Hey all, I’m gonna review the Netflix show, GLOW. If you haven’t seen it yet, go watch it and then let’s chat. There be spoilers here and I don’t want to ruin the show for you, ok?
GLOW starts with an acting audition that is too real even by today’s standards. Main character Ruth (Alison Brie) is at an audition; she reads a meaty part with passion, and conviction….only to be told, no honey, that was the male part, can you try it again reading the other part? The other part is one line, letting the boss know he has a call on hold. This sets the stage for one of the more meta themes of this show. Yes, it’s 2017 now, but really, how much have things changed? Continue reading
Unless you’ve been away from all media for the past week or two, you know that Adam West passed away. West was well-known and well-loved for his performance as Batman in the 60s TV series of the same name, the movie spun off from the series, and numerous animated appearances of the Caped Crusader. Plenty of writers have already covered what made West’s Batman so iconic, but I want to focus on another one of his contributions to the Bat mythos – the first time West was on a Batman series and didn’t play Batman. Continue reading
Hopefully, you already saw Wonder Woman if you are reading this. If not, you may want to bookmark this for later because – spoilers.
Before I even get into the movie itself, it’s almost impossible not to talk about the discussion leading up to Wonder Woman. For women in Hollywood and women characters, there was a lot riding on this one film. That’s largely because the reality is that women don’t get the chance to fail like men do. One dude does a bad thing and it’s #notallmen, but women don’t get that luxury. If WW is considered a failure by the industry it’s “women heroes can’t carry a movie”, or “women can’t direct superhero movies.” Never mind the sub-par records of some other male-centric superhero movies (Batman v Superman, Daredevil, Punisher), these directors and characters all got second chances. I know I don’t feel confident that women are afforded the same luxury, so Diana and Patty Jenkins carried a lot of their shoulders. Thankfully I don’t think we have to test this theory with Wonder Woman. While I didn’t feel it was the best movie (I’m not sure anything can dethrone Fury Road for me), it was a good movie – you know, for a movie about a woman hero written entirely by men.
I haven’t been shy about the fact that largely the DC movies haven’t been for me. It’s a stylistic opinion, but I have generally felt these movies lack joy and color. Wonder Woman tries to buck that trend…at least at the beginning. Themyscira is beautiful, full of cool blues, crisp green, and shining gold. It’s the world of man that is drab, and drags us back into that standard DC color palette. The movie is essentially an origin story. As WW’s origin is less known than her male counterparts this makes sense. And as a character more steeped in traditional myth, this gives an opportunity to explore another part of the DC Universe, especially for those WW fans who don’t read comics.
There was a lot that was good with this movie. First, the Amazons. My main disappointment with them was that they were only in a small part of the movie! While there could have been some more diversity, as someone who will soon be part of the over 40 set, it was nice to see that Themyscira was not filled with young waifs. Nor were the older women covered in overflowing gowns or caftans that hid their bodies. The Amazons were shown as strong, with scars, or marks out in the open.
Diana herself is very much a fish out of water for the majority of the film but remains self-assured and formidable. I’m not gonna lie, the No Man’s Land scene was powerful, and that’s because Diana looks powerful. I believed she was unmovable, and then able to move forward despite what was being hurled at her. It’s maybe a little heavy-handed in terms of metaphor, but I don’t care. For me, it worked. There were some other interesting takes on common tropes. As The Red Menace overheard two women in the bathroom discussing, the typical make-over scene was flipped on its head as Etta Candy (MORE ETTA!) is tasked with making a beautiful woman more dowdy, less distracting to men. You know, so they can continue planning the war and whatever. Thank God she wasn’t wearing yoga pants or leggings, society would have come to a standstill.
My biggest disappointment is the reveal that Diana’s strength is based in the power of love – here’s a trope I would like to see a lot less of! While I get what they are trying to say, having this reveal of her ultimate strength comes right on the heels of Steve Trevor’s death (yeah, he was totally fridged) made it feel more like romantic love, and an utter cliché. I felt the initial scene where Diana first reveals herself as an Amazon and crosses No Man’s Land (I see what you did there), is a much better characterization of her values. Diana’s strength lies in compassion and despite being a god, in her humanity. Compassion, of course, is a type of love, yes, and we see this play out in how Diana rescues a village no one else thinks is worth the time. But the moment where she “seizes the sword” of her own power was too wrapped up in her feelings for Steve, and given the romance angle, that he could be seen as an avatar for the human race gets overshadowed. Diana’s story and origin shouldn’t be based on her love for Steve, but rather in the fact that her compassion is what drives her decisions.
All that said, I think this movie is doing what it needs to do. It is proving that women heroes and directors (let’s get some women writers in there too) can carry a big budget movie. And more importantly how exciting is it for kids of all genders to have Diana be one of their first exposures to heroes? It’s pretty dang great.
As promised, the second half of my thoughts on Hulu’s adaptation of The Handmaid’s Tale – namely, the differences from the novel and how I felt about them. This will have major spoilers for the series, so if you haven’t watched yet, you might want to bookmark this and come back later.
NB: This post will contain spoilers for both Margaret Atwood’s novel and Hulu’s adaptation of it through episode 3. It also assumes familiarity with the basic plot of the book.
I have a confession to make. Despite being a feminist of a certain age, I had never read Margaret Atwood’s story of women living under an oppressive patriarchal regime until last week. The Handmaid’s Tale was forever on my to-read list, but somehow it never quite crept to the top. But with Hulu’s adaptation coming out and the state of the world being what it is at the moment, the time had finally come.
Having read other Atwood and found it a bit of a slow burn, I was a bit surprised to find the novel compulsively readable, despite being incredibly bleak. I finished it in two days, marveling over the eerie and disturbing parallels in our current sociopolitical climate and delighting in Atwood’s prose (and spot on description of Harvard Square). The book is a damnation of the power dynamic between men and women, of course, but it touches on so much more than that – the way that fear causes us to exchange freedom for the illusion of safety, the damage of white supremacy, religious hypocrisy, and the pain of post-traumatic stress disorder. I was interested to see which of these would surface in the series – I knew going in that they’d removed the race elements, but what else would change?
Let me start by saying that, after watching the first three episodes, the show overall is incredibly well done. There are certainly changes and updates, both major and minor; some I agree with and some I don’t. But on the whole, the creative team has done an amazing job of setting the right tone and message. Like the novel, the show makes liberal use of narration and flashbacks, though it rearranges the timeline of the entire novel. The flashbacks help establish both how new and foreign the position of women in this society is, and how they struggle to survive it. As Aunt Lydia helpfully reminds the handmaids-to-be in the Red Center, “Ordinary is just what you’re used to. This may not feel ordinary now but after a time it will. This will become ordinary.” Women aren’t used to being chattel anymore, she’s telling them, but in a few generations no one will remember another way.
The show also makes excellent, unnerving use of music. Most of it is instrumental, humming quietly in the backgrounds of scenes, imparting an air of menace and tension. However, when a song does come to the forefront, they are often even more jarring – a combination of 80’s classics, remakes of the same, and newer songs with similar new wave sounds. This choice both nods to the book’s original time and setting, while providing a creepy counterpoint to the nearly Colonial-style dress and mannerisms of the future it depicts. It’s a reminder that although it may look like the past, it’s the near future we’re watching.
The actors also give excellent performances. You can feel the strain in every interaction our narrator Offred (Elisabeth Moss) has with other characters in the present day scenes – no one is saying what they mean, no one can be trusted, and kindness always has some sort of strings attached. You can see it in her face and body language. This tension is complemented by the total ease in her memories of her former life before the government takeover. Her scenes with her best friend Moira (Samira Wiley) are particularly good – you feel their closeness, and how they’ve influenced each other’s lives.
With all of that said, the show makes a few changes that I don’t entirely agree with, changes that affect how we see Offred and the other women in relation to each other. Keep an eye out for part two, where I’ll explore those changes.
Have you been watching The Handmaid’s Tale on Hulu? What do you think? Let me know in the comments.
Enough time has passed that if you were going to watch Iron Fist and care about spoilers, you have probably done that…but, you know, if you do care, maybe read this later.
Does Iron Fist really deserve the panning it’s getting? Ehhhhhh, maybe, maybe not. But with the bar set so high from the other Marvel Netflix series, Iron First comes off as a master class of missed opportunities and poor choices. Much has already been written about Danny Rand’s casting. Yes, Iron First is white in the comics. Could that have been changed? Absolutely. Would the show have been better served by having an actual martial artist as the title character? Heck yes, but that’s not the missed opportunity that I’ll be talking about. Rather, Marvel had a chance to turn the tables on a privileged white male protagonist, and they let that opportunity wane. Continue reading
French animation isn’t something that’s on a lot of radars in the US. With major houses like Disney, Pixar, Illumination, and Dreamworks (and even Ghibli for a bit) taking up the major real estate in theaters and awards shows, it can often seem surprising when a quiet French animated film starts to get even a little recognition. And when it gets nominated for an Oscar, chances are quite good that the film is going to be worth your time.
When I saw that the English dub of Ernest and Celestine was available on Netflix, it was a no-brainer. The only choice I needed to make was what type of tea to drink while watching.
Based on the book by Gabrielle Vincent and made on a shoestring budget, Ernest and Celestine tells the familiar story of two unlikely friends who manage to create a home and family together. It’s familiar, yes, but it’s also warm, sweet, and perfectly crafted.
Celestine is a young mouse living beneath the streets of a city inhabited by bears. Each night she sneaks into town to steal the teeth that young bears leave under their pillows for the Mouse Fairy. These teeth are then used by other mice to repair their own damaged and missing teeth. Sadly, she’s not great at her job and the dentist she works for threatens to fire her if she doesn’t improve. Desperate to make her quota, Celestine gets caught in the city above and finds herself in the paws of Ernest the bear.
First things first, the animation is gorgeous. With hand painted watercolor backgrounds and matching Flash animation, the soft tones result in a visual style that is extremely enjoyable to look at. Everything feels soft, cozy, and dreamy. It’s a children’s book come to life with mice scurrying across pages and bears quite literally lumbering around. Yes, it’s very cute, but it’s never cutesy or sickeningly sweet. The tone and the stylistic animation complement each other, and it works just as well during the darker moments as it does during the lighter ones.
Additionally, this movie is funny. It’s hard to explain why, but there is something about the slapstick and physicality of the characters that made me smile a lot. The timing and pace never feel heavy, so when a character trips or runs into a wall, the audience is given just enough time chuckle without feeling as though the movie is waiting for you to congratulate it on how clever and funny it is.
Lastly, the voice acting in this film is great. The cast is filled with distinguished, talented, and familiar names like Forest Whitaker, Lauren Bacall, and Paul Giamatti. Celestine herself is voiced by Mackenzie Foy, who does a charming job of making Celestine both empathetic and brave.
So, go ahead and add Ernest and Celestine to your Netflix queue and maybe someone other than me will start gushing over it to her friends and online. Hey, it could happen!
Already seen Ernest and Celestine and looking to expand your horizons when it comes to animation? Specifically French films? Here are a few recommendations (many of which can be found on Netflix):
Much in the vein of our Netflix Hidden Gem series, this week I’m branching out to include Amazon Prime. Why you may ask? Simple. I want to talk about Studio Ghibli!
Ronja, The Robber’s Daughter (Netflix Original, Studio Ghibli)
Based on Astrid Lindgren’s novel, this series tells the coming of age of Ronja, the only daughter of a robber chief growing up in medieval Scandinavia. When Ronja becomes old enough to explore the forest on her own, she discovers that a rival robber clan and their young son are living quite close by. The two strike up a friendship, regardless of their parents’ wishes.
Photo: Amazon, Studio Ghibli
I was very excited when I heard that Ghibli was going to be releasing this series on Amazon and I started watching it not long after it was available. But here it is almost 2 months later and I’m only just getting around to talking about it. This is because it took me a long time to both finish watching it and even longer to decide how I felt about it. So, for the sake of this review, I’m going to simplify things. For better or worse, here’s what I thought. Spoiler alert: it’s kinda a mixed bag.
This is probably the last post I’ll write before I go to see Disney’s new live action Beauty and the Beast, which comes out on March 17th. As a huge fan of the original film, I look forward to the remake with a mix of excitement (Emma Watson is perfect casting), worry (still not loving the computer animated enchanted objects), and the knowledge that the quality of the new film does nothing to change the first one and the way I feel about it. The impending premiere also has me revisiting some of the interesting details I’ve learned about the original movie and its creation. This includes a few answers (or near answers) to some of the Internet’s burning questions, which is what I’m going to share with you today.
I’ve been writing a lot about zombies lately, so I was going to change it up this month and write about some great comics I’ve been reading. But then I read this strange review of the new Netflix Original Series, Santa Clarita Diet, (SCD) from Esquire by a woman named Katie Van Brunt, and frankly, it demanded a response.