Monster Mash: Medicalization of the Female Body in ‘Rosemary’s Baby’ and ‘The Exorcist’

October is finally upon us! It’s the time for cozy sweaters, making everything taste like pumpkin and, most importantly, horror films. Of course, sometimes it can be hard to decide what to watch, and if you are anything like me one is never enough. That is why, for each week in the month of October, Much Ado About Cinema’s Monster Mash series is providing you with a double feature program and delving into why and how they go together like fava beans and a nice Chianti.

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Negotiating New Masculinities in ‘The Art of Self Defense’

As a transgender man, I have a complicated, strange, and usually arduous relationship with masculinity. Why are men so obsessed with the fact that they are men? For people who claim to be independent and strong, why is is validation from someone they perceive as superior (read; more powerful) so important to them? Why is violence, hatred, and ugliness seen as so essential to being a man in mainstream society? I ask myself these questions constantly. They keep me up at night. The same questions seem to keep Riley Stearns up at night as well, as indicated in his new film, The Art of Self Defense.

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Jesse Eisenberg in ‘The Art of Self Defense’

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‘The Dead Don’t Die’ Is Exactly What You Would Expect from Jim Jarmusch, but with Zombies This Time!

If you’ve ever seen a Jim Jarmusch film, it’s pretty easy to catch on to his style and cadence: the importance of music, a celebration of strangeness, and every character seems bored out of their minds no matter what’s going on around them. The Dead Don’t Die (2019) is no different, except this time there’s flesh eating zombies caused by corporate fracking. But don’t worry, Iggy Pop is still there.

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Adam Driver stars as “Officer Ronald Peterson” in writer/director Jim Jarmusch’s THE DEAD DON’T DIE, a Focus Features release. Credit : Frederick Elmes / Focus Features © 2019 Image Eleven Productions, Inc.

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A.T White’s ‘Starfish’ Is A Deeply Personal and Meditative Look at Grief

A.T White’s debut feature film, Starfish, promises to be a strange, cosmic journey from the very start of the opening sequence. Beginning with a pitch black screen as voices cut in and out, disrupted by static which emits the feeling of a far away radio transmission, the first image we are shown is that of a snow covered mountain town, with a small and mysterious fire in the distance.

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Starfish follows a woman named Aubrey (Virginia Gardner) grieving the debilitating loss of her recently deceased best friend, Grace (Christina Masterson). The first act of the film serves a strong, meditative look at loss, following Aubrey as she enters Grace’s home and flashes fragments of their memories together as she tries to live in a world without her. However, when Aubrey wakes up the next day she finds that strange creatures have entered her universe through some sort of radio signal that Grace was researching with a group of conspiracy theorists. Aubrey embarks on a scavenger hunt to find seven mixtapes created by Grace so that she can play them all together and save the world. What ensues is a stylistically diverse and experimental look at grief, guilt, and self-forgiveness.

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Criterion Reviews: ‘To Sleep With Anger’

In the last week of Black History Month, the Criterion Channel grants us a look into the newest film to be released in their collection – Charles Burnett’s 1990 film, To Sleep With Anger.

To Sleep With Anger starts off with an ominous long shot of a fruit bowl on fire, sitting idly next to a half-cut apple. As the credits role, we see Gideon (Paul Butler), the patriarchal figure of the film, dressed in all white church clothes. His chair is licked with flames, followed by his shoes, as we slowly fade to another shot of bare feet in dirt and realize that Gideon has fallen asleep holding his Bible and has been dreaming.

This opening scene is hauntingly beautiful and fascinating to watch, and serves as an omen for the rest of the film. Gideon and his wife, Suzie (Mary Alice) are an older couple with two sons and subsequent grandchildren living in Southern Los Angeles when one day they receive a visitor from their old home in the South – Harry, played by Donald Glover in one of his most powerful and unsettling roles to date. With Harry comes a sense of uneasiness, suspicion, and high tensions as his charming demeanor begins to unravel and bring forth a chaos within the family – particularly with Gideon’s youngest son, Babe Brother (Richard Brooks), who is frustrated by the way his father treats him and by the fact that he is not yet successful.

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The Mundane as Extraordinary in Alex Lehmann’s ‘Paddleton’

Ever since his role in The Big Sick in 2017, Ray Romano seems to have made a comeback and proven to audiences that he can play both comedy and drama in equal measure. Netflix’s Paddleton allows him to prove this yet again, cast alongside indie film veteran Mark Duplass.

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This is the second film that director Alex Lehmann has worked on with Mark Duplass, having released Bluejay in 2016—which is also labeled as a Netflix original. Mark and Jay Duplass have been powerhouse producers of the independent cinema scene for years now, and it was announced just last year that Netflix would have the screening rights to their next four films, with Paddleton being the first of that contract.

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The Enduring Delight of Alan Alda: A Personal Essay

Last night, at the 25th Annual Screen Actors Guild Awards, Alan Alda was presented with his lifetime achievement award. Today, it is his 84th birthday. Here, I reflect back on the strangely wide effect that Alan Alda has had in my own lifetime.

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The cast of M*A*S*H being cute as always.

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