In this, the Year of our Lord 2019, there should be no reason to go fridging a woman. And if doing so once might be regarded as a misfortune, to do it twice in service of the same male character just seems like carelessness.
Welcome to The Umbrella Academy: the Netflix / Dark Horse comic book adaptation that hasn’t met a trope it didn’t immediately adopt. With promising diversity in its casting, it could all have gone so much more right. Though, in retrospect, starting with sudden forced births from 43 unsuspecting women – who until that day didn’t even know they were pregnant – should have been a sign of lack of female autonomy to come. Continue reading →
Is there a phrase more ready to suck the joy out of the room than “it’s pure escapism”?
Alright, perhaps not everyone dislikes it as heartily as I do. But there’s no description of any form of entertainment more guaranteed to put me off indulging in it or extending the conversation with the person in question. As a review it’s unhelpful and as an analysis it’s dismissive. Continue reading →
Women’s stories can be very different from men’s. But are women themselves? Popular female storytelling in film, particularly in the hands of men, is so often disappointingly predictable and narrow: strength is translated in the main as physical, motivation stems from trauma. When a director – with the best intentions – dismisses the impact of gender, race or sexuality, saying they don’t want it to get in the way of telling a human tale, it’s so often a recipe for disaster. At worst, women are written as walking mouthpieces for their issues; at best, their behaviour is still so often tightly laced into restrictive stereotypes.
Enter The Favourite, equipped to change the game with a nuance and subtlety that contrasts gleefully with its coarse dialogue and visually arresting style. Continue reading →
There’s been a wave of Twitter chats recently around favourite bad films (Kong: Skull Island), unpopular opinions (The Lion King is mediocre animal Hamlet with mostly bad tunes) and the like. It’s a great platform for the random and reactionary. But one film kept bafflingly coming up as a “guilty pleasure” with astonishing regularity: Practical Magic.
Now, we all know why that is. We know that it doesn’t actually matter on any level whether it’s a good romantic comedy or not (it is), if the script is smart (mostly), the performances are on point (yup) or the structure makes sense (eh, more or less). What matters is that it’s a women’s film, and we can easily dismiss womeny things that men couldn’t possibly be interested in like love and magic and, um, being beaten and strangled by your insane abusive ex. Actually, it really is a women’s film. Continue reading →
I’ve never wanted to direct films.
Watch them? Definitely. Write them? Eventually (I’ve always envisioned it being an adaptation of prose, not being a habitual screen- or scriptwriter, although a good friend and I have been batting around a TV series idea for ages). Write about them? All the time, whether I’m asked to or not.
But I’m not a filmmaker. Which is why when I first became aware of the BAFTA Guru Live sessions, I wasn’t sure if I really should grab a ticket. I mean, they’re open to everyone and you don’t need to give any reason for attending, but I felt a directing masterclass might be more for filmmakers than writers. Still, I simply couldn’t resist nabbing one while I had the chance.
So, as a different flavour of creative, was it worth me going along? Unquestionably. Continue reading →
I’ve done a lot of crying over this story.
First on a train as I pulled into a local station, red-eyed, having feverishly rushed through the last few, devastating pages of the book on the way home. Then at the London Film Festival, where I can only assume that the last twenty minutes looked as beautiful as the rest because I was viewing it through some sort of blurry waterfall. So I have history with A Monster Calls.
Still, I had to wonder how the the creative team setting up shop at The Old Vic was going to cope with the mixture of mundane school settings and storytelling flights of fancy. Continue reading →
There’s a terrible rift in our household. A Civil War, if you will. You see, I’m Marvel. And my kid is (whisper it)… DC.
It’s tricky. And since neither one of us has a mother called Martha, that line of resolution is closed to us. But if there’s one space where I’m willing to let divided loyalties lie it’s in front of the TV for a family viewing of the hilarious, anarchic show Teen Titans GO! So when we were invited along to a preview of the big screen outing for the Justice League’s biggest fans, it would have taken a feat of superhuman strength to hold us back. Continue reading →
Have you seen it? Have you read it?
For those who haven’t heard of either, Dietland is a 2015 book by Sarai Walker. It’s back in the public eye right now as the screen adaptation by Marti Noxon – producer and writer on Buffy, Grey’s Anatomy and Mad Men, among many others – has just launched. An AMC show, it’s currently on Amazon Prime in the UK, with a new episode released every Tuesday. And even though season one isn’t even done yet, I’m definitely conflicted and need a friend to discuss it with. Continue reading →
In a kids’ entertainment landscape flooded with massive Pixar releases, big animated musicals and a surfeit of superheroes, you might think there’s little room left for an old-fashioned episodic animated comedy. The Big Bad Fox begs to differ. Continue reading →
When I was eight years old, my cinema experiences involved attending a reasonably clapped out West London screen – still with ashtrays built into the seat backs – and being permanently scarred by Who Framed Roger Rabbit? It led to a lifelong love of films all the same. My daughter just attended her first film premiere, alongside Holly Hunter and Samuel L. Jackson, weeks after being given the opportunity to draw alongside an absolute animation hero of mine.The universe likes its little surprises. But that’s parenthood for you. Continue reading →