Guest Essay: Dana Shaffer on how Brave fails at feminism.

Friend and colleague Dana Shaffer wrote this terrific piece back when Brave first arrived in theaters.  Since I had already had my say on the film, I thought it best to wait until the film arrived on DVD/Blu Ray, which it does today.  Long-story short, this whole piece elaborates on ideas that I merely acknowledged in my review.  So do enjoy.

Does Brave give us the Disney princess we’ve all been waiting for? 

The film recycles a familiar tale, with a few misguided twists

By Dana Shaffer

Brave is the story of Merida, a bow-and-arrow wielding princess, with attitude, gobs of personality and more interest in pursuing her own ambitions than marriage. It sounds like a dream come true for many who have longed for a princess story with more of a plot arc than meeting a man and falling in love.

But let me give you a quick synopsis of the film (complete with spoilers, be warned):

It is the story of a vibrant and sassy redheaded teenage princess who doesn't quite fit in. She has an unusual hobby that her particularly strict parent does not approve of. During a nasty fight one day, the very strict parent destroys the daughter’s most beloved possession in a fit of rage. The parent instantly feels regret, but the damage is done. The rebellious redhead runs away. The girl seeks help from a witch, who gives her a spell that will change her destiny. But unless she fulfills a mission within a few days, the spell will turn very, very bad. After a series of inconsequential “fish out of water” scenes, the daughter must face the consequences of the spell, and her parent’s life is put in danger. The princess is rescued from peril, and in the end, the parent decides to let the daughter win the initial argument and have her way.

So that’s a bare bones plot synopsis of Brave. But perhaps it sounded familiar to you. Read it again, but this time think a little less moors of Scotland and a little more “Under the Sea.” Yep. Brave, whether it knows it or not, borrows heavily from the structure of The Little Mermaid. Of course there are some vast differences between the narratives. And perhaps in a world that recycles fairy tales and fables over and over, it’s not a big deal. But it lends some interesting ways to compare the two princesses.

Why the box office failure of Fun Size is actually good news.

Call it reason 3,214 why movies aren't dead.  As you all know, the Nickelodeon comedy Fun Size debuted in theaters last weekend with nary a peep. With just $4 million to its name by Sunday night, it was the 64th-lowest opening weekend for a wide release in history.  Why does any of this matter?  Well, precisely because it doesn't matter.  The film starred Victoria Justice, Jane Levy, and Chelsea Handler and was sold as "The Hangover for kids".  It was also yet another example of a female-centric comedy.  It bombed.  But you know what didn't happen?  You didn't hear hand-wringing about how a female-centric comedy tanked at the box office. You didn't see speculative essays about what the film's failure meant for the future of female-driven comedy in mainstream cinema.  Heck, I did not see one single article discussing even the fact that the film was in fact a female-centric comedy.  I've always said progress comes when you don't have to talk about it.  Well Fun Size bombed last weekend and nobody really cared.  I'd argue that is progress.

Celebrating Batman: The Animated Series 20 years later: As a parent, my least-favorite episodes became more valuable..

This week will be the 20th anniversary of the premiere of Batman: The Animated Series. In its weird way, the show actually had three 'premieres'. The first episode, "The Cat and the Claw part I", debuted on Saturday morning, September 5th, as a quasi-sneak preview of sorts. The next day saw the official premiere, in primetime no less (Sunday night at 7pm) where Fox debuted the official pilot episode, "On Leather Wings". Then came the first official weekday episode, Monday afternoon at 4:30pm, which was no less than "Heart of Ice", which to this day stands as not only one of the best episodes of the series run, but a shining testament to all that Batman: The Animated Series did right both in terms of the Batman mythos and the entire medium of childrens' action shows. This will be the third in a series of essays detailing the long-term legacy of the Bruce Timm and Eric Radomski's groundbreaking animated saga. Today we discuss the show as something I can share with my children, specifically my five-year old daughter.  I actually waited quite awhile to show her this series, purely because I wanted to absolutely make sure she was old enough to actually enjoy it.  The irony is that some of the very things and very episodes I didn't like when I was twelve years old are the things I now appreciate as a father.

Review: Brave (2012) is Pixar's most impersonal and least consequential film and a more troubling failure than Cars 2.

Brave

2012
93 minutes
rated PG

by Scott Mendelson

Beset by production troubles and changing schedules, Brave enters theaters as a fable without an author.  I don't know what happened behind-the-scenes with original director Brenda Chapman nor do I know what replacement director Mark Andrews added to and removed from the final product.  But Brave is an almost irrelevant entry in the Pixar library.  While it is visually scrumptious (in 2D, natch) and boasts a terrific lead vocal performance by Kelly MacDonald, the overall story is both painfully slight and lacking any deeper meaning beyond surface-level morals.  While it is technically a superior film to Cars 2, that film was arguably a 'one for me' project with Pixar founder John Lasseter indulging his love of the Cars universe and his love of old-school spy pictures.  Brave is an artistically superior picture that is still pales in comparison to both the better efforts from both Pixar itself and the various animation rivals (Blue Sky, Dreamworks, Illumination, etc.) nipping at its heels.

Review: Snow White and the Huntsman (2012) is a dull, drab, and aggressively passive chore.

Snow White and the Huntsman

2012
127 minutes
rated PG-13

by Scott Mendelson

Strange is a movie that immediately establishes its dramatic stakes but spends the rest of the film waiting for the main characters to actually take seemingly obvious action.  But such is the case with Rupert Sander's big-budget Snow White reinvention.  While the idea of retelling Snow White on a more epic scale with bits and pieces from Lord of the Rings thrown in isn't the most inspired idea (Snow White: A Tale of Terror went the Gothic horror route over a decade ago), there remain elements for a primal hero's adventure with a dash of feminist subtext thrown in for good measure.  But the picture seems to go out of its way to dismiss or ignore what shows promise while aimlessly wandering around in a literal and metaphorical dark forest waiting for its inevitable action climax to occur.  It fails at least partially because it strands its lead characters with nowhere to go while stranding its lead heroine with nothing to do.

Without comment or emphasis: Why The Avengers may end up this summer's most progressively-feminist blockbuster.

I wasn't going to write about The Avengers again for awhile (other than box office) both because I didn't have much more to offer and because I didn't want this blog to turn into 'all Avengers all the time'.  But I would like to take a moment to single-out a specific element that the film does quite well.  There has been much hand-wringing this week about whether or not The Avengers (and specifically its two major female characters) qualifies as 'feminist'.  Pundits are understandably upset about the lack of more female lead characters, and the fact that the film fails the Bechdel Test.  Merely presenting a couple strong female characters doesn't automatically make your product feminist in nature nor does creating a sausage-fest with a token love interest make your film inherently misogynistic, although the latter does make me roll my eyes a bit more often than not.  But the way Joss Whedon and company present their female superheros merits acknowledgment primarily because of what they don't do. In short, they don't draw one damn bit of attention to it.

As Gary Ross leaves The Hunger Games franchise, nine female directors who could/should replace him on Catching Fire and/or Mockingjay.

The Playlist doesn't break news all that often, merely seeing fit to be a one-stop shop for the movie news that everyone else breaks during the day (I don't mean that as an insult, The Playlist is the site I go to if I only have time to surf one movie news site in a given day),  So it's somewhat of a big deal that The Playlist has broken a pretty major story, confirming that director Gary Ross will not be back to helm the second and/or third films in the Hunger Games franchise.  There have been rumblings all week about contract negotiations, and Ross has now politely passed.  The site chalks it up to both Ross's lack of desire to stay in the same universe for the next several years combined with a somewhat low-ball offer from Lionsgate.  Whatever the case, Ross is gone and the hunt for a new director is now on.  While editing my John Carter obituary a few weeks ago, I removed a large paragraph dealing with the trend of giving young white-male filmmakers with barely a feature credit to their name the keys to $100-300 million franchise films while seasoned pros and/or minorities remain noticeably absent from the 'wish-list' (yes, I was glad to see F. Gary Gray on the Marvel wish-list for Captain America 2).  And while I wouldn't consider The Hunger Games a 'female film', it would be a great opportunity to make a point that female directors can indeed handle the kind of big-scale filmmaking that studios are all-too willing to offer to mostly untested male directors as a matter of course.  So, perhaps arbitrarily, perhaps to prove a point about how inaccessible the 'wish list' is for female directors, here are nine directors who happen to be women who also belong on 'the wish-list' as Lionsgate hunts for a second director.  These are in alphabetical order, with the exception of the final entry, who would be my 'top choice'.

Review: Mirror Mirror (2012) is lifeless and drab, a poor-man's Ella Enchanted.

Mirror Mirror
2012
106 minutes
rated PG

by Scott Mendelson

The good news is that Tarsem Singh's Mirror Mirror is nowhere near as obnoxiously zany and aggressively annoying as the trailers seem to suggest.  Frankly, the most eye-rolling moments of the marketing campaign aren't even in the movie, and I'd be hard-pressed to name more than a few pop-culture references over modern-anachronisms.  And the film is surprisingly nonchalant about gender, presenting a heroine and  female villain whose respective strengths and flaws have little to do with their gender.  But the film is strangely immobile throughout, feeling less like a cinematic experience than an overlong stage-play with expensive costumes and occasionally well-constructed sets.  Every scene goes on too long and every performer seems too tired to give it their all.  When the first trailer dropped, I derisively compared its apparent tone to the live-action Cat in the Hat.  As horrible as that film is, Mirror Mirror could have used some of its boundless energy.

Question of the day: Why *isn't* Twilight's Bella Swan a feminist creation?

In a classical sense, FEMINISM is defined as believing that women should have the same rights, freedoms, choices, privileges, and benefits as men in a civilized society.  Under that relatively general definition, I would argue most rational people, men and women, would classify themselves as 'feminist'.  In my eye, the feminist ideal is not one where women constantly make the 'correct' moral and/or professional decisions or choices that further their own independence, but merely that they have the freedom to do so if they so desire.  So I ask the question, why exactly is the Twilight Saga inherently anti-feminist?  I'm speaking merely to the movies and not the books, but as the series has unfolded, it's primarily been about one thing: Bella Swan (Kristen Stewart) relentlessly pursuing a singular goal, to be in a long-term relationship with Edward Cullen, no matter what obstacle or constructive criticism is hurled her way.  We may not agree with Bella's choice in men, but as I've written before (HERE), I'm not entirely sure the films agree with her either.  Moreover, if feminism is about having the choice to, as a woman, live your life as you see fit, isn't her dogged pursuit of Mr. Cullen inherently feminist by virtue of it being absolutely Bella's choice?

A safely sanitized celebration of state-sponsored child murder. The disturbingly crowd-pleasing immorality of The Hunger Games.

The Hunger Games: an IMAX Experience
2012
142 minutes
rated PG-13

by Scott Mendelson

Note - this is not a conventional review and there will be far more spoilers than usual.  So warned...

The Hunger Games, as it exists as a film, is caught between two worlds.  One on hand, it wants to be a dramatic thriller about a totalitarian regime that picks children at random and forces them to fight each other to the death for the entertainment of the wealthy masses.  On the other hand, it wants to be a series that appeals to mass audiences in order to rack up massive box office grosses and become 'the next big franchise'.  As a direct result of this conundrum, the picture not only fails as a social/political commentary but becomes an ugly celebration of the very narrative that it should be condemning.  By refusing to look directly at its own story and by instead fashioning a convenient morality out of its murderous sporting event, it lets the audience off the hook and even encourages them to enjoy the blood-sport as 'entertainment'.  The film may appear to be mocking reality show conventions and the tendency to emphasize simplistic narratives to alleviate discomfort, but by virtue of what it omits and what it emphasizes, The Hunger Games is a prime example of what it claims to criticize. The film is so afraid to confront the horror of its premise that, in its need to create a mass-audience PG-13 franchise, it makes the cheering audience culpable and every bit as guilty as those who would watch such a thing in real life.

"Girl Power" animated films used to be 'no-big deal'. Why Pixar's Brave, and its feminist narrative, is not a step forward, but merely a course-correction.

I don't generally watch clips, let alone post them, for upcoming films.  I somewhat dislike the practice of releasing full-blown scenes of upcoming films, as it's purely spoiler material, plain and simple.  But I will make an exception, as posting the above clip gives me the opportunity to rant about something that came to mind about a month ago while I was on a Disney Cruise with the wife and kids. Point being, there will be any number of essays written over the next few months about how Pixar's Brave is some kind of groundbreaking picture because it has a female lead, a warrior princess no less.  It's story seems to involve a young girl who rebels against her family's expectations regarding his place in life as a girl in 1300s (?) Scotland (see the teaser and the trailer HERE and HERE).  That's fine.  The film looks gorgeous and I'm a sucker for Scottish music (Patrick Doyle is handling the scoring duties). Alas, I think it's frankly downright regressive that we view this film as a feminist breakthrough.  Quite simply, Disney released an animated film back in 1998 starring a female protagonist who rebelled against society's expectations of her.  Mulan was as much a feminist fable as Brave is selling itself as, and there wasn't nearly as much huffing-and-puffing about it at the time.

So, why isn't The Girl With the Dragon Tattoo a hit yet? Oh right...

This was posted as a comment elsewhere, but it touches on something I wanted to talk about, so I'm sharing it here too...
So as of last week, David Fincher's The Girl With the Dragon Tattoo crossed $100 million in the US and $100 million overseas, giving the film a current worldwide cume of $211 million.  Yet, what should be a terrific result for what is currently an endangered species, an R-rated, hyper-violent/sexual adult thriller, is in fact something of a disappointment.  Why is that?  Simple, it cost too much.  It shouldn't have cost $90 million, end of story. I don't care how good or bad it is, I don't care how polished it looks or how splashy the 007 title sequence is, it was a film with a limited theatrical audience and should have been budgeted as such. The lesson over the last few years is that adult genre fare, even R-rated fare, can thrive as long as they don't cost anymore than $45 million. Contraband cost $25 million. The Town cost $40 million. The Lincoln Lawyer cost $40 million. Limitless cost $27 million. The Grey cost $25 million. The Girl With the Dragon Tattoo, a 2.5hr R-rated thriller that basically advertised that it wasn't appropriate for general moviegoers and had a limited international audience due to the fact they'd have to read subtitles just like the original, cost $90 million. Despite all of its negatives, it still grossed $100 million domestic off a $12 million Fri-Sun opening, showing genuine legs in a front-loaded marketplace even as a hyper-competitive January caused unexpected screen-bleeding.. But, because it cost $90 million, it will struggle to break even.  Sometimes, expectations be-damned, it's just about the math.

Scott Mendelson

The Hunger Games gets a (seemingly) final theatrical one-sheet.

This looks like the final poster and official theatrical one-sheet.  The tagline operates both in relation to the story and Lionsgate's optimistic box office predictions.  This one, arguably one of the higher-profile films of the Spring, drops two months from Monday.  I hope Lionsgate has the courage not to cut another trailer, since their first teaser does a splendid job of not giving away the whole picture.  Anyway, as always, we'll see...

Scott Mendelson

Review: Miss Bala (2012) is a jolting and relentless bit of nasty business.

Miss Bala
2012
113 minutes
rated R

by Scott Mendelson

Gerardo Naranjo's bracing and relatively uncompromising Miss Bala operates on two levels.  On the surface, it is a harrowing descent into a slice of hell, seen through the eyes on a single unwitting participant.  Its genre elements kick into gear at around the fifteen-minute mark and never let up until the sobering conclusion.  As a propulsive exercise, it exists as the kind of 'you are there' experience that would put most 'found-footage' horror films to shame.  But it also exists as a brutal reminder of the absurdity of the ongoing drug war and the deplorable circumstances that exist for women in all-too many countries, as well as the lack of options for escaping said circumstances.  It does not really need the onscreen text that more-or-less spells out its message just as the credits roll.  The film itself operates as a powerful social statement, on top of being a pretty solid thriller.

Blaming the victim: The problem with Beauty & the Beast isn't Belle but the Beast.

Note -For what it's worth, the 3D conversion left me unimpressed.  If you want to see it, do it because you want to see the picture on the big screen again, not because the 3D conversion adds any real value.  If you want to read a similar retrospective discussion of The Lion King, go HERE.  

I've long joked that I was able to ruin Disney's Beauty and the Beast merely by uttering two words: "Stockholm Syndrome".  Having sampled the film in 3D over the weekend, it remains one of the just-plain weirder Disney cartoons in recent times. It is still a highly entertaining and visually impressive bit of entertainment.  It's easy to see and remember (I was eleven when I saw it the weekend after Thanksgiving in 1991 as part of a double-sneak preview following Father of the Bride) how those who thought of Disney animated films as relative trifles like Robin Hood or Oliver and Company were knocked back by the sheer seriousness and scale on display.  Even more than The Little Mermaid, Beauty and the Beast was arguably the first Disney cartoon since the initial batch (think Pinocchio and Bambi) that felt like a grand-scale MOVIE.  But watching it again, for the second time in two years (I bought the 2D Blu Ray over Hanukkah 2010), there are a few things that bear mentioning, both about the movie itself and the nature of how its critiqued.

Scott Mendelson: MEDIOCRE INTERVIEWER! - Diablo Cody on Young Adult.

I don't do interviews, so you'll pardon the messy edges.  But I was lucky enough to attend a screening of Young Adult (review) two weeks ago where writer Diablo Cody and actor Patton Oswalt were in attendance.  Long story short, I ended up getting some phone time with Ms. Cody, in what was supposed to tie in with that rambling essay I wrote on Wednesday.  Anyway, thanks to a slightly curtailed time and my desire to talk about the movie itself, the questions below mainly deal with Young Adult.  Point being, I asked her half-a-dozen questions and got half-a-dozen worthwhile answers, all of which are paraphrased to the best of my ability unless there are actual quotes.  Just don't look for a pattern or any narrative coherence.  My fault, not hers, and if I do this again I'll be sure to get a phone recorder that actually works.  But here we go...

Pixar's Brave gets a gorgeous trailer, which tells a surprisingly conventional story.

Come what may, Pixar has specialized in relatively unimpressive trailers that earn kudos for not giving away the whole movie.  So when I tell you that I wasn't dazzled by this introductory teaser, there is little cause for alarm.  What's most interesting is that the film is the first case of Pixar telling a straight-up Campellian 'Hero's Journey' tale, as opposed to their standard "Man Comes to Terms With Death/What He Cannot Change" fables that gave us Finding Nemo, Wall-E, Up, and Toy Story 3.  The animation is striking, and the 2.35:1 aspect ratio is welcome.  The Scottish setting, the young child who wants to break away from tradition, and Billy Connelly's distinctive brogue makes it feel a bit similar to How To Train Your Dragon (Craig Ferguson turns up here too) albeit with a gender-switch.  The former was about a young man who didn't want to fight, while this one has a young woman who wants to be a warrior.  Anyway, so far, this one looks pretty solid, even if the trailer highlights bawdy humor over red-blooded adventure, and Pixar has certainly earned our trust over the years.  Brave opens June 22nd, 2012.  As always, we'll see.

Scott Mendelson   

One step forward, two steps back: Why the feminism and liberalism of Dirty Dancing would be 'daring' in today's marketplace. Will the remake be as relevant?

Lionsgate announced plans yesterday to indeed remake Dirty Dancing.  With pretty much every beloved 80s film going under the remake knife, it was only a matter of time before the adventures of Johnny and Baby got the revamp treatment.  So while I could use this space to rant and rave about remakes in general, and about how the  original Dirty Dancing, by virtue of being a period piece with few special effects, has not aged one bit since 1987.  But the film is among the crown jewels in Lionsgate's library, as they've put out Blu Ray/DVD reissues twice in just the last four years (to be fair, those special editions are among the most feature-packed of any catalog title this side of Blade Runner).  And there are only so many ways you can milk the same cow, so the House That Jigsaw Built has now seen fit to merely remake the damn thing and hope they don't suffer a similar fate as those behind Dirty Dancing: Havana Nights.  But there are a few things worth considering, things that both shine a light on the fallacy of the current remake-mania and shine a much grimmer light on how our popular cinema has regressed when it comes to dealing with social issues.

REVIEW: Bad Teacher doesn't deserve tenure, lacks focus and narrative drive.

Bad Teacher
2011
89 minutes
rated R

by Scott Mendelson

I didn't laugh all that much at Bad Teacher.  I wasn't offended by Bad Teacher, nor did I find Diaz's scheming protagonist particularly unlikable.  But the film suffers from the same malady as last summer's The Other Guys.  Like that film, Bad Teacher is filled with solid comedic character actors doing occasionally amusing broad turns. But like the Will Ferrell/Mark Wahlberg caper, the Jake Kasdan-directed picture feels like a handful of strung-together sketch moments, often disconnected from each other and failing to exist as a whole narrative.  Of course, comedies that exist purely to patch together one comedic sketch after another can work if those sketches stand on their own two feet.  But this is not the case, and Bad Teacher fails as a comedy and as a story.

When it comes to using Wilson Phillips' "Hold On", Harold and Kumar Go to White Castle did it first, and better...

My only real carp with Bridesmaids is that well, Wilson Phillips's "Hold On" has been used relatively recently, and to arguably better comic effect.  If you recall, the first punchline is that the truck belonging to a group of racist, xenophobic bullies in fact contains a CD collection of female power anthems (which goes along with the whole 'don't judge a book by its cover' theme of the film).  But the film raises that bit as the undeniably catchy "Hold On" becomes both a metaphor for the journey and a tool to heal the leads' damaged friendship.   That Bridesmaids uses the same song for similar reasons (as a cheer-up power anthem) is a minor quibble.  But I still wonder if anyone in the production actually mentioned the scene above.  Surely the action climax of Undercover Brother, set to Michael Jackson's "Beat It" would have been that much funnier if Ben Stiller's Zoolander hadn't used the same song just six months earlier to superior comic effect.  Of course, comparing Harold and Kumar Go to While Castle to Bridesmaids is no slam against the latter.  I happen to think that Harold and Kumar Go to White Castle is the best comedy of 2000s and one of the best films ever made about race relations, ethnic identity, and the melting pot that is modern-day America.  As for the sequel?  Well, Harold and Kumar Go to White Castle remains the best comedy of, well... you get the idea.

Scott Mendelson

Update - DVD Talk's Tyler Foster unearthed a clip from the end of the 2009 direct-to-DVD comedy Spring Breakdown which also climaxes with a group performance of "Hold On".  I saw the movie once and wrote a brief mixed-negative review and have completely forgotten about it since then.  Anyway, credit where credit is due (thanks for the tip, Mr. Foster, and thanks for reading), here is the (played pretty straight) clip.