the pervert’s guide to ideology


When John Carpenter‘s They Live opened in theaters 25 years ago this week, it had the honor of knocking Halloween 4: The Return of Michael Myers out of the #1 slot. That’s just too perfect, and also it’s also kind of weird to realize that They Live indeed opened at the top spot on the box office chart for the weekend of November 4, 1988. Maybe even weirder than the fact that a U2 concert film debuted just below it at #2. That was a different time for moviegoing, one where a great start like that meant little at the end of the day when your movie still winds up only the 75th highest-grossing of the year. Although the sci-fi film came and went with little widespread notoriety at the time, They Live did go on to become a cult classic of varying levels, the kind revered by movie geeks for being just enough “cheesy” mixed with just enough “awesome,” recognized by academics for being a very direct social commentary on the Reagan years (and the best horror movie satirizing consumerism since Dawn of the Dead a decade earlier) and continually ignored by the mainstream for looking like a cheap, dated B movie. But it’s also a film that has become even more relevant in recent years (and was therefore prescient, as we’ve covered before) due to how it involves a disappearing middle class while the rich and poor grow on opposite sides of the economy, in wealth and population […]


twilight breaking dawn 10

The Ingredients is a column devoted to breaking down the components of a new film release with some focus on influential movies that came before. As always, these posts look at the entire plots of films and so include SPOILERS.  By the end of Breaking Dawn — Part 2, it’s clear that the Twilight Saga, as one long story about vampires, werewolves and a chaste teenage girl, is first and foremost a romance picture. This may not sound like a revelation, but in the past four years we’ve all looked at the series in terms of how it transcends the traditional “chick flick” ghetto to dabble in elements of superhero and horror genres, potentially wooing male moviegoers in the process. Interestingly enough, the finale features a sequence that is very much aimed at fans of genre cinema just before pulling a 180 and concluding with an ending that the same audience will find mushy and sappy as (their personal) hell. While romance figures into most film genres and even dominates the conventional Hollywood denouement for movies no matter what audience is targeted, most of these features are not classifiably romance pictures. The love stories are secondary or even tertiary in importance to plots primarily concerned with adventure or disaster or some treatment of good versus evil. And although there are antagonists strewn throughout the Twilight films, there aren’t really good guys and bad guys in proper terms. Instead there is simply love and family versus threat to love and family. […]

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published: 01.28.2015
published: 01.28.2015
published: 01.28.2015
published: 01.27.2015

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