As Catching Fire catches fire at the box office to the tune of $150 million or more, it’s time to call shenanigans on Hollywood’s decade-old assertion that women can’t open blockbusters – or more to the point, that what a person has between their legs lets you predict what they will and will not do in relation to a good or not-good movie. Correlation and causality get rewired in the latest episode of Mamo!
"It’s not obedience, Mr. Becket. It’s respect."
In which I consider the Carries. Read more
In which I wonder what this genre is called anyway. And then talk about it. A lot. Read more
Hey internets, I have the worst news: The Twilight Saga is actually pretty good.
I know what you’re thinking - aren’t these the Twilight movies that I’ve been repeatedly told are awful? Well, in a lot of ways I have to assume that’s the big source of the ire in most parts: a lot of opinions about this franchise made up of hearsay content that did not, necessarily speaking, require a viewing of the properties themselves. Regardless of the ceaseless chatter external to the films over the course of the past six years, about K-Stew and R-Patz (and K-Stew’s maybe-affair with R-Sand, whee!), the movies themselves are so much more credibly and competently delivered than their popular reputation would have it.
There’s another demon in the room on this, too: girls like these movies, and people haaaaaaaate it when that happens. Guys hate it when that happens, and, perversely, girls hate it when that happens too. Wait till the popular consciousness turns on the Hunger Games sequel like a crazed howler-monkey, and you’ll see what I mean.Read more
Violet & Daisy (2013). Russian poster.
Look, I’m not saying that Vampire Sisters is a “great” film in the usual sense, but I think it would make a great remake, and I want to make that remake. Get it? Unsurprisingly, this flick plays straight to my base, and if it’s overloaded with a lot of dumb humour - fart jokes, “Vampire lingo” swear words - it’s ultimately a resoundingly successful empowerment fable for tween girls about the importance of being oneself in the face of overwhelming social pressure. And it lands that ending, where the Vampire Sisters on question - Dakaria and Sylvania, each half-vampire, the former wishing to be full-vamp, the latter wishing to be full-human - must choose to stay exactly as they are. The lead girls, Marta Martin and Laura Roge, are perfectly cast, and cast at the perfect age. The script is structured flawlessly, even if a polish on the dialogue would pull out substantially more richness out than is found here. This film has the bones of a great story. Basically, this needs to happen: so let’s make it happen, Hollywood! Surely we’ve greenlit enough Twilight and Hunger Games knockoffs to let this one pass. Or more to the point: exploited properly, this has Harry Potter franchise potential. Don’t mess with me on math.Read more