John Carpenter’s 1978 film “Halloween” is best known for introducing the world to the maniacal serial killer Michael Meyers, but it is lead-actress Jamie Lee Curtis who is making the headlines 40 years later as the franchise returns to the big screen.
“I am stunned. Simply stunned and thrilled,” @jamieleecurtis tweeted when she read San Francisco Chronicle reporter Peter Hartlaub’s review of the 2018 “Halloween” sequel. Hartlaub said, “Not all heroes wear capes. Some are 59-year-old women in men’s flannel hunting shirts who are ready to stare evil down and load another round.” For Curtis’ character, Laurie Strode, the return of Meyers on Halloween night proves to her family that she is not the victim of a 40-year old crime, but rather that she is a strong heroine prepared to face her fears and ready to carve out [pun intended] a new path for her own life. It is in the post #MeToo era where we find Strode, who has spent her life preparing to face her attacker. Strode isn’t apologetic to what she has become, forced to deal with her PTSD and cut off from her family, rather Strode prays every night that she will get the chance to kill Meyers. There are no screams from Curtis in the film as she reembodies Strode. There are no men in her life telling her to move on. There are no scenes objectifying Strode for the male gaze. Instead, the audience is treated to a raw and real performance from Curtis playing an empathetic character, one who happens to be in her late 50’s. “I’m going for one boast post. Biggest horror movie opening with a female lead. Biggest movie opening with a female lead over 55. Second biggest October movie opening ever. Biggest ‘Halloween’ opening ever. #WomenGettingThingsDone,” Curtis tweeted out on Sunday after the film opened to a staggering $77.5 million weekend, just shy of the “Venom” movie’s record $80 million October weekend. This news is monumental for the franchise as Hollywood will likely greenlight yet another “Halloween” sequel and will almost definitely reboot other slasher franchises in the process. What movie executives are probably going to fail to realize is that there is money to be made in casting famous actresses over 50 in lead roles. See, Laurie Strode is a superhero. She rises to the call when a villain is tormenting her city, she trains and fights for good, and she relies on her origin story to give her strength during hard times. In turn, she has raised a strong daughter and a strong granddaughter who each get their turn to face Meyers in the film. It is likely that this film is a passing of the torch from Strode’s character to the younger granddaughter character named Allyson [played by Underground’s Andi Matichak] who is seen holding the iconic butcher knife at the end of the film. However, if “Halloween” past is anything to learn from, it is clear that any “Halloween” film without Curtis isn’t successful. In fact, for as long as Curtis wants to keep reprising the role of Strode, hopefully the franchise welcomes her with open arms. If not, at least this might be a resurgence for Curtis to be a leading lady again on future projects, and just maybe, other women will also get that chance. [email protected] @GrahamWoodMedia
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"A Star is Born" is a Hollywood Tale That Brings Nothing New to the Table but Doesn't Need to10/7/2018 When it was announced that Lady Gaga and Bradley Cooper would helm the fourth remake of the 1930’s classic “A Star Is Born” nobody batted an eye as the notion of a modern retelling was ridiculous to begin with. However, as time went on and the first trailer for the film was released, showcasing Gaga’s vocals to the tune “Shallow” written by Gaga for the movie, the internet was quickly swept with excitement. The film, which opened at the box office with an unexpected 42 million dollars, is a fitting tribute to the Hollywood story where an unknown singer has a brush with greatness and soon rises to fame because of her talents alone. It’s the story that leads millions of people to start Youtube channels and fuels the careers of night-show acts just hoping to get their big break. For Gaga, the story is even sweeter with the audience knowing that this is exactly how her career in the past decade came to be. Now, Gaga is portraying Ally Maine and looks completely different compared to the meat-dress and wigs that propelled her to stardom. For the first half of the film Gaga is a beautiful nobody relying on her talent alone and being held back by her insecurities, particularly her nose, until she is noticed by rock and roll legend Jackson Maine (Cooper) in a drag bar one night. Their love story soars and so does Ally’s career until halfway through the film Gaga transforms from Ally Maine beck to Gaga again, now with orange hair. While this transformation is all too quick and unbelievable, Gaga gives her all to this performance and is spectacular in every scene, owning the character and the camera. Cooper’s character, however, starts to fade into the darkness and Cooper himself sometimes must fight to not be overshadowed by Gaga on the screen. Cooper, who is directing and starring, is magnificent and emotional as the flawed singer. His character’s arc is one of the saddest stories to ever be put onto screen. While those who go to see “A Star Is Born” expecting the classic tunes, like “Evergreen,” from the original, won’t be disappointed for long because the film has many great songs created just for this new version alone. Anyone who leaves their expectations at the door will be greeted with an emotional journey and an unforgettable story. Stepping out of the theater after seeing Sony’s newest Marvel project, “Venom,” one might wonder if they had time-traveled back to 2004, a time before the Marvel Cinematic Universe when Ben Affleck’s “Daredevil” and Brian Singer’s “X-Men” were considered the prime of the superhero genre. In that context, “Venom” might be considered a ground-breaking film with a lot of heart, however in 2018 where “good” superhero films are coming out almost monthly, “Venom” feels like a relic with nothing to say and pieced together action sequences. Academy Award nominee Tom Hardy, who portrays Eddie Brock in the film, isn’t a stranger to tough roles, playing Bane in “The Dark Knight Rises” and the titular character of “Mad Max: Fury Road.” Hardy seems wasted as the frontrunner of this lackluster, sometimes unintentionally funny, film. While Hardy is obviously trying his hardest to portray both Brock and the symbiotic parasite named Venom, he falls short due to a generic script and painfully choreographed action sequences. Meanwhile, Michelle Williams of “Brokeback Mountain” fame and more recently last years “The Greatest Showman,” portrays Anne Weying, Brock’s short-term fiancée in the film. While Williams is captivating in her performance of “sympathetic ex-girlfriend” she is given almost nothing to do and serves as a bridge between Brock and her new doctor boyfriend. There is a moment where Williams gets to bond with Venom however it is just to return the symbiote to Brock and the moment is wasted. One might almost forgive “Venom” for its shortcomings, being directed by a nobody director and refusing to utilize the near-perfect iteration of Spider-Man currently in the MCU, if the film had only been unique and fresh, however it is as stale as the idea for a Venom movie, going back to 1997. The cartoonish dialogue and plethora of character tropes leaves the audience nostalgic for Sam Raimi’s version of Eddie Brock in the original Spider-Man trilogy; and that’s saying a lot. |
Erick L. Graham Wood
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