A personal and sexual diary. A fake user’s manual whose sophistication and audaciousness free it from the traps of what has to be said and the agenda of commonplace. A discourse with disconcert and without instructions, with an exploring spirit and without restrictions.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
As Sexual Assault Awareness Month comes to an end, I’d like to urge viewers and filmmakers to take a long and hard look at how rape is portrayed on screen.
J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
