is altered here to fit into this plot, but again, I wasn’t really bothered. The father/son dynamic works well with that story, and I found everything very enjoyable.

Batman: Bad Blood (Oliva, 2016)

Yep, two Batman side adventures back-to-back. Some viewers might not be thrilled about that, but I legitimately love how the characters are presented here, so I wanted more and more of them. This film features the introduction of Batwoman and the new Bat family’s fight against Damian’s mother Talia’s attempt to destroy Gotham.

Justice League vs. Teen Titans (Liu, 2016)

Now, back to the main thread of the storyline. This film focuses on Damian joining forces with the Teen Titans to stop Raven’s demon father Trigon. After Damian is seen to be reckless when the Justice League first battles Trigon’s minons, Batman sends him to work with the Titans. I was also expecting to not like this one very much, as I have no experience with the Titans and was worried that this would be the point where the franchise began to target younger audiences instead. Definitely not the case. This film is just as adult and compelling as the others. The Titans are each given great depth and moments of characterization so we really get the chance to enjoy their combined efforts.

Justice League Dark (Oliva, 2017)

Oooohhhhh. Now we’ve got an R-rated film. Exciting. This film was very enjoyable. We get some darker narrative moments as Batman and the gang are joined by John Constantine (who is voiced by Matt Ryan from the cancelled, but now revived television series). We see how magic plays a big part in the superhero universe here and how it will impact things later. This one was a great time!

Teen Titans: The Judas Contract (Liu, 2017)

This one was not my favorite in the series, but does feature some fun moments. At first I was really excited about the idea of Christina Ricci in the role of Terra (who, you guessed it, has the ability to terraform her surroundings), but her character was actually pretty annoying, and oddly inappropriate with Deathstroke . It’s got a crazy religious cult, fun Damian and Titans banter and drama, and more.

Suicide Squad: Hell to Pay (Liu, 2018)

If there is one film that you can actively compare to the live-action DC universe and notice a VAST improvement in the animated film, it’s this one. The plots, thankfully, are nothing alike. It’s incredible to think that David Ayer was incapable of developing any believable banter and chemistry between his crew of well-regarded actors in the overly long live-action film, while this 86 minute film delves deep into each character and provides them the room to breathe and really connect and react to every other member of the Suicide Squad. Also, I really love Vanessa Williams as Amanda Waller, who somehow manages to provide more menace through a purely vocal performance than Viola Davis did in her incredibly monotoned, dry, and clearly paycheck-driven turn in the Ayer film. The absence of the Joker here is refreshing, as well. We see Harley as her own individual character instead of simply a reaction to the male characters, and hyper-sexualized male gaze in the live-action film. That being said, this R-rated animated feature is the one film in the series that features more direct sexuality. This is the film where you really start to notice how the series is beginning to really go for it. Nothing is held back here, as the film is frank, violent, but also pretty deep. Also, Christian Slater is really great as Deadshot.

The Death of Superman (Liu, 2018)/Reign of the Supermen (Liu, 2019)

This set of films was also combined into the 2 hr. 45 min. version called The Death and Return of Superman, which was how I watched it. This narrative focuses on Doomsday, an evil creation of Darkseid, and how he overpowers Superman, seemingly killing him. This was explored in a hyper-brief segment in Zack Snyder’s Batman v. Superman: Dawn of Justice (2016). Snyder included this legitimate threat as a final act brief conflict, when it clearly needs to be showcased as its own feature. These two films pack all of the emotional impact that Snyder was unable to convey in his terrible film. I said it, and I meant it. This longer version of both films was incredibly effective and well-made. I remember when it was released, they had a Fathom Event release in theatres, and now I really wish I had gone.

Batman: Hush (Copeland, 2019)

This one is kind of interesting. For some reason, they decided to adapt an older Batman story into this clearly New 52-focused series. As a result, you have a film that comic fans will mostly not like. Personally, I have never read the Hush comic, so I have nothing to really compare this story to. I know that people hate this one. But as a piece in this Batman-heavy series, I think it still works. I found it pretty enjoyable. It definitely isn’t as effective as the Batman and Robin stories that we get earlier in the series, though.

Wonder Woman: Bloodlines (Liu and Copeland, 2019)

It’s hard to believe that they waited until the penultimate film to focus on Wonder Woman. Rosario Dawson, who has voiced the title character since Throne of Atlantis does an excellent job at creating depth in the role. This film was an exciting excursion into the world of Wonder Woman, who we finally get to see on her own without the Justice League.

Justice League Dark: Apokolips War (Peters and Sotta, 2020)

It’s all been leading up to this: the ultimate battle with Darkseid. The narrative threads have all been weaving together to build up to this climactic event. We’ve got the Justice League teaming up with the Teen Titans and the Suicide Squad. This was one film that I wish was longer. The story here is so epic and I would have really loved more time with the team here as the heroes and anti-heroes all collide. It proves to be a great bookend piece to Flashpoint Paradox and really ends the series nicely. Also, it does not shy away from the gritty and dark reality of the world of the series.

There you have it. Fifteen superhero films made in seven years. This may seem like a hefty commitment, and it definitely is a lot to watch. I looked at it as one lengthy season of an adult-oriented Justice League. I think if you do the same, you’ll find that these films really do build on each other to construct a really immersive narrative. It’s amazing that the filmmakers were able to maintain the majority of the voice actors for all of the films following Flashpoint Paradox. I don’t know. I’ve read online that some people really didn’t like some of these films, and I understand that many won’t because they shift away from the comics sometimes. But when you look at them as one cohesive whole, they are drastically more effective at telling a story than their live-action counterparts. Not only is the lengthy narrative stronger, the characterizations are better, the chemistry between the characters is realistic and enjoyable, and they somehow strike a perfect balance between fun and super gritty. Overall, I loved every minute of it. These films were great distractions for me during this really stressful time and if you watch them, I think that you may enjoy them too.

Until next time, folks!

The importance of this single film cannot be overlooked. The fact that this film is 31 years old and somehow is even more relevant today than it was in the 80s is very telling. The film comments on protesting racism, highlighting the history of both Martin Luther King, Jr. and Malcolm X. If you’re going to watch one film to understand the boiling point of the cultural moment that we currently in, give this one a go. It showcases how little jabs of racism build up to a larger scale and how it affects a Black community, while also showing how the white Italian-Americans contribute to it. Do The Right Thing is an absolute must-watch.

Bamboozled (Spike Lee, 2000)

This film focuses on Black representation in media. We watched it in my Minorities in Film class in college and it has always stuck with me. It’s classified as a comedy on IMDB, and while it does have comedic elements, it also is just a striking blow at the racism that is inherently visible in mainstream US culture. It features great performances from both Damon Wayons and Jada Pinkett Smith, as well.

Moonlight (Jenkins, 2016)

The film that beat La La Land out for Best Picture is such a vital and rare look into queer Black masculinity. This is an identity that is so rarely explored in mainstream film. Barry Jenkins delivers one of the most beautifully shot and meaningful stories of journeying from childhood to adolescence to adulthood in this masterpiece. We see the same character grow through the film known as Little as a child, Chiron as a teenager, and simply Black as an adult. This feeds into the point that so many protestors have been making with their signs at marches, “When do I go from being cute to a threat?” Jenkins showcases this by having Black portrayed by the muscular and intimidating Trevante Rhodes. This characterization is countered by the quiet and really tender performances by both younger actors. The moment when Black is reacquainted with his former love interest proves that this mask is just an act to conceal his gay identity, however.  I can’t stress enough how great and important this film is.

Love & Basketball (Gina Prince-Bythewood, 2000)

Many would categorize this as a simple romantic comedy, which it definitely does feature many of the elements of that genre. But it is also more authentic and genuine than the candy-coated films that we usually get. We see the complicated relationship between Monica (Sanaa Lathan) and Quincy (Omar Epps) and their shared love of basketball. The film also deals with very gendered elements of Black women in a sport that is targeted towards men. Definitely a less intense watch than some of the other films on this list, but it is a very fun and emotional film that will satisfy anyone that likes a good romance.

Barbershop (Tim Story, 2002) and Beauty Shop (Bille Woodfruff, 2005)

The Barbershop series is simply a trilogy of fun films with a Queen Latifah headed spin-off. All four films feature great ensemble casts that keep the laughs coming throughout and highlight simple everyday moments within these communities. If you’re looking for a fun time look no further.

BlacKkKlansman (Spike Lee, 2018)

One of Lee’s more recent films, BlacKkKlansman tells the true story of Ron Stallworth (played by Denzel Washington’s son John David Washington), the first Black detective in 1970s Colorado Springs, who attempts to expose the KKK group in town. This film highlights racism within the police system, the KKK itself, and how Black protestors were continuing to fight for equality. The film was released a year after the infamous “Unite the Right” protests, i.e. the ones with the Tiki torches, and proves that the point that the Black community has been fighting the same fight for such a long time. Definitely a must-watch.

Lemonade (Beyoncé, 2016)

This simply couldn’t not be on this list. Many people have listened to this important album, but a lot aren’t aware that there is a 45-minute film made of the connecting music videos. This experimental piece highlights Beyoncé’s talent for combining music and visuals. The film incorporates stunning images of Black history, protest, and Beyoncé’s inclusion of so many different presentations of Black female identities.

The Watermelon Woman (Cheryl Dunye, 1996)

This film serves as the first feature film directed by a Black lesbian woman. It is a semi-autobiographical story as Cheryl plays herself making a film about a black actress from the 1930s who is modeled after Hattie McDaniel who played Mammie in Gone With The Wind. It is a comment on how Black women are erased from film history and the ones that do remain are in racist stereotype roles. It goes on to point out that queer Black women have had no space in film history, at all. This thought-provoking film is definitely worth a watch!

Sorry to Bother You (Boots Riley, 2018)

For my last film on this list, I’m including this very interesting and strange film. Sorry to Bother You is a very bizarre sci-fi film that deals with race and a new concept of futuristic slavery. I won’t spoil anything from this one, because it is just such a highly original and well-made film. I’m so excited to see what Boots Riley does next. It features great performances by LaKeith Stanfield (who is one of my favorite current actors), Tessa Thompson, and Armie Hammer. If you’re wanting something weird and meaningful, this definitely fits the bill.

So, there you go. There are 12 films that you can watch instead of The Help that feature authentic Black voices and narratives instead of a white perspective on the Black experience. This list is meant to give white people a jumping off point into Black cinema, which is full to the brim of great films and filmmakers that are sadly not given the spotlight that they deserve.

Black Lives Matter!

Until next time!

When you think of the movies that you like the most, which films immediately come to mind? Is it the Oscar-nominated dramas that make you think and feel complex emotions for a two-hour period? How about the action films that you’re embarrassed to say that you’ve seen the entire franchise and enjoy each new entry (hello, Fast and Furious!)? Maybe the romantic comedies that you watched growing up with friends and family that created formative and nostalgic memories for you that you relive each time you watch them? Or maybe it’s just the movies that scare the shit out of you? For me it’s a nice mix of all of the above.

The concept of the guilty pleasure is something that I think kind of demeans the enjoyment that we get from them. What exactly is making us feel guilty about re-watching Dirty Dancing (Ardolino, 1987) or Clueless (Heckerling, 1995) for the umpteenth time? Why the hell should it bother us that we’ve seen all eight Fast and Furious movies, and also Hobbs and Shaw (Leitch, 2019)? This is something that has always bothered me. Getting a degree in film production and film studies can really make you feel a bit self-conscious about the films that you secretly enjoy. I love international film and challenging thought-provoking cinema as much as the next person, but there are times when I just want to sit there and watch Elizabeth Shue sing the “Babysitting Blues” in the bar in Adventures in Babysitting (Columbus, 1987).

So, here is a list of films that fill that space for me. Much like people have pizza and macaroni and cheese as their comfort foods, these are my comfort films. I’m done thinking of them as guilty pleasures, because there is no guilt associated with them for me. If someone judges you for liking films that make you feel good, maybe you shouldn’t be friends with them?

Adventures in Babysitting (Columbus, 1987)

For me, this film goes back to around 1997 when I had watched it on one of the free Disney Channel weekends, and I liked it so much that my parents bought me the VHS at K-Mart. My friend Abby, who lived down the street from me at the time, and I watched this so many times in my basement. It’s chock full of nostalgia for me. You’ve got big-haired Chris Parker (Elizabeth Shue) with her oversized coat and epic 80s dance moves taking the kids she’s babysitting (Brad, Sarah, and Brad’s friend Daryl) into downtown Chicago to pick her friend Brenda (Penelope Ann Miller) up from the bus station after she ran away from home. They get caught up in the criminal chop shop scene, when Daryl steals a Playboy magazine that the head of the operation has, for some reason, written down the plans for the criminal organization on the centerfold spread. It’s so weird to think of that even being shown on the Disney Channel now. This is a film that actually holds up very well, even when you take off the nostalgia glasses, as the many people that I have shown it to who had never seen it before can attest. When we were kids, Abby and I used to laugh so hard when the classic “Don’t fuck with the babysitter” line came as Chris pulls the knife out of Brad’s foot and aims it at the gang member threatening the group. This was a moment in the film that my parents had no idea about until many years later!

Good Burger (Robbins, 1997)

Nickelodeon was a huge part of my pop culture upbringing as a kid. My parents and I watched all of the classic Nicktoons of the 90s together, with Doug, Rugrats, and Hey Arnold! usually being counted as the favorites of the bunch. Saturday night usually meant we were watching the Snick lineup back then. As most 90s kids know, All That was the main focal point on Saturday night. This kid’s version of SNL featured so many classic sketches that are still funny today. Kenan Thompson and Kel Mitchell were two of my favorite performers on the show. Kel was famous for the Good Burger sketches where he played the inept fast food worker Ed. The sketch was one of the defining comedy bits of the show, so naturally it paved the way for the inevitable Good Burger movie. Several of the All That kids popped up in various roles in the film, but the stars were Kel reprising his role as Ed and Kenan playing the money-scheming Dexter. Is Good Burger a good movie? Absolutely not. It’s beyond cheesy and really probably only accessible to people who grew up watching All That. I’d imagine the younger folks probably just wouldn’t go for it now. But as someone who owned the orange VHS of the movie as a kid, it still is one of my favorites from my childhood.

Clueless (Heckerling, 1995)

Damn! What is there to really say about this one? I mean, Clueless is pretty perfect. This is a film that stands the test of time and instead of turning out to be a dated and problematic film (looking at you Sixteen Candles), stands as a time capsule to this very particular cultural moment. Amy Heckerling’s dialogue is still just as funny and clever now as it was when the film was released, and Alicia Silverstone’s performance as Cher is still one of my all-time favorites. While it would be so easy to portray Cher as a dumb, rich, high school girl, (think of some of the performances in Mean Girls), Silverstone gives Cher depth that makes her truly relatable despite the fact that she has crazy amounts of privilege, money, and should be all-together unlikeable. Instead, Silverstone’s Cher is the heart and soul of this film, and you could argue one of the most likable protagonists of the 90s. My cousin Michelle and I used to watch her VHS of this film so often when we would have sleepovers at each other’s houses when we were growing up. This is also one where I still know all of the songs from the film’s soundtrack. It was just that iconic.

Wet Hot American Summer (Wain, 2001)

This is one of my absolute favorite films. I will never not find the awkward adventures of the campers at Camp Firewood funny. Wet Hot American Summer features so many early performances from comedic (and dramatic) actors who have since become incredibly famous, i.e. Amy Poehler, Bradley Cooper, Elizabeth Banks, and Paul Rudd (that’s two of his films on this list, now!). It may seem like a very niche product just parodying the camp films from the 70s and 80s, but it is so much more. While the parody is incredibly effective and hilarious, the characters in the film work so well that they become genuinely original instead of just spoofs of tropes (that sort of limited comedy is more in line with the Scary Movie series and the many cash grabs that they brought about). If you’re wanting just a good laugh, this is definitely one to check out.

Out to Sea (Coolidge, 1997)

This is a film that I wouldn’t have watched if my friend Sean hadn’t brought it on vacation when our families went to Myrtle Beach together the one summer when we were in elementary school. We watched this at least three times that week. Now you might be thinking, that’s weird that kids would think Walter Matheau and Jack Lemmon’s shenanigans on a boat are hilarious, but here we are. Elementary school me loved this, and 31 year-old me still does. Is it great? No. But it does everything you need a Matheau/Lemmon comedy from the 90s to do.It has amazing character actor performances from Elaine Stritch, Rue McClanahan, and Brent Spiner and also a really alluring performance by the gloriously big-haired Dyan Cannon who is ageless. This is a movie that my parents and I still watch when we go to the beach each year, and it is just as fun each year.

You’ve Got Mail (Ephron, 1998)

If there is a film that I legitimately classify as a guilty pleasure, it’s this one. You’ve Got Mail is a film that, by all rights, I should not like. Yes, it fits well within the realm of the romantic comedy of the 1990s, and it has many fun moments. It also features the romantic leading man destroying the literal career and livelihood of the female lead. Meg Ryan’s Kathleen Kelly owns The Shop Around The Corner, named after the Ernst Lubitsch film that Nora Ephron based You’ve Got Mail on. Tom Hanks’ Joe Fox is heir to the Borders-esque Fox Books, which proceeds to ruin the business of Cathleen’s bookstore. Ryan and Hanks definitely have great chemistry, but I think it’s Nora Ephron’s excellent dialogue and the soundtrack of the film that really seal the deal for me here. Also, I’m just a sucker for Meg Ryan.

Since I’m done considering any film a guilty pleasure, these are films that I simply enjoy. They’re films that I can just pop in and feel better when they’re over. Much like the slasher films from my previous post, they create a great distraction during a stressful time like we’re all living now. What are some films that you love that you might not be willing to admit to everyone?

Until next time!

What can I say? The slasher sub-genre is one of my favorite categories within the horror genre. So, when faced with the reality of staying home far more often than normal, I thought, why not go for it and watch as many slasher films as I can. I won’t give you any exact numbers, because you’ll just be like, “Wow! That’s excessive!” But what I will do is break down some of the better entries of my latest horror project for you. If you too want to attempt to make quarantine a bit less painful and full of sleazy horror films, this is the list for you.

The Burning (Maylam, 1981)

This is generally regarded as one of the slasher classics but I, for some reason, had not watched it prior to COVID-19. Featuring some great practical make-up effects by the great Tom Savini, this 1981 film has a rather generic plot where Cropsy, Camp Blackwood’s caretaker, is accidentally horrifically burned in a prank gone dangerously awry by some of the campers. Five years later, Cropsy returns to exact his vengeance at the camp. While this may be a pretty typical set up for a slasher film taking place at a summer camp, it is full of engaging death sequences, fun performances from folks like a very young Jason Alexander (of Seinfeld fame), and good use of location. If you’re a fan of the Friday the 13^th series and want something that branches out a bit, The Burning is one to check out.

Graduation Day (Freed, 1981)

Also released in 1981 is Herb Freed’s Graduation Day. I knew that there was a reason that I hated running. Freed’s film tells the deadly story of Midvale High’s varsity Track and Field team. The film begins with the death of Laura Ramstead as she crosses the finish line at a meet, after being pushed to the limit by the menacing Coach Michaels. The film picks up two months later when Laura’s older sister Anne comes back to town from serving in the Navy to honor her sister at the graduation ceremony. But, as graduation day approaches, the remaining members of the team are slowly being killed off one by one. The reception of this film was pretty terrible at the time, and horror fans don’t seem to look too kindly on Graduation Day, either. I think this is a big mistake and a shame. While it does conform to a lot of slasher tropes, Martin Jay Sadoff’s editing makes the film stand out in a way that few slasher films are able to. The film features really unique editing during the death sequences, as well as a few other moments, that is used to heighten the intensity of the killer’s acts. If you’re looking for a film that technically stands apart from traditional slasher fare, this is the one for you.

Happy Birthday to Me (Lee, 1981)

I know what you’re thinking. Damn! Why are all these films from 1981? And honestly, I think it’s just the result of Friday the 13^th (Cunningham, 1980) being such a significant success the year before that studios were eager to crank out as many knock-off slasher films as they could. While many of the resulting films were pretty terrible, the films here prove that attempting to cash in on a trend can allow for fun horror films that can attract audiences with their own merit. J. Lee Thompson’s Happy Birthday to Me also proves that point. The film focuses on Ginny, a member of the “Top Ten,” the cool kids at Crawford Academy. Featuring some of the more unique deaths in a slasher film that I’ve seen, the film tries to get a bit more psychological than the standard slasher film and utilizes some pretty fun surprises along the way.

Popcorn (Herrier, 1991)

Finally, a film from not only a different year, but a different decade. The early 90s is well-known as the dead period of the slasher film. People were getting burnt out on Freddy and Jason and the quality of the multiple sequels of each franchise were going downhill, looking at you Freddy’s Dead (Talalay, 1991) and Jason Goes to Hell (Marcus, 1993). Popcorn kind of pre-dates Wes Craven’s Scream in its attempt at including victims that are familiar with horror films. Not reaching the meta-level of Scream, Popcorn instead includes film production majors who are hosting a fundraiser to save the film department by creating a classic monster film marathon. Herrier obviously has a huge love for these classic films, as he references William Castle gimmicks like the shocker seats used when audiences saw The Tingler (Castle, 1959), odorama, and more. The film also features horror icon Dee Wallace as the protagonist’s mother. While not exactly scary, Popcorn is a very fun slasher film for people that love classic horror films.

Pieces (Simon, 1982)

Just to clarify, Pieces is a pretty terrible film. It contradicts itself constantly, features very comical product placement, and doesn’t really attempt to scare. But that is probably the reason why I loved it. This co-production between Spain and the US is a hoot. While it may not be scary, it does serve some of the greatest examples of slasher sleaze and violence that I’ve ever seen. Pieces works more as a mystery with outbursts of chainsaw violence and over-the-top brightly colored blood explosions. While not for everyone, if you’re up for some vintage 80s sleaze, Pieces is a great and more obscure slasher film to check out.

Stage Fright aka Deliria (Soavi, 1987)

This Italian/American slasher focuses on the deaths of members of a theatre troupe as they’re working on their latest production. The setting is limited to the stage, the dressing rooms, the rafters, and other hidden places in the theatre. What could have been just another cheesy slasher turns out to be an incredibly effective and creepy effort. The killer wears an owl mask, which sounds silly but is actually quite creepy both from a distance and in close encounters. Each of the actors in the film really go for it as they portray theatre actor tropes. If you’re someone who likes being on stage, someone who likes creepy owls, or someone who likes horror films in contained locations, Stage Fright is definitely worth checking out. I was very impressed with the visuals of the film. Soavi definitely utilized visual techniques from the giallo films to increase the intensity.

Savage Weekend (Paulsen, 1976)

Savage Weekend is a very interesting slasher. Filmed in 1976, long before Halloween (1978, Carpenter), but not released until 1980, Paulsen’s film is rather innovative in its representation of sexuality. The film also extends Tobe Hooper’s town vs. country theme from The Texas Chain Saw Massacre (1974). Personally, I had never even heard of this film, until someone suggested it in a slasher film Facebook group I’m in. It’s quite clear that Paulsen is more invested in the sex shared between the characters than the narrative, but it does feature a very interesting story that was very surprising. One really important standout for this film is its inclusion of a gay character who is shown in a rather complex way. While Christopher Allport’s Nicky may fall into some of the gay stereotypes, he is far more than the female protagonist’s best friend. Instead, Nicky is a fully developed character that strikes out at homophobia in the small-town bar, which is pretty incredible considering that this film was made in 1976. Savage Weekend is a sexually-charged slasher film, but stands out even more for its ahead-of-its-time portrayal of gay sexuality.

Sweet Sixteen (Sotos, 1983)

Wrapping up the list is Sweet Sixteen. While Sotos’ film features some pretty standard slasher elements, it relies on red-herrings and mystery to surprise the viewer, which worked pretty well, overall. What this film does attempt to do differently is to address issues of racism against Native Americans. I’m still a bit undecided if Sotos actually does achieve anything from this discussion, but he at least attempted to address the issue. Honestly, most slasher films do not attempt complex discussions of race, so by raising the issue beyond mere representation, Sotos does more than most. The film also includes a fun performance from Patrick Macnee (Steed from the original Avengers television show).

If you give any of these films a go, let me know what you think or if you hate them and think I’m just watching trash! Regardless, these films have been a fun distraction for me during this COVID non-sense. And you can’t really ask for more than that.

Until next time!

What do you do when you’re quarantined in your apartment? You watch all of the Friday the 13th films, of course.

When looking back at the Friday the 13th franchise, it’s fairly easy to get the various volumes tangled up and intertwined. A series with twelve entries has clearly cast well over one hundred victims for both Mrs. Voorhees and her son Jason to slash their way through. As a favorite franchise of mine, it is easy for me to distinguish one film from the next, however. This is due to narrative differences between the films, the performances of the many final girls and the victims, and the technical elements of the films themselves. When examining the films from a purely visual perspective, the third entry in the series clearly stands out as the most technically engaging due to its use of 3D technology. This quarantine period presented itself as the perfect opportunity to rewatch this franchise. And during this rewatch, Friday the 13th: Part III (Steve Miner, 1982) stood out to me more than it has in the past. While I’ve always really enjoyed this film, as it is where Jason sheds the potato sack for the iconic hockey mask, the fourth entry has always eclipsed it for me. 

This rewatch presented me with a film that while certainly not perfect, tries much harder than some of its peers to give the audience a memorable horror experience. 3D, in the original blue and red glasses sense, is generally regarded as a gimmick connected to the cheesy but fun films of producers like William Castle in the 50s that were made to attract audiences to the theatre after television began entertaining folks at home. To add this extra dimension to the Crystal Lake universe, “Paramount executive Al Lo Presti spent nearly a year researching projection equipment in U.S. theaters in order to develop a 3-D lens and projection system exclusively for the studio” (AFI Catalog). This made Part III the first widely released 3D film ever. With the exception of drive-in theatres and the occasional theatre that was not willing to upgrade their equipment, the film was shown in 3D in nearly every theatre in the country. Paramount had not released a 3D film since Jivaro (Edward Ludwig, 1954).

For this piece, I made gifs of every direct 3D moment in the film. Instead of including the blue and red tinted images, I decided to show the 2D images for clarity here. It is still quite easy to see if the image is particularly effective when shown in 3D or not. As the first several images show, director Steve Miner uses some funny moments of the couple that owns the film’s introductory general store, i.e. the mouse, the snake in the rabbit hutch, the clothes line pole, and the television antenna, to show how 3D will enhance the world of Jason. For those of you you that haven’t had the pleasure of seeing Part III, I would be cautious proceeding any further, as the gifs here will definitely spoil the kills and the ending of the film.

Part III opened on 1,079 screens on August 13th, 1982 (813 of which screened the film in 3D). Despite a couple of lawsuits from companies like Marks Polarized Corp. (which was claiming that Paramount was trying to singularize the exhibition of 3D by lowering the exhibition fee for theatres if they showed the film in 3D with the lens they offered) and a couple others that were also tossed aside, the film made $9.6 million on it’s opening weekend on its $2.2 million budget (AFI Catalog). The film would go on to earn $36.7 million. Paramount had spent an additional $2 million on the lenses for the theatres to project the film.

In the special features on the blu-ray of the film, the cast members talk frankly about how the 3D technology of the film was easily the major focal point of the production, leaving them to work on their performances without the normal focus of the director. Often times, Friday the 13th fans seem to think that the cast of this film is rather forgettable. I think that judgment does a great disservice to this cast. Considering that they alone were mainly responsible for their characters and their performance decisions, I think each member of the cast gives a memorable turn as a slasher film victim. One of the film’s strongest elements, however, is Dana Kimmel’s turn as Part III‘s final girl Chris Higgins. 

Chris Higgins is probably one of the most well-developed final girls of the slasher films of the 80s, in that she has a backstory that involves a previous encounter with the killer. Throughout Part III, we are given small glimpses into Chris’ first escape from Jason. The Higgins family naturally owns property on Crystal Lake, meaning that she grew up knowing all about the disturbing events that transpired at Camp Crystal Lake. In this film, Chris is returning to Higgins Haven, after some time away due to her traumatic encounter and escape from nearly being killed in the woods by an unknown man. Unlike the other final girls in this franchise who are simply introduced to the viewer without any knowledge of their previous life, Chris is presented to the audience as a young woman already on edge, instead of a girl who is later thrust into a dangerous and horrifying situation. This change in characterization is a refreshing take on the concept of the final girl.

Like many slasher films, the group of victims of Part III is made up of four pairs. Three of which are legitimate romantic couples and the fourth is the blind date pairing of Shelly Finkelstein (Larry Zerner) and Vera Sanchez (Catherine Parks), shown in the wallet-throwing and car window-breaking gifs above, which is obviously not going to work out. Zerner’s Shelly is the prankster of the bunch, which puts him towards the top of the killer’s list of victims. Credit where credit is due, however, as it is Shelly who provides Jason with his iconic hockey mask, as he uses it on a prank to scare Vera, foolishly thinking that scaring a girl will make her fall into his arms. Debbie Klein (Tracie Savage) and Andy (Jeffrey Rogers), as shown in the fun yo-yo gif above, add another disturbing element to the film. When Debbie is introduced, we are quickly made aware that she is pregnant, proving that no life is safe when it comes to Jason. 

Returning to Chris, the above image shows one of her FIVE moments where she causes physical harm to the killer, a number which goes above the average blows dealt to the killer from a final girl. Her developed relationship with Rick (Paul Kratka), whose eye is popped out in the gif above, that is introduced at the beginning of the film proves that she and her peers are also a bit older than the average high school-aged victims of the slasher genre. This is also made apparent by the adult stoner couple Chuck and Chili (David Catims and Rachel Howard) that Chris is friends with.

Friday the 13th: Part III is the perfect representation of the slasher film. Chris proves to be an incredibly effective final girl. The group of victims features the stereotypical characterizations of the jock, the stoners, and the prankster. There is a creepy prophetic man (the older man with the eyeball in his hand). The Higgins Haven barn is the perfect location for the killer’s cat and mouse games, as shown in the earlier gifs with the biker gang members above. It features the trope of the city vs. the country as the victims leave the city for their quiet Crystal Lake weekend. Miner’s film (his second Jason effort, as he also directed Part II) is definitely one of the strongest entries in the Friday the 13th canon. As with many of the slashers of the time, Part III also unfortunately features the trope of the black characters in the film being killed very early on. Fox (Gloria Charles) is a member of the biker gang, shown climbing the later in the above gif, that Jason kills one-by-one as they plan on burning the Higgins barn down after their encounter with Shelly and Vera in town. Charles gives a very charismatic and fun performance in the film, and it would have been so fun to see her character given more time on screen as she would be forced to pair up and combine forces with Shelly and Vera, but it was sadly just not meant to be. In the few moments she has on screen, Gloria Charles commands every second of them, giving more energy and life to her role than the majority of the other cast members. Charles sadly passed away in 2016. The biker gang’s other member Ali (Nick Savage) does live long enough to help Chris during the final barn showdown.

This re-watch of Friday the 13th: Part III proved to be very rewarding, as I gained an even deeper appreciation for this entry in the franchise. Chris is probably my favorite of the final girls in this series now, which I thought that spot would always belong to Alice Hardy (Adrienne King) from the first film. Chris has proven to be even more engaging, more resourceful, and more aggressive in her confrontations with the killer. Also, in making all of these gifs, I have a better appreciation for all of the fun 3D moments that the film captured. While a lot of them definitely fall on the gimmick side, several of them are very effective and add a very fun touch to a series that relies on pretty traditional scare tactics in each entry. In this regard, Part III stands out as the Friday the 13th film that tried something new visually. While Jason may be a zombie after the 6th entry, and The New Blood might feature a final girl with telekinetic powers, Part III does everything that you want a slasher film to do and it does it all very well. This one is definitely worth your time if you’re currently trapped in your house or apartment and are looking for a return to Crystal Lake.

It also features a fun take on the classic young Jason jumping out of the lake at Alice in the original, as shown below. 

Until next time, folks!

AFI Catalog Entry on Friday the 13th: Part III:  https://catalog.afi.com/Catalog/moviedetails/56785

I know that after stating in my introductory post that horror films might be the focal point of this blog, that will not always be the case. A prime example is this first post. Instead of writing an appreciation for the Full Moon Entertainment cult Puppet Master films (which most definitely will occur in the future), I instead am drafting this piece on Autumn De Wilde’s 2020 candy-colored literary adaptation Emma.

This film serves as a rather important one for me at this odd point in time. Emma happens to be the last film that I will see in an actual movie theatre for what appears to be some time. Interestingly enough, Universal has announced that they will be releasing for early quarantined streaming for those practicing social-distancing at home. This was a film that I went to see without even seeing a trailer prior to my viewing of it. So for those of you in the same position, here is the trailer:

Focus Features has released another stunningly costumed period piece. I’m going to make a confession now. I have never read Jane Austen’s Emma, so I cannot attest to the detailed comparison between the narratives of these two texts. What I can say, however, is that I was doing a nice job of aligning the characters from Amy Heckerling’s Clueless (1995) to their appropriate molds in this film.

It is really emotional to think that it might be several months before I am back sitting in a movie theatre again. But I will be honest, I think I saw the best film of the pre-quarantined time when I sat reclined with the seat warmers running at the Cinemark Bistro. (So fancy, I know!) To say that this film features an excellent cast would be an understatement. Anya-Taylor Joy revels in the protagonist’s matchmaking and society-challenging schemes while providing so many cheeky looks to the camera that the viewer cannot help but to become just as enamored of her as everyone in the village. Bill Nighy contributes a performance that ranges from daft and hilarious to tragic and emotional. This was the first film that I had seen Johnny Flynn featured in, and as a fan of his music, I was quite interested to witness his screen presence. Flynn adds layers of humor and romantic leading man qualities to the film, that compliment Joy’s acting decisions nicely. Mia Goth’s Harriet is awkward and so on point for this poor young girl that is being nurtured and groomed by Emma. Miranda Hart’s Miss Bates comes close to stealing the show, as well, as she annoys Emma and Harriet with tales of her illustrious niece Jane Fairfax (as shown below).

De Wilde’s film is one of great humor but also of great filmic beauty. Christopher Blauvelt’s cinematography is classically beautiful but also brimming with energy and excitement as Emma’s match-making attempts fail that it is difficult to know where to look. Emma serves as a reminder that an adaptation of a 204-year-old novel need not be a stuffy and boring affair. Sofia Coppola’s oft-maligned Marie Antoinette (2006) could be viewed as a mild influence on the film, save the punk-rock soundtrack and faster edits. De Wilde’s Emma feels so alive that a modern young audience should have no problem engaging with it. Often times, period films are viewed as strictly for mature and elderly audiences, but this is a film that can capture anyone’s attention and hold it for its 124 minute duration. The comedy was so effective that my friend Jenny and I laughed out loud countless times throughout the film.

The female gaze of the film is present from the onset, as the camera lingers on Johnny Flynn’s George Knightley as he dresses, and we see how he is an object of affection for multiple women throughout the film. This contrasts so refreshingly with the ever-present male gaze that is utilized in the great majority of films.

As stated early on, Alexandra Byrne’s costume work in the film is incredibly striking and features very bold color choices that greatly compliment each actor donning the pieces. Anya-Taylor Joy is given so many iconic looks in the film that it without a doubt will be up for costuming awards throughout the next awards cycle. The locations chosen for the film add an additional layer of warmth and narrative accuracy to the film, as well. The spaces that the characters inhabit really add up to, as clichéd as the sentiment sounds, characters in their own right.

I’ll be completely honest. I loved this film. It captured me from the very beginning and had me laughing and also invested in the emotional entanglements of all its characters for the entirety of the film. It’s easy to brush off new adaptations of classic literature that have been brought to life on screen multiple times as not having anything new to contribute, but this rendition of Emma is far from that lot. It breathes new life into Jane Austen’s classic novel and creates a film that will surely entertain you.

While it is quite sad that we’re unable to go to the movie theatre for the foreseeable future, it is nice to know that I went out with a bang with this one. To all of you quarantined film lovers, definitely consider renting it from Universal when they release it this Friday. And remember to keep watching new films and step outside of your comfort zone!

On a side note, for anyone interested in Johnny Flynn’s musical career, check out the video below for one of his earlier hits from his 2008 album A Larum.

Also, if you haven’t witnessed the comedic chops of Miranda Hart, do yourself a favor and watch her hilarious show, Miranda (streaming on both Hulu or Amazon Prime at this time).

Until next time, film folks!
-Eric

Hello film folks!

As you’re reading this, you’re also probably quarantined at home. What a time! Anyhow, I made this blog at least two years ago and I keep meaning to actually post something of significance to set The Dark Projector on it’s path. You might be wondering, “why is this blog called ‘The Dark Projector’?” I’ll be perfectly honest with you. I felt that the title sounded cool. (That’s the main reason). The other reasoning behind the name is it reflects the nature of the films that most interest me (horror, thrillers, noir, disturbing international films, cult classics, straight-to-video schlock, etc.) and the literal image of a film projector not being used paired with my sadness of the destruction of my campus’ lovely theatre. 

So, what will happen here? To be honest, it will most likely be a mix and match of my various film interests, combined with my increasing anxiety regarding my continued dissertation work, and more. Video criticism is something that I am becoming increasingly interested in, so hopefully there will be elements of that in The Dark Projector’s future, as well.

To the film folks out there that are reading this, here’s to you. And here’s hoping that this blog will be at least of mild interest to you when it gets up and running properly. Until the next time, keep watching films that you haven’t seen before and reach outside of your comfort zone. Let’s be honest with ourselves. That’s where the best film experiences come from. 

-Eric