WARNING: The following posts contains major spoilers for Evil Dead.
Evil Dead fans have been gobbling up every tidbit of information about the 2013 remake of Sam Raimi’s 1981 camp thriller, including the biggest twist on the theme: replacing Bruce Campbell’s Ash as the star of the movie with Jane Levy’s possessed Mia. The shift in focus was an easy peg for celebration on the part of women seeking a more level gender playing field in horror. Mia is giving us a potentially feminist alternative to Ash, but the change could also be a simple refresh button choice on the part of director Fede Alvarez. It’s Mia blood-drenched moments in the final half hour of the film that truly makes the role far more prominent and begs the question, does Mia’s powerful role change things for women in horror?
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The answer is slightly more complicated than a straight “yes.” At the end of the film, Mia is buried by her brother as a means of killing the demon inside of her and when she comes back as herself, she’s eventually the only living member of her group of friends, forced to defeat the demon herself. Mia not only takes Ash’s role as the star, she takes his role as the movie’s central badass, and one who eventually sends the demon back to hell with a blood-covered chainsaw as blood rains from the sky. She’s resourceful, smart, and when she’s backed into a corner, she’s the one with the last minute surprise that saves the day: She rips off her own hand when she’s trapped (also an homage to Ash) instead of being rescued by a miraculously surviving friend with the element of surprise (like the spectacled buddy who saves her brother David earlier in the film). Basically, Mia not only survives: she absolutely pummels evil.
Still, she’s not the shining beacon of feminism, exactly. This last-ditch effort could be categorized somewhat broadly as the classic horror trope of the "final girl." She’s the last one standing, she’s rarely the blonde, and she steps up to defend herself in the face of death. It’s a story we’ve seen again and again, but up until characters Buffy Summers won our hearts on Buffy: The Vampire Slayer, the final girl was generally the mousy brunette whose purity was her main trait. Buffy (as well as characters like Sidney from the Scream movies) was very sexually active, dispelling the notion that the final girl had to be chaste. Like Sarah Michelle Gellar’s heroine before her, Levy’s character takes it a step further.
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Mia, whose trip to the ill-fated cabin where she will spend the worst night of her life was inspired by her recent near fatal overdose of cocaine, is somewhat of a degenerate. She's not a sweet babysitter or a straight-A student or some pure being about to be corrupted, like Cheryl who served as the devil’s vessel in the original The Evil Dead. And with that, she's opening the definition of the final girl even further. It's something horror expert and Women in Horror Month founder Hannah Neurotica (Forman to the non-horror community) says is happening more and more in the genre, "One of the things about the final girl, back then, was that she didn’t do drugs, she didn't have sex, she didn't do anything immoral. Now we're seeing more of a shift that girls aren't actually going to be punished for engaging in those activities."
And that's just it. Generally, the more free-spirited, sexual girls generally go down first or at least earlier in the hierarchy of horror movie slayings, while the good girl is the one who triumphs. To some extent, Evil Dead doesn't abolish that tendency. Take Natalie (Elizabeth Blackmore) in Evil Dead: the ditzy, blonde girlfriend of Mia’s brother David (Shiloh Fernandez) is scoffed at by nurse and know-it-all Olivia (Jessica Lucas) as yet another of David’s many girls. She’s primed for falling prey to the villain (or devil taking possession of anyone he can get his hands on, in this case). She's not a prime candidate to be the final girl and that's still the case. That being said, she's certainly more of a "good girl" than drug-addled Mia, who isn't exactly set up for the final girl slot either.
For Levy's heroine, the places at which she breaks the conventions of the final girl aren't limited to her nasty little habit. Unlike final girls before her, including Jamie Lee Curtis' classic Laurie from the Halloween series, Mia isn't a babysitter with no need for depth or a backstory. She is full of rage, built on the notion that her brother abandoned her when their mother was dying in the hospital. We sort of connect the bridge between her anger over her past and her life-threatening dependence on drugs, and suddenly, she's not just a vessel for the spirits awakened by the book of the dead. She's a full character who comes into the film with her own agenda, acting out motivations and demons of her own. In many ways, she's introducing that side of horror to a mainstream audience thanks to a wave that has been building and continues to build in the genre.
Of course, it must be stated that Mia isn't some heroine gleaming in the face of a misogynistic genre. She’s a member of a growing group — and a sign that the shift that began with final girls like Alien’s Ripley is not so much a trend (which implies that it’s a temporary wave), but a permanent change in the fabric of mainstream horror. "A lot of horror films now are taking the character of the final girl and experimenting with it and taking it in different directions and that is a feminist act regardless of whether or not it was intended because it's allowing women to have more to them and a role in the genre and that alone is progress," says Neurotica.
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It's something that touches all areas of the genre, not just Evil Dead’s slasher category. In television we're seeing characters like The Walking Dead's Michonne and any character Jessica Lange plays on American Horror Story acting as not only formidable presences on screen, but as actual draws for audiences. Entire movie franchises like Underworld and Resident Evil are built on the shoulders of women fighting the forces of horror. Part of that can be attributed to the fact that, well, Kate Beckinsale looks pretty hot fighting vampires. The other factor is that the base of horror fans is diversifying, and fast.
A quick look at TV ratings for horror hits proves that. According to Ad Week, Walking Dead draws more women than supposedly lady-friendly shows like The Real Housewives of Atlanta or New Girl, and Fox's bloody serial killer drama The Following ranks high among women as well. And of course, there's the Resident Evil series, which is a billion dollar franchise and has plenty of female fans of its own. Horror that pleases both sexes by delivering full characters with depth as well as guts on both sides of the gender divide isn’t just a step for leveling the playing field and raising the bar on quality horror, it's a necessary way to make sure a film appeals to the full breadth of horror fans.
Evil Dead's Mia may not be breaking ground, but she's performing the very important task of keeping the progression of strong women in horror moving forward. The more opportunities we have to see a woman so badass she'll rip off her own hand to kill the devil, the better.
Follow Kelsea on Twitter @KelseaStahler
[Photo Credit: TriStar Pictures; 20th Century Fox Television]
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The story is the same. Poor little orphaned Oliver Twist (Barney Clark) has had a hard life. Either toiling in a horrible workhouse or being beaten at a miserable foster home it's hasn't been easy for the 9-year-old. The boy finally runs away to London where he is immediately spotted by the Artful Dodger (Harry Eden) a wily pickpocket. He whisks the sickly Oliver off to meet Fagin (Ben Kingsley) the leader of the pickpocket gang. Under the watchful guidance of Fagin and the other boys Oliver is taught the fine art of lifting. But when he finds himself at the wrong place at the wrong time and is falsely accused for a theft Oliver is inadvertently taken under the wing of the kindly Mr. Brownlow (Edward Hardwicke) a rich man who adopts the boy. Finally some happiness right? Not if you're in a Dickens novel. No sooner is Oliver contentedly ensconced with Brownlow when tragedy strikes again. Fagin's business partner the utterly cruel Bill Sykes (Jamie Forman) kidnaps Oliver and forces him to help them rob Brownlow's house. And when that doesn't go so well Bill then wants to get rid of Oliver. Only with the help of Bill's mistress Nancy (Leanne Rowe) who feels sympathy for Oliver can the boy be reunited with the only person who has ever showed him any kindness.
In a film full of fine performances from relatively unknown British actors Ben Kingsley stands out--and rightly so. Finally Kingsley has been given a part worthy of his talent and the Oscar-winning actor plays one of literature's more memorable characters to the hilt. Part Shakespeare's Falstaff part Lord of the Rings' Gollum Kingsley enjoys playing up Fagin's sprightly nature and physicality. Fagin is a merry prankster even if he's all hunched over and craggy faced with a high squeaky voice and a long moldy beard. But Fagin suffers. He doesn't really want to corrupt young Oliver. He knows the boy is pure of heart but he's too afraid of getting caught--or of evoking Bill's wrath--to let Oliver go. Kingsley subtly shows this internal struggle of good and evil raging within Fagin. As far as the rest of the cast it's interesting to note how all the children are fresh-faced and wide-eyed especially Clark as the oh-so-fragile yet surprising resilient Oliver and Eden as the crafty but goodhearted Dodger. All the adults especially the mean-spirited ones are either very severe and haggard or doughy and sweaty. In fact the film is a great study in faces a testament to Polanski's keen eye for the human condition.
Roman Polanski may have made some bad choices in his personal life but the man sure knows how to make a movie. With Oliver Twist the Oscar-winning director returns to the 19th century England he so vividly painted in his 1979 Tess--except this time around it's a bleak existence in the mud-caked streets of Victorian London being used as a backdrop instead of the lush English countryside. Polanski and his team painstakingly recreate the newly industrialized London from the ground up. It's a bustling teeming frightfully dirty environ filled with pestilence and vermin of all kinds. It must have been such an awful and a brutal time period to have endured and Polanski wants to make sure we understand this so we'll be that more amazed by how this little boy survives in it. There are times you almost wish they would break out into song ("Food! Glorious food!") just to lighten the mood a bit--but of course that's an entirely different Oliver Twist. And therein lies the film's problem: too many Twists. By count there's about 18 other versions either done as feature films or television movies/miniseries--and that's not including the Oscar-winning 1968 musical Oliver!. With all of Polanski's talents he could have picked something that was a little less of a retread.
Love means never having to say you're sorry; it's a many splendored thing; it's all you need. But in tennis love means zero; it means you lose. Or does it? For Peter Colt (Paul Bettany) a British pro tennis player seeded near the bottom of the world tennis ranks love actually inspires him. After scoring a wild card to play in the prestigious Wimbledon tournament he meets and falls for the rising and highly competitive American tennis star Lizzie Bradbury (Kirsten Dunst) fueling a winning streak he hasn't had since he began his career. For Lizzie however the love thing doesn't necessarily work out as well. Her feelings for Peter become a distraction throwing her off her game. Hmmm. Can these two crazy kids keep it together long enough so Peter can fulfill his lifelong dream of winning the men's singles title even if it means his muse might have to sacrifice her first Wimbledon title?
Kirsten Dunst may be what draws you in but Paul Bettany is the reason you don't walk out. The British actor who made an impression with American audiences playing the oh-so-witty Chaucer in A Knight's Tale and then wowed them in Oscar winners such as A Beautiful Mind and Master and Commander doesn't disappoint in his first lead role. Bettany's Peter embodies all that charm we've come to love and expect in our British actors--although thankfully not as floppy as Hugh Grant--he stumbles about and apologizes profusely. It's so cute. And he makes a pretty darn believable tennis player to boot (one would hope so after the intense training session the actors apparently had to go through to prepare for the movie). Unfortunately Dunst does not fare as well. Her Lizzie is appealing and she adequately handles the tennis stuff--but she ultimately fails to connect with her male lead making their relationship seem forced. Their beginning sparks are fun but when there's suppose to be a real flame igniting between them you're left scratching your head wondering just when where and why they fell in love so hard so fast. Yep that's a big red flag.
I've said sports movies usually work (see the Mr. 3000 review). To clarify: That is team sports. Sport movies where the action revolves around a single competitor are harder to pull off. It's just not as exciting watching an underdog struggle with himself in order to win. Luckily director Richard Loncraine (HBO's My House in Umbria) seems to know this fact. Even though Peter takes Centre Court (that's the British way of spelling it) Loncraine tries to at least create a more complete picture giving us a glimpse into the world of tennis as well as delving into the traditions of Wimbledon and how the Brits feel about the prestigious tournament where British champions are few and far between. Loncraine also utilizes real-life tennis pros such as John McEnroe and Chris Evert who appear as announcers to liven up the proceedings. Even the action on the court with close-up shots of the ball whizzing over the net gets the blood pumping a little--wish there was a lot more of that. But then of course one could just turn on the TV and watch the real Wimbledon instead watching a silly run-of-the-mill romantic comedy set there.