As the thirteenth entry in the Marvel Cinematic Universe (MCU), and first of Phase Three, Captain America: Civil War is full of crowd-pleasing moments, but it fails to deliver on these on a thematic level. Its neutered narrative pulls more punches than its heroes, the villain is more unnecessary and forgettable than the average Marvel fare, and a potentially powerful story line is treated with all the nuance of a Political Science 101 class. As a comic book action film, it certainly manages to entertain, but it falls far short of any aspirations to be something more than the latest summer popcorn flick.
Derek Jacobs
How To Develop Theme: The Perversion of Sex in “Alien”
INTRODUCTION
Sexual interpretations of Ridley Scott’s Alien (1979) abound, but few tie the overt sexuality of the film to its professed objective, which is to be scary. Alien is a horror film (specifically, a slasher; Ridley Scott excitedly explained the film to his cast as The Texas Chainsaw Massacre in space). So then, why the sexual imagery and themes? Sex can be scary. Even when consensual and enjoyable, it can adopt an air of fear, anxiety, and discomfort. Scott’s brilliance with Alien and its sexually-charged themes lay in the way it transitions from our quaint hang-ups with sex to the terrifying violence inherent in the act of rape. Visual symbolism in the film initially reminds us of both male and female sexual anatomy, but transitions piecewise into the aggressive sexuality of the rapist. As the film proceeds, the male aspects of the sex begin to dominate until the unbridled Xenomorph literally rapes its final victim. These sexual characteristics serves to disturb the audience in two fashions: first by suggesting the anxiety and the scariness of the sexual organs and sex itself, and second by perverting sex into a primal violence and forcing the audience to experience it firsthand.
State of the Blog – May 2016
The minimally observant among my scant reader base may have noticed that I neglected to post a State of the Blog update at the beginning of the month. Though these posts are among the easiest to draft and write, they still require an amount of focus that I was just not prepared to express for the last couple of weeks. My professional life has taken over the vast majority of my headspace for the last month, and only now do I feel like I have a window of respite to think and talk movies. So, instead of simply ignoring the SotB post for this month, I’ll deliver it a couple of weeks late.
“The Silence of the Lambs” Script Analysis: Scene-by-Scene Breakdown
Over the last week, GoIntoTheStory.com has been walking through a script analysis of The Silence of the Lambs based on a scene-by-scene breakdown that I wrote. I have decided to re-produce that breakdown in its entirety here, and provide a link to the rest of the script analysis near the end of this piece. The goal here is to summarize the entire script scene by scene, which will make further analyses easier. Enjoy!
“Green Room”: The Punk Band vs. Neo-Nazi Slasher
Jeremy Saulnier’s Green Room takes advantage of two primal human fears to fill its audience with a profound sense of unease: the fear of confinement, and the fear of being outnumbered in a fight. The film establishes an omnipresent feeling of dread by casting the members of a punk rock band into the deep end of a hinterland Neo-Nazi club. Though the set itself is fine, one of the members witnesses something he shouldn’t, and the film becomes a hyper-realistic slasher thriller set in this single, remote location. Though the story essentially recreates the “Ten Little Indians” trope, there is a subtlety and direction to the plot and a dimensionality to the characters that raises Green Room above the common slasher.
Hot Docs Coverage on CinemaAxis
Greetings readers! I am going to post a quick blog-related post to remind my readers that CinemaAxis.com has started its coverage of the Hot Docs film festival – a festival based in Toronto that focuses on documentaries. In this month’s State of the Blog post, I mentioned that I was lucky enough to review three of these documentaries. In fact, I was offered two additional films, so I ended up with five documentaries to review. Below I will tell you the films that I got to see, the day the review will be posted on CinemaAxis, and a short synopsis of the flick to whet your appetite. Here we go!
Taika Waititi’s “Hunt for the Wilderpeople” is a Coming-of-Age Farce with Genuine Heart
Wisconsin Film Festival Opening Night
New Zealand director Taika Waititi has created a magnificently funny coming-of-age film in Hunt for the Wilderpeople. Most known for the HBO series Flight of the Conchords and the mockumentary What We Do in the Shadows, Waititi has also directed more standard narrative-based films like Boy and Eagle vs. Shark. Hunt for the Wilderpeople falls in this category, as it tells the story of an orphan named Ricky being introduced to a new foster family on the edge of the New Zealand bush.
Mike Flanagan’s Disciplined Style Makes the Seemingly Simple “Hush” an Outstanding Slasher
Slasher flicks structured around a home invasion are nothing new, but in Hush, Mike Flanagan has managed to craft something quite original through a collection of limitations on the characters and story. By maneuvering around these limitations and using them to his advantage, Flanagan imbues novelty into this oft-tired subgenre and keeps our attention frozen on the screen as a horrible scenario unfolds: a psychopathic killer with no need for ulterior motivations discovers that his next quarry is deaf.
“The End of the Tour” Gives Us a Great David Foster Wallace, and a Solid Conversation
On September 12th, 2008, novelist David Foster Wallace committed suicide. Most famous for his seminal novel Infinite Jest, Wallace’s death reverberated throughout the literary community. Fellow writer David Lipsky reels at this news, as Lipsky had interviewed Wallace for Rolling Stone over a period of twelve days at the end of Wallace’s book tour for Infinite Jest. James Ponsoldt’s The End of the Tour begins here, with Lipsky unearthing the shelved tapes from these interviews in an effort to revisit “the best conversation [he’s] ever had”.
State of the Blog – April 2016
As expected, Plot and Theme ended up just short of 50K views, at around 47700. That’s okay, and there’s a good chance that by the time I officially hit one full year of posts (on April 27th). I also wrote much less in March than I wanted to, but a lot of my writing effort was for cover letters and other such non-fun things. Regardless, I am looking forward to growing readership and interaction more, and one of the ways I am going to do that is include a closing to each of my posts where I directly ask questions and make comments, so keep your eyes for this sight stylistic change in my posts.