Greek life is a quintessential part of the American college experience. Fraternities and sororities are known for their cult-like behavior, wild parties, and questionable hazing rituals. But rather than questioning this strange societal obsession, it has been widely accepted, and even encouraged because these groups encourage close friendships and offer the promise of potential professional connections. Fraternities are central to teen comedies, from Animal House to Neighbors— they are familiar sight and are the epitome of being a cool guy. But behind closed frat house doors, horrors can unfold. David Robbins’ Pledge captures those horrors, taking what is seen as a normal part of growing up, and pushes it to its gory, terrifying extreme — toxic masculinity is on the chopping block in Pledge. Bordering on torture porn, it questions the forms of masculinity we covet and what that means for anyone that does not fall into that very specific category.
Pledge begins with three awkward college freshmen who, in varying degrees, want nothing more than to rush a fraternity. Rushing means they will be accepted into a sacred brotherhood of booze and hot women. But unfortunately, these boys don’t fit the typical fraternity bill. They aren’t tall or muscular with perfectly-gelled blonde hair, their jokes fall flat, they have no rhythm, and they can’t stomach shots of liquor in rapid succession. They are mercilessly mocked and kicked out of every frat house they enter. Just when they are about to give up hope and resign themselves to a lonely college experience, they’re invited to another kind of rush party. It’s for a social club, which is believed to be much more elite. This all sounds like a setup in a Judd Apatow movie, where the boys will run into a series of hilarious sexual exploits. But then, the sinister undertones start rolling in.
Continue reading “‘Pledge’ Questions the Horrors of Toxic Masculinity and College Social Life”
Third episode of the podcast is here!
On our Patreon page we set a goal of $75 to start working on our podcast and two months ago we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
In our third episode podcast host Charlie Dykstal talks with our editor-in-chief Dilara Elbir, editor Mary Beth McAndrews and staff writer Mia Vİcino about their favourite films and performances of 2018 and what they are looking forward to in 2019. Available on iTunes, Spotify, Google Play and Stitcher.
Happy awards season everyone!
2018 has finally come to an end. Despite the political hellfire it raged for its 365-day duration, 2018 brought us films like Shoplifters, Roma, Cold War, The Rider, and Revenge (you can check out all of our favorites of 2018 here). It was a year for badass women on screen. It was a year for horses. But, it was also a year that brought us disappointments and tragedies, such as Green Book and Bohemian Rhapsody, who both won Golden Globes.
Despite that tragedy, 2019 still holds a treasure trove of cinema, from Godzilla: King of the Monsters and Star Wars: Episode IX to High Life and Jojo Rabbit. Jordan Peele is releasing another horror movie, Edward Cullen is going to space, Isabelle Huppert is going to try and kidnap Chloe Grace Moretz. That’s just a taste of what this year will bring to the big (and sometimes small) screens.
Without further ado, here are our most anticipated films of 2019.
Continue reading “Much Ado’s Most Anticipated Films of 2019”
Here it is, the season we all hate to love and love to hate, the Awards Season! Predictions, staying up to watch awards, fighting our favourites until the Oscars when our exhaustion reaches its peak and we all go “I never want to live through another season again!” until the festivals hit and Here We Go Again! Critics circles already started naming their winners but the fun officially starts tonight with Golden Globes. Here at Much Ado we love our predictions so please enjoy reading the winners our hearts desire, and those we think will snatch the award!
Continue reading “Golden Globes Predictions”
Netflix’s newest film, Bird Box, was supposedly a smash hit. The notoriously tight-lipped streaming service proudly reported the film had reached over 45 million streams, the first time they have openly declared any site metrics. This led to Twitter questions about completion rates, watch time, and more. On top of that, the conspiracy theories began to flow about Netflix paying people to tweet memes about the film, or that they were employing bots to help with their marketing. In the year of our Lord 2018, we are now seriously concerned about companies paying people to secretly make memes. This is a lot of attention, conspiracies, and fixation on a film that is really just OK.
Continue reading “‘Bird Box’ Tries to Soar But Instead Falls Flat”
2018 was a year of amazing horror films. While a certain Vogue article may disagree, 2018 was a year for pushing boundaries in the genre and creating complex female characters who weren’t just vehicles for over-the-top sex scenes. It was a year where “woman” no longer meant singular sex object, with films like Revenge, What Keeps You Alive, and Cam. It was a year of experimentation, as seen in Mandy and Possum, which create unique, and psychedelic, visual experiences. While the past five years have been full of this kind of boundary-pushing, from The VVItch to Get Out, 2018 continued to showcase the diverse voices in the horror community and demonstrate how the face of horror is changing.
While this piece will primarily highlight the positives of horror in 2018, this was not a year without its failures. The Nun, Truth or Dare, Winchester and more made up this year’s big blockbuster releases, and all were met with a resounding shrug; these movies made to draw the big crowds to the box office instead kept the horny teens away. The two horror films that drew crowds this year were A Quiet Place and Hereditary, two films that strayed away from the typical horror narrative and created unique stories that perhaps wouldn’t always make their way into the mainstream. Despite the bigger name flops, indie horror filmmakers really showed up to create pieces of horrifying media that resonated both throughout the horror community, and in some cases larger audiences.
Rape-revenge films are commonly exploitative, over-the-top, and torturous to their female characters. Think of films such as I Spit on Your Grave or Ms. 45. But, director Coralie Fargaet wanted to change this with Revenge, a film in the vein of the French New Extremity that uses rape as more than a plot device or site of spectacle.
Continue reading “Badass Women, Stunning Visuals, and Subverting Expectations: Looking Back at This Year in Horror”
Second episode of the podcast is here!
On our Patreon page we set a goal of $75 to start working on our podcast and last month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
In our second episode podcast host Charlie Dykstal talks with our editor-in-chief Dilara Elbir, editors Mary Beth McAndrews, Cassidy Olsen and staff writer Sydney Bembry about holiday films and specials. Available on iTunes, Spotify, Google Play and Stitcher.
Happy holidays everyone!