How much more physicality survivalist are men compared to women? History has shown time and time again that when wars erupt for national supremacy or resources, battles on the front are fought by the male sex, not the female one. Men’s tennis asks its contestants to win more sets than the women. Men bodybuilders look so much more imposing than their female counterparts. The list can go on and on and yet for all the qualities men claim to that denote their physical superiority, there is one, albeit one that doesn’t come in service very often, that provides women with the clear-cut advantage. Woman can lose more blood from their bodies than men before finally giving in to death, two thirds of the blood in their bodies to be exact. That is an insane bit of knowledge, one that director Kurando Mitsutake takes to an extreme level in his own insane film, Gun Woman.
The final chapter of Peter Jackson’s Hobbit trilogy has its first teaser trailer and it is fantastic.
Over the past weekend, Scream Factory announced ten new titles to their library that should get all genre fans very excited.
The top 5 Marvel announcements at San Diego Comic Con.
There’s something painful about Dean. Cute, yes, by all means. Scruffy, also, as well as nerdy, Steve-Urkellian, and sweet — his run alone garners a continual snicker. But mostly there’s something painful about Dean, who is trying like hell to make things right with Lana.
More precisely, that cutely painful thing is a kind of teenage conviction so many shake before they move on to adulthood. It’s a familiar story, one that has the audience both cringing and laughing with and at him. Everyone’s tried really hard to undo some mistake at some unfortunate juncture. It’s an appallingly familiar sight to behold. Especially when, like many before him, he’s rolling on faith that the one that got away isthe one. And while most of us eventually learn to accept an ending and move on, Dean’s juvenility has other plans in mind. In fact, he plans everything down to the minutest detail, and he figures he can plan his biggest mistake away, too, to regain that chance of lifelong love.
For most micro budget movies, the mere fact that they could get made can be considered an accomplishment in of itself. Playing at a festival is seen as an added bonus. With limited resources comes the need to get creative in ways that, when everything comes together, can sometimes produce something fresh and new. They don’t have the luxury of spending millions of dollars on sets, actors, stunt choreographers, and special effects. As moviegoers, the one thing that should be avoided as much as possible is to give a small movie a pass simply because it tread rockier waters than studio-mandated tentpole projects. Although it is very tempting to support the little guys, sometimes a spade has to be called a spade. Herein lies the issue with The Run from Malaysian writer-director Ahmad Idham.
Classic Toho monsters returning in ‘Godzilla 2’
Trailer for Kevin Smith’s ‘Tusk’
Like father like son is a popular expression used to describe how much the behavior and personality of the former influence and shape the latter. This proves true for a great number of father-son sets, irrespective of cultural or national heritage. Then again, a son can only intake so much philosophy handed down to him by the father. It comes as no surprise that with respect to some salient points and lifestyle choices the son diverges from the path treaded by the father. It’s what makes the son his own person as opposed to a clone of his immediate ancestor.Hwayi: A Monster Boy, the anticipated followup from director Jang-Joon-hwan after Save the Green Planet takes the concept of father-son dynamics to new extremes.
For a while, Lady Gaga was one of the most fascinating music stars that had come in a while, primarily because of her unapologetic bombast. Too often, though, she may have been written off as “weird”, from her odd fashion decisions, her performance art appearances on TV, and, of course, her music videos. Gaga, née Stefani Germanotta, through her strange videos presents a vision, often of powerful women and the subversion of fame, through each of her music videos. Sometimes straddling the line between film and music video, Lady Gaga, though not always the director of these videos, is always the auteur behind them.
Lady Gaga’s early music videos are nothing if not promotional material, with “LoveGame” and “Poker Face” being, for the most part, entirely generic within the context of her career. It was not perhaps until she employed the use of music video director Jonas Åkerlund that her auteuristic vision became more visible and more tangible. Much of why Lady Gaga is fascinating is because she exists as a paradox: a manufactured character that refutes and argues against the idea of that very idea (similar, though not the same, in nature to Lana Del Ray). Her first album’s title could be considered either prescient or maybe self-aware or maybe egotistical, butThe Fame nonetheless seemed to debut as a self-reflexive examination of the nature of fame in “pop society”. Such knowing self-awareness, winking construction, and post-modern application in pop art is fodder for writers and academics.