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The Big Short (2015)
Corruption within American Society
Still so pertinent to now and mapping out the flaws within society. A hierarchy which stands in place to exploit the working class and relies on the low earning to always bail out the rich - providing them with even more. Ngl feeling very deep after this one, and it's very difficult to think about and frustrating which is ironically mentioned in it's quite regarding poetry "it's like poetry. People hate poetry." Etc. Sort of an interesting text as I have recently watched Dont Look Now which has only recently come out but touches on the same themes, as I am sure it will touch on again and again in films to come.
Point Break (1991)
A classic chase: two sides of the same coin following Utah and Bodhi. (Feminist reading)
This film from Kathryn Bigelow has been marked out as a fantastical spectacle piece, with its experimental form using shots inside of wave tubes and challenging hollywood's focus on hyper masculinity (such as with Arnold Schwarzenegger) and endorsing that of the female gaze and feminist ideology. I would question this, as a filmmaker who never used her gender as a guide to her films, and basing her films in an entirely male dominated genre of action.
As a spectacle pieces, I imagine in the 1990s it was shocking to see such stunning visuals of the surfers. The most astonishing to me was probably the scene where Utah jumps out of the plane without a parachute as it completely reflects his own "adrenaline junkie" personality - just like Bodhi. They both chose different paths but are very much the same. However as someone born in the early 00s, I've been exposed to visuals like this time and time again, immediately linking it to Kingsman (2015) with Eggsy jumping (assumed) without a parachute. Again this extends to the chase scenes, very tense but seen a lot with the shaky cam in basically any action film. Because of this exposure I'm not even sure if this was a big thing back then or if Kathryn Bigelow was the prototype for this kind of form?
It could be argued that there is some kind of diversion from heteronormativity with Bigelow's characters - both by appearance and behaviour as well as the relationships themselves.
1. Keanu Reeves - during the hypermasculine era with films such as the terminator, casting Reeves as the protagonist with his androgynous features is something to be looked into.
2. Lori Petty* - Johnny Utah's love interest love interest is again androgynous and challenges traditional norms of femininity in both appearance and behaviour. With her short hair, boisterous playfulness, crass language and interest in sports - she is very in line with what being a "man" is in western society. She's "one of the boys" and the only female character who has any level of substance within this story. She is often framed from a non-sexualised lens - notably where she's holding the gun to Utah, and despite being nude from the bottom down and shirt undone - this is not the focus, the focus was her face and the gun. (*however some stuff to say here countering this...)
3. The relationship between Bodhi and Utah - its been argued by some theorists that there is an underlying homosexual relationship between these two characters. I understand there's some on the nose stuff like "you want me so bad" and stuff like that, and how they keep saving each other. However I don't know about this theory. I don't necessarily understand why they have this attachment to one another, it is not explained but perhaps that is the point. Kathryn Bigelow has explored themes such as this in her previous films, and particularly as she is delving into counter culture it makes sense why this could be the case. Utah is sucked into this world and finds himself loving it.
However, I would argue Kathryn Bigelow doesn't necessarily give (or at least from my 2021 perspective) what I would regard as a transgressive portryal of femininity nor it's homosexual reading.
In regards to Tyler, I would note that despite her character not conforming to traditional ideals, she completely does in other regards, particularly her role within the films narrative. In recent years her character would fall into what has been described as "the manic pixie dream girl" who's entire role is to be the love interest to the protagonist, and used as a device for him to further the plot. She initially was presented as a complex character but soon that was entirely stripped away to be any other "swooned woman" who's entire purpose is to be Utah's girlfriend and saved by Utah. Her entire persona as being what is now regarded as 'not like other girls' (arguably) by being a surfer and going against the grain is a male fantasy, much like the Lara Croft franchise: "a man's mind in a very attractive woman's body." It's kind of stinky, women are complex not objects for men. But I digress. Just kidding I'm not done yet-
I would also place the argument that she is a subject of the male gaze in this film as we see several shots of Utah spying on Tyler as she is undressing and on the women in the nazi group who are in underwear and naked showering. It's a reminder that this is what womens purpose is in film - to be looked at by a man. I suppose what makes this interesting is that the women are framed differently in certain scenes, particularly with Tyler as she is sometimes not framed sexually (lol doing the bare minimum here Bigz) jk. The naked woman stabbing the man too may have been seen as shocking during this era (don't know) - particularly shocking in a Quentin Tarantino sort of way that she was entirely nude on a vicious rampage. I find this odd as it is a woman director but I suppose this feeds back into how this is a film for men, so she must appease that.
There is a certain argument put forward that Utah's attraction to Tyler is a reflection of his androgynous and queer side as she is "like a man". I know the 80s was a era of cultural change especially in regards to fashion and we're breaking boundaries with less stigma now than ever before, so during this time in which the film came out this reading of Point Break was probably very progressive, but looking back from the lens of 2021, this could be read as: "he fancies a woman that isn't feminine therefore he must be queer!" - which is complete bollocks and a mysoginstic take on women.
I'll shut up now but yeah, great film. Watched it twice, and will probably watch again. It's got a few plot holes, for instance I don't understand why Utah wasn't fired asap after shooting the wrong guys and how the police let him get away after the bank robbery just because his mate was like "nah you can't have him. Let's go." - but hey! It's a fun-loving film! Who doesn't love Keanu and Swayze.
Hot Fuzz (2007)
My Favourite of the Cornetto Trilogy
What can I say about this film that hasn't already been said to appreciate its brilliance? The immense production and clever directing, amazing cast playing complex characters, the black comedy, the action, it's hymn to the UK's vibrant unique city/country dynamic and Agatha Christie-style twist to top it off. This film transcends that of classic Hollywood film to bring out a quintessential Britishness in modern film.
Much like all Wright's works, Hot Fuzz incorporates unique visual and audio code in a way so clever that we as the audience are told so much from so little. The quick pace action shots (such as flicking through the newspapers 'Angle' or chasing Martin and Eve in the police car, etc) really allow the scene to flow engagingly and fluidly. It's a very exciting style of filmmaking. Amazing soundtrack - so iconic.
The use of Stanford gives a real edge to this plot, as it takes away the stereotype of the west county as bubbly, fun and cosy and turns it on its head - potentially as a nod to American West being much more wild than the British West. Anyhoo, Hollywood usually portrays British film as very London-centric, so to see Wright tackle this head on was refreshing.
I can't speak highly enough of Simon Pegg and Nick Frost - together they're just brilliant. Not to mention the cameos of huge stars such as Bill Nigh, Steve Coogan, Martin Freeman, Olivia Coleman with villain Jim Broadbent.
Absolutely cracking film, if you haven't already watched it (which I'm sure you have) - do it now!
Baby Driver (2017)
A Stunning Spectacle that speaks for Wright's ability to Direct engaging films.
First and foremost, this film has a precision that is faultless. With its music and pace, it flows so effortlessly from scene to scene in such a clever way, you can grasp how much thought went into every single shot. This is what makes Edgar Wright such a good director. It is sort of his auteur in a sense, using visual and audio language in a way that is symbolic to convey meaning - which is refreshing to watch. Watching this film, it can be enjoyed as a performance as well as a story. The music speaks for how we follow Baby's narrative, as we, like him, are consumed by the music.
The only part of this film that wore on me was the slight cliché of the actual plot itself. It relied a lot on its style and aesthetics rather than a story that kept you on your toes. Casting majorly attractive stars such as Ansel Elgort and Lily James to fall in love in this romanticised, quirky retro world seemed to constantly propel me back into awareness and ruining my immersion. It reminded me I was watching an unrealistic spectacle to appeal to younger audiences. Baby is just a 'good' bad guy who went the wrong path and just wants to run away to live his 'happily, ever, after' with Debora. I think the plot could've improved by including some back story into:
-Baby going down the wrong path and 'joyriding cars' as it was mentioned. This would've provided more gravitas to how he may have been a troubled kid, how he regrets his choices, how he's a changed guy which would ultimately let the audience empathise with his character more.
-Why Debora was interested in Baby, other than his good-looks. I personally don't enjoy the stereotypical female love interest who fawns over the main character in classic 'Lynx bodyspray' advertisement fashion (if you know what I mean).
-The relationship he had with his mother as it seemed to play such a key role in his character.
Saying that, it has a refreshing originality with Baby's character having tinnitus and his obsession with music. I'm not certain, but this could be relating to his character possibly having autistic traits, and if so, is an interesting element to explore in film.
Overall, I would recommend watching this film if you want a classic action/romance with a quirky modern edge to it. A very cool film.
Fresh Meat (2011)
My Number #1 Most Rewatchable Series
I've seen this show way too many times for my own good. It's the perfect lighthearted comedy-drama mixed with the reality of university life. The characters go beyond their tropes which made the initial series, (which to quote Vod) are a bunch of "geeks and poshos" etc. But they develop into complex characters that are more than their superficial stereotype.
The arcs that they take successfully develop their character in a way that retains the comedic element but also makes sense to the character - my favourite being Oregon and JP's character arcs. Oregon going from the typical upper/middle class 'uni girl' who is a complete try hard, desperate to appear cool like Vod, then in later series turning into 'union president' thinking she's above all else. Then there's JP, who goes from a complete toff from private school to learning money doesn't solve all his problems and he's being exploited by the people he tries to please. He understands he can't get everything in life nor does he want that, he just wants to be liked. These characters never lose what made them special in the first series, it simply made them better. It really is a showcase for the idea that a good narrative is constructed around its characters, which is a telling of the excellent writers.
I would strongly recommend this show to anyone, and no doubt I'll be watching it again soon.
The Kissing Booth 3 (2021)
Watched as a joke - but still couldn't stand it.
There was only (arguably) 3 good moments in the whole film.
Its plot is not only vapid, but all the characters are annoying and all the conflicts are childish melodrama making little to no sense whatsoever.
It's not even a good spectacle fantasy drama - as it flips between trying to be real and overly-theatrical. It tries to incorporate the struggles of teenage pressures (such as dating during college and losing friendships) with horrendous exaggerated 'Mario Kart' go-carting in which people go hurling into objects and hay-bales.
The pace is extremely slow to the point we needed 2 coffee breaks to get through it. The acting was very bad, most notably at the beginning with Lee - my GOD. This man. I can't deal with this man.
Completely unsatisfying pay-offs with no build up such as (spoilers...)
...Elle becoming a video game designer about E-Sports - not even the dance games that we've seen her play throughout the trilogy.
I'm not sure if I should be looking into it this deep, but if this film is teaching young girls that any of this is healthy then it's deeply wrong.
But anyhoo, wouldn't watch again, unless for a drinking game.