Page 23 – NYFA

Ghost of Tsushima Director’s Cut and What’s Keeping The Hit Playstation Game Fresh

Posted on September 3, 2021 by nyfa

For a couple of months now, Ghost of Tsushima has been all the rage on the Playstation side of console gaming. In a blogpost direct from Playstation’s website, it was announced in early July that the breakout game was set to receive an expansion dubbed the Ghost of Tsushima: Director’s Cut. An odd choice for a name given it is a game, but aptly named nonetheless if one is familiar with the game’s remarkable story and visuals. The new edition of the Ghost of Tsushima features a new chapter in the main character, Jin Sakai’s, story as well as “some new updates that are a direct response to some of the community’s most-requested features” (Playstation, 2021). For a quick and digestible overview of what the Director’s Cut entails, we’ll be referencing articles from Gamespot, IGN, and The Verge to get you up to speed.

What’s Different About the Director’s Cut?

As previously mentioned, Ghosts of Tsushima: Director’s Cut does more than simply add a new chapter of the story to the game. The new chapter adds a new area to explore, Iki Island, and updates and features fans have requested of Sucker Punch, the developer of the game. For one, Jason Connell, the creative and art director for the game, has stated that Jin Sakai will be getting more abilities in addition to the plethora he already possesses, as per Gamespot’s coverage of the topic. Additionally, according to comments made in the same article, Connell explains that the PS5 version of the game boasts a more immersive experience. The game takes full advantage of the PS5’s features, including utilizing the DualSense controller’s haptic feedback and adaptive triggers “to create a greater ‘spatial feeling’ in the environments around the player” (Gamespot, 2021). Essentially, the 3D audio coming from the controller will be able to simulate pretty believable sound effects that add to the experience.

Where the story is concerned, Jin Sakai will be pitted against the remaining Mongol forces on Iki Island, “gathered under the banner of the shaman Ankhsar Khatun” (Gamespot, 2021). The new villain is particularly interesting, as Khatun is not only a female antagonist, but may very well be impactful in different ways. According to an IGN article which details an interview with Jason Connell and the game’s Senior Writer Patrick Downs, Khatun’s goals may be different, as well as “‘her style of leadership [and] what she’s trying to accomplish…’” Patrick Downs also raises an equally interesting question, which asks whether or not this new style will “affect Jin in ways that maybe he hasn’t been challenged [in] before…’” (IGN, 2021). Jin looks like he’s going to be in for a tough time on Iki Island suffice it to say.

The expansion will also include the addition of horse armor as well as a brand new horse skill, which allows the horse to charge ahead as a battering ram of sorts to tackle and disperse nearby enemies. In their blog, Playstation also mentions that there will be new techniques, new enemy types, new mini-games, lip-sync for the japanese dub of the game, game save transfers from the Playstation 4 (PS4) to the Playstation 5 (PS5), and other utility updates such as alternate controller layouts. Finally, an article by The Verge tells of a kind of “petting” expansion. Where players could only pet foxes, then dogs a few months after the game first released, the new expansion will allow players to also pet cats, deer, and monkeys (The Verge, 2021). Ghosts of Tsushima: Director’s Cut releases for the PS4 and the PS5 on August 20th, 2021.

Scarlett Johansson v. Disney: Why Scarjo is Suing Disney Over Black Widow

Posted on August 5, 2021February 21, 2023 by nyfa

Over the course of these past few days, Scarlett Johansson has locked horns with Disney in a legal dispute. Johansson claims that Disney breached her contract upon the release of Black Widow in both theaters and on their platform Disney +. The actress’ pursuit has prompted other Disney actresses (Cruella’s Emma Stone and Jungle Cruise’s Emily Blunt) to begin assessing their options as well. Why is this such big news though, and why should we care? Join us as we break down this legal dispute and delve into the greater discussion at hand.

Why is Scarlett Johansson suing Disney?

Covid-19 is responsible for a lot of setbacks in the film industry these days, as well as why movies are being released the way they are. Since the need to social distance made theatrical releases difficult, some companies (like Disney) have decided to release their movies on the streaming services they own. The issue between Scarlett Johansson and Disney lies here, with the way the film is initially distributed to viewers. Per Variety’s coverage of the matter, Johansson’s contract read that Black Widow would be guaranteed “a ‘wide theatrical release’…meaning [that] the film would be shown on at least 1,500 screens” (Variety, July 30th, 2021A). Now that snippet there implies that the movie was supposed to be shown on at least 1,500 movie theater screens, which does not technically include the vast multitude of screens that streaming platforms have access to. Additionally, Johansson’s legal team argues that the understanding was that Black Widow’s theatrical release was supposed to be exclusive, which would have implied that the movie would not hit other platforms until after 90 to 120 days have elapsed (Variety 2021A). Variety also cites that the actress’ team has on hand an email from Marvel Chief Counsel Dave Galluzzi, which appears to support the idea surrounding the theatrical exclusivity the film was supposed to receive. Galluzzi’s email also reads that any deviation from the original agreement would reopen the floor to discussion as Johansson’s deal is “‘based on a series of (very large) box office bonuses.’” (Variety, 2021A).

Black Widow Movie Scene on Motorcycle — Scarlett Johansson and Florence Pugh in a scene from “Black Widow”

To wrap it up in a bow, Disney was supposed to renegotiate Scarlett Johansson’s contract with her so that she could be properly compensated for having her movie released on Disney +, which was not originally part of the deal to begin with. Paired with the notion that the Covid-19 crisis is still ongoing with the advent of the Delta Variant, theaters still aren’t hosting audiences at their fullest capacity, despite being open. This in short means that Scarlett Johansson’s payout would not be as generous as it ought to be, as the Galluzzi email mentions her deal is predominantly focused on box office bonuses. Johansson’s team estimates that Disney’s move “cost the actress $50 million in backend compensation” (Variety, 2021A). Granted, Scarlett Johansson did make $20 million from her part in Black Widow, but the problem is more intricate than that. The problem is how Disney has responded to the actress’ dissatisfaction. For a more detailed breakdown of Scarlett Johansson’s side of things, Variety’s article has much more information to offer.

What is Disney doing?

In response to Scarlett Johansson filing the lawsuit against them, the Walt Disney Company issued a statement that read, “‘There is no merit whatsoever to this filing…The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic.’” (Variety, July 29th, 2021B) Disney is also credited with providing how much they have already paid out to Johansson (which was the aforementioned $20 million). It is also worth noting that, at the time the article was written, Disney had not yet provided any information regarding a renegotiation of any kind regarding their deal with the Black Widow star (Variety, 2021B). For a more detailed and in-depth description, here’s Variety’s coverage of Disney’s response.

The main takeaway from Disney’s response is that they aren’t having it. According to the first article cited from Variety, the corporation appears to believe that it has done Johansson no wrong. In fact, Disney claims that they have upheld their end of the contract in terms of Black Widow getting a wide theatrical release. They seem to be making the semantic argument, saying that the fine print doesn’t necessitate an exclusive release in theaters alone (Variety, 2021A).

The case that’s building between Scarlett Johansson and Disney is looking like it could be greatly influential in more ways than one. Not just because everything isn’t as picture perfect as we thought in the realm of Disney, no. The outcome of this legal affair could determine how women negotiate wages in the film industry going forward. Even though she is a pretty wealthy actress, Johansson still deserves to be paid in full for the work she put into Black Widow. One can argue that her situation is symptomatic of a larger, more widespread issue. Even an actress of Johansson’s caliber appears to be finding herself a victim of the wage gap between actors and actresses in the film industry.

The Track Record for Equal Women’s Compensation

For some time, the New York Film Academy (NYFA) has taken the opportunity to track gender inequality within the film industry. Here are some metrics that are relevant to Scarlett Johansson’s case. To put things in perspective, $20 million may seem like a lot to those of us who make substantially less. However, we would like to implore you to consider this upcoming metric for a moment.

As you can see in the chart above, there are male actors who have been paid a great deal more than $20 million. The wage difference between male and female actors in the film industry is quite stark. This is just from the year 2017 too. Notice that only 3 actresses barely came close to the $30 million mark in that year alone. It isn’t like Jennifer Lawrence and Jennifer Anniston aren’t A-List movie stars, they are in fact A-List movie stars. Seeing such dramatic differences begs the question, why does it exist in the first place? The quality of their acting is on par with the other actors listed in this graphic, and yet they are paid less for that self same quality their peers exhibit. Purposeful or not, it is an observable trend in the movie industry, one that needs to be rectified. In the year 2018 during the 90th Academy Awards, of the 19 categories that were not acting-related, 131 men were nominated whereas 40 women nominated. To top it all off, in all the history of the Academy Awards, out of the women nominated only two have won the award they were nominated for (Kathryn Bigelow in 2010 and Chloé Zhao in 2021 won Best Director). Based on the legwork the NYFA has done to track these developments, it’s fair to say that there is a notable degree of both gender bias and gender inequality in the film industry, and the scales are not tipped in women’s favor. For more detailed information on

With these thoughts in mind, perhaps now we can better appreciate Scarlett Johansson’s struggle to attain what she is owed from Disney. As of this moment, she fits the terribly unbalanced metric displayed above. As the star of her own movie, Johansson should receive much more for the work she has done for them, plain and simple. Which is why her dispute with Disney is so momentous. Her success or failure in this matter will undoubtedly set a standard for actresses going forward. It already has for a couple of other actresses who’ve done work for Disney recently, but in the long term, the results of this dispute could affect how actresses who aren’t as soundly secure in their reputation negotiate what they earn in the future.

The Suicide Squad: What You Need To Know And Insights Into The Movie Industry

Posted on August 5, 2021 by nyfa

Warner Bros. has not had the best track record when it comes to expanding its live-action DC cinematic universe (DCEU). One can make the case that the race to catch up to the Marvel Cinematic Universe (MCU) took its toll, as well as other controversies related to the Justice League film. That’s not to say they haven’t had successes. Wonder Woman, Shazam and Aquaman were pretty fun and well received movies. However, if Warner Bros. were to begin charting the course going forward, its success might rely on changing things up to keep these movies fresh and interesting to new and returning viewers. Which is why a movie like The Suicide Squad might be just what both the fans and Warner Bros. need in order to break the cycle once and for all.

What Does The Suicide Squad Bring To The Table?

The Suicide Squad can be a plethora things. It can be gruesome. It can be comedic. It can be a great deal more than anyone expects. That’s the great thing about this particular property. In concept, the Suicide Squad (also known as Task Force X) is a band of incarcerated villains that are forced to carry out nigh impossible missions for the government for a chance at reducing their sentences. The concept alone leaves the property very much open to all kinds of visions a director may have for it. Especially since there are many different team members that have been phased in and out of the Suicide Squad throughout its comic book history. In short, a director could theoretically craft a team to fit any genre they desire. This versatile quality of the Suicide Squad’s is what could ultimately be its saving grace in terms of success.

An article by the Daily News attests to the film’s versatility, which delves into the relationship between Idris Elba’s Bloodsport and John Cena’s Peacemaker. From Cena’s description, the two characters appear to be set to clash with each other as teammates, resulting in an “‘alpha-male struggle’” between the two (Daily News, 2021). In addition to that, he goes on to point out that both characters are pretty identical to one another in terms of skill set, save for the personalities each character exhibits (Daily News, 2021). One can look at this relationship as a mere microcosm of the Suicide Squad as a whole, especially when one considers the sheer size of the cast. There is an interesting dynamic between the Peacemaker and Bloodsport from what we’re hearing, without a shadow of a doubt. But now imagine similar dynamics between the host of other actors portraying the other members of the Suicide Squad. There is a lot of potential for an enriching degree of character building in this film, which will hopefully lend itself towards the film’s success. If that wasn’t enough, Idris Elba’s comment on what we can expect from the film also attests to the multifaceted approach James Gunn appears to be taking. Elba says that The Suicide Squad will feature “lots of drama and action moments, but also heart and humor” along with “a new cast [being brought into the] franchise” to further freshen things up (Daily News, 2021).

A Tale In Movie Magic

Depending on the kind of movie you’re making, there are different requirements that need to be met as each project is its own unique creature, so to speak. For The Suicide Squad, one of these requirements was that the actors needed to be kept both sweaty and dirty as one of the sets was a hot jungle climate. Cinemablend writes that one actor in particular, John Cena, needed makeup treatment to simulate sweat interestingly enough. Granted, the actor is in good shape and has an extensive history of physically rigorous roles, it makes sense that he would be in need of the immersive touch up. The application of fake sweat as a practice probably isn’t very much noticeable, but important through and through. Simply for the reason that when you’re in a humid jungle, you sweat. It’s one of those things filmmakers do to make sure the viewer is fully immersed in what they’re seeing, which only adds to the experience. In summation, with all the work that’s going into the movie behind the scenes and without, The Suicde Squad looks like it’ll be a fun summer ride. The Suicide Squad releases in theaters and on HBO Max on August 6th, 2021.

Snake Eyes: G.I. Joe Origins, Taking Reboots in Stride

Posted on August 5, 2021 by nyfa

The G.I. Joe movies do not have the best track record, with movies G.I. Joe Rise of Cobra and G.I. Joe Retaliation not being very well received. The next movie in the G.I. Joe franchise, Snake Eyes: G.I. Joe Origins, appears to promise a different approach. From what we can see in the trailers and other promotional material, the movie looks like it is not only going to be an origin story for the titular character, it is also going to be a reboot for the franchise. Here’s the trailer for reference.

What Exactly Does The Snake Eyes Movie Change?

To answer this question, there are a couple of key details that need to be taken into account. For one, since it is an origin story, Snake Eyes will not be a part of the Joes’ ranks quite yet. Per an article by Collider, the movie will instead focus on his time with a clan dubbed the Arashikage. It will also feature Cobra, a shadow organization that has long been the archnemesis of the Joes. According to the trailer, Arashikage will be taking an active role in taking the fight to Cobra Command. It’s an interesting choice, entwining Snake Eyes’ origin with Cobra, but it makes sense given what other characters are seen in the movie. Portraying Snake Eyes himself will be Henry Golding, known widely for starring in Crazy Rich Asians. Andrew Koji, who recently starred in Warrior, will play Storm Shadow, Snake Eyes’ eventual nemesis. Other stars in the movie include Uko Kwais as Hard Master (Snake Eyes’ Master & leader of the Arashikage), Samara Weaving as Scarlett (a member of the Joes), and Úrsula Corberó as Baroness (a prominent member of Cobra Command).

Speaking of casting and choice of character, Paramount in collaboration with Stoopid Buddy Studios took the time to create a funny little YouTube video, outlining who will and will not be featured in the new Snake Eyes film.

The promotional video, which uses stop motion and G.I. Joe figurines, pokes fun at the state of the G.I. Joe franchise in terms of organizing its canon. For one, characters seen here who are not being included in the Snake Eyes movie include Duke, Roadblock, and Gung Ho. This is important because these are characters we have seen in the movies previously. Duke was played by Channing Tatum in G.I. Joe Rise of Cobra, and Roadblock was played by Dwayne “The Rock” Johnson in G.I. Joe Retaliation. What does this suggest? Even though the video claims it’s more of an origin story than a reboot, choosing not to include or make reference to the past two movies more so suggests that it trends along being a reboot. This is not to suggest we may never see these characters, as an article by Gizmodo posits that depending on how well the Snake Eyes does, “[their] inclusion makes it fairly obvious those are characters could appear in sequels” (Gizmodo, 2021). It’s worth noting that Snake Eyes is one of the most popular G.I. Joe characters out there, so there is a possibility that the movie can do well enough to sire sequels. Making Snake Eyes’ movie the start to a brand new cinematic canon for the G.I. Joe franchise is a smart choice, but only time will tell in terms of the movie’s success.

Space Jam: A New Legacy, What You Need to Know and Why You Should Be Excited

Posted on July 15, 2021November 16, 2022 by nyfa

It is not farfetched to say that, for many, the year 2020 was riddled with one turbulent event after another. Thankfully, an announcement made in 2019 gave people a small ray of sunshine to look forward to in 2021 (Radio Times, 2021). That ray of sunshine was the announcement of Space Jam: A New Legacy (also called Space Jam 2). Its predecessor, Space Jam (1996), was very well received, making $90.5 million domestically and $159.7 million overseas. To say that it was successful as a movie is an understatement, which is why when the sequel was announced, it was sure to make a splash with Space Jam fans.

The Second Trailer

From what we can see in the trailer, Space Jam: A New Legacy looks like it has a lot to offer, promising a fun and adventurous movie. Many of the classic characters from the 1996 movie are set to return, including Bugs Bunny, Lola Bunny, Daffy Duck, Tweety Bird, and many more. The plot centers around pro basketball player LeBron James traversing Tune World to create an Allstar team to win his family back in a game of basketball from a malicious computer program holding them hostage. Wacky as it sounds, it promises to be a deeper and more involved story than the first Space Jam, which even then, didn’t need to have the most complex story to become a cultural icon.

(For more on how the first Space Jam came to be, check out this article by Entertainment Weekly for more).

The stakes are also just as high, since they range from Lebron James playing to win his family back, to “how all the Looney Tunes will be deleted if they lose the game” (Gizmodo, 2021).

Further Insights

Speaking of interesting, among the cast of Looney Tunes characters being reintroduced, Lola Bunny is going to have “a make-over for the film” (Radio Times, 2021). To better fit the times, Lola’s look is going to be updated so that it isn’t as overtly sexualized as past incarnations of the character. Since Space Jam 2 is supposed to be a kids’ movie, the director, Malcolm D. Lee, felt there was no good reason for Lola Bunny to be in a crop top, stating that it “just [would have] felt unnecessary” (Radio Times, 2021). It’s good that the director made this call, because it ties back into our conversation regarding Cruella and representation. Keeping with what the director noted as “a long history of [sexualization] in cartoons” would have only continued reinforcing the male gaze. Making this choice steers female representation in cartoons to a more acceptable place, one that does not allow the male gaze to loom over it. Had Lola Bunny’s look not been changed, that detail, subtle as it may be, would have only served to further indoctrinate children into this mindset.

Another change the movie will be making is that it will no longer be including Pepe Le Pew (a character notorious for his pursuit of another Looney Tunes character, Penelope Pussycat). According to Radio Times, there was a scene planned where Pepe Le Pew would be informed about consent by Greice Santo, a star from Jane the Virgin (Radio Times, 2021). Why the scene was cut from the film is still conjecture however, since Warner Bros. has not commented on the decision. Though to be frank, polarizing as it may have been, it would have been a good way to at least work towards airing out the controversy surrounding the character while speaking to why the character had become so polarizing in the first place. For more on this subject, this article by Deadline sheds more light on the intended scene and the conversation surrounding Pepe Le Pew.

Final Thoughts

Space Jam: A New Legacy looks like it is going to be a blast overall. The plot, which is just as insane and ballistic as its predecessor, looks like it will be offering what the original did and more. Although, something you might be wondering as a reader at this point might be, “the title says ‘why you should be excited’… but isn’t controversy the opposite of that?” To answer that question honestly, yes and no. Space Jam 2 is meant to be what it promises, a nostalgic, comforting movie for viewers of all ages to have fun seeing. That is where the excitement is. On the other hand, controversy can be just the opposite of that, as you can often find yourself on opposing sides of a debate which can go from zero to a hundred pretty quickly. This however, is why it is important that we do not shy away from these conversations. Recognizing the breadth and importance of the conversations that go on behind the scenes (pardon the pun) is important. The kinds of decisions movie makers choose or do not choose to make is an important subject. With this in mind, to see Malcolm D. Lee making the decisions he did in service to the audience is worth the mention. Space Jam: A New Legacy releases in both theaters and on HBO Max on July 16th, 2021.

Black Widow: Milestones in Representation

Posted on July 8, 2021February 21, 2023 by nyfa

Before Captain Marvel (2019) was released and the upcoming release of Marvel’s Black Widow (2021), it is pretty fair to say that Marvel wasn’t doing the best when it came to female representation in the Marvel Cinematic Universe (MCU). It is also fair to say that sentiments like those expressed by this article from Vanity Fair aptly echoed the dissatisfaction of critics and viewers alike (if not a portion of both groups). Granted, strides have been made in recent years to beat back on this issue, but female representation in film is still something of a pervasive issue. A lot of why it remains this way has its roots in not only outmoded thinking, but the kinds of stories women are featured in and what roles they assume. Let’s take a look at what’s going on here, with Black Widow’s story as our introductory guide.

Black Widow’s Arc and the Issue at Hand

Black Widow is among the oldest of all the characters introduced in the MCU (with Bruce Banner/The Hulk and Tony Stark/Iron Man coming before her, chronologically, as main characters). Despite this, she has not had a very fulfilling arc, only appearing as a side character in the Avengers movies or other characters’ stand alone movies (Iron Man 2 (2010), Captain America: Winter Soldier (2014), and Captain America: Civil War (2016)). In Iron Man 2, Black Widow debuted as an undercover S.H.I.E.L.D. agent who worked her way up to being Tony Stark’s personal assistant (which was done so she could keep a closer eye on Tony Stark). Her introduction is a bit rocky as FilmSchoolRejects points out.

Black Widow’s first appearance starts off with an “uncomfortably sexualized scenario” between her and Stark (her employer) and, as the film progresses, she gets to show off her talents as a spy and as a hand-to-hand combatant (FilmSchoolRejects, 2019). While the film does well to demonstrate Black Widow’s prowess, the character is very notably “subjected to a leery male gaze”, as there are other scenes in the movie aside from her introduction that aren’t very appropriate (FilmSchoolRejects, 2019). Luckily for viewers trying to focus on Black Widow’s character, this trend doesn’t last forever and as she appears in more MCU titles. In Marvel’s The Avengers (2012) and Avengers: Age of Ultron (2015), Black Widow starts to come into her own more as a character. While appearance still played a pretty big part in how she was portrayed, she was given room to come into her own, albeit she was mostly playing off other characters like Bruce Banner and Steve Rogers. This aspect of Black Widow’s development arguably had a hand in how well she was received by both viewers and critics. Even though she was given that room to grow, it didn’t feel like room enough. Even though Bruce Banner/The Hulk also suffered from this issue, as the only woman on the team, she definitely deserved having more of her story fleshed out and realized. Having her simply play off the other characters was never truly going to be enough to provide viewers with a satisfying story.

As a main character, Black Widow deserves to have her background delved into, especially since she goes on to become a pretty integral part of the MCU. Black Widow continues more or less playing off of other characters in the MCU, including Captain America: The Winter Soldier (2014), Captain America: Civil War (2016), Avengers: Infinity War (2018), and finally, Avengers: Endgame (2019). With Avengers: Endgame, Black Widow made a bittersweet exit in service to the story, sacrificing herself so that the Avengers can overcome the devastation left behind by Thanos in the movie before. On the one hand, her sacrifice did show how much she had grown (or what little you saw of it) over the course of the MCU movies she debuted in. On the other… it fell flat in some sense because, as a character, she had so much more to offer. Vanity Fair provides an excellent breakdown concerning Black Widow’s treatment in Endgame, should you choose to see how deep the rabbit hole goes. The moral of the story however is that Black Widow was killed off too soon, or rather, her arc wasn’t fulfilling enough for it to be considered finished. Thankfully, that is hopefully what Black Widow’s (very) long awaited standalone movie will do once it releases later this July.

The Issue at Hand

Black Widow has had an interesting journey within the MCU, sadly, it played out this way for a reason. An article from BBC covers the issue pretty well, especially when it comes to how Black Widow’s arc has been part of a larger, long-standing problem in the MCU. To quote that BBC article, the issue is namely this, “in 10 years and 20 MCU movies so far, not a single film has been led or directed by a woman” (BBC, 2018). Granted, that was back in 2018 when Captain Marvel (2019) hadn’t come out yet. Even then, Marvel went a considerably long time without including some serious representation for women. It begs the question, why wait that long to come out with a woman-led movie? Well, part of the reason is that, at least a couple of years ago, there was a pretty prominent stigma in Hollywood concerning actress-led movies.

In retrospect, it is true, the movies did not do very well. But it is doubtful that this was a result of the movie being female-led. The BBC article makes it a point to mention that, in the case of Catwoman (2004), the movie wasn’t good because it had “an awful script, they didn’t put enough money into the budget, and there wasn’t CGI at the time to really do [the movie] right” (BBC, 2018). The same can likely be said of Supergirl too, not to mention that superhero movies weren’t as popular then as they are now. So in reality, they weren’t given the best budget because they were superhero films too! Paired with the stigmas surrounding actress-led movies, there was no way Catwoman was succeeding as a film in 2004. Luckily for us, that stigma was called into a considerable amount of question when Wonder Woman released in 2017, a success that shattered expectations. It proved that a female character could certainly lead a film, as well as not detract or take away from its ability to succeed. It’s a shame as well, since Black Widow is an equally compelling character. Not to mention a character that also received some build up in movies that were not her own, so a stand-alone Black Widow film would have worked. Theoretically, after Age of Ultron at the very latest, you could have had a Black Widow stand-alone film as part of the MCU’s Phase 2, even though all main characters were supposed to be introduced to audiences in Phase 1 (for more on the Phases of the Marvel Cinematic Universe and how they are constructed, visit this article by Daily Dot). Case in point, Black Widow should have had her own film a long time ago.

Final Thoughts

It is great to see that Marvel is starting to ramp up female representation within their universe, but there is still a lot of work to be done in that arena. Representation is key, especially in film, because whether it is intentional or not, the way a film represents people informs its viewers’ attitudes towards the people that are represented. It is a responsibility that filmmakers should always keep in mind so as not to reinforce outmoded ways of thinking and other potentially harmful dispositions viewers may or may not already possess. Additionally, while it is likely knowledge that is commonplace, it’s important for the next generation of viewers to see themselves in the heroes they look up to. That’s why representation in film is so important, especially in this day and age. Black Widow releases in both theaters and on Disney+ with premier access July 9th, 2021.

Forever Purge: A Series In Review

Posted on July 1, 2021November 16, 2022 by nyfa

The Purge series asked an essential question, which gave life to four movies, and now, a fifth come July 2nd. The question these films ask is this: If people could act without fear of consequence, what would they be capable of? To preface the premise of the movies, The Purge is a dystopian take on American culture, where one night a year, any and all crime is allowed to take place. One would imagine that part of the series’ success comes from how enamored we are with the question it poses to its viewers. Interestingly enough, one can also make the case that the movies also serve as a mirror, which tries to show its viewers some of the darker, more malevolent aspects of American society.

The Purge in Sequence

In order to fully capture the depth of The Purge films, a quick movie by movie synopsis might be in order. The first movie, simply titled The Purge (2013), kicks the series off with quite the headline so to speak. In the year 2022, unemployment is at an all time low (below 1%) and crime is pretty much non-existent. Why, you ask? Well, because eight years before, a political party called the New Founding Fathers of America (NFFA) instituted a “holiday” of sorts. Essentially, as a means of “concentrating crime and mayhem into one single night” the NFFA set up The Purge, a day where “all crime is legal and all emergency services are suspended for 12 hours, beginning annually at 7 p.m. on March 21” (Vulture, 2018). It is also worth noting that, in the movie, some radio talk show radio callers are seen deliberating what the true purpose of the Purge is. They argue that it exists as a “mechanism for population control”, a way to get rid of disadvantaged people in the interests of the “wealthy and the powerful so [that] the government no longer has to shell out as much for assistance programs like welfare or health insurance” (Vulture, 2018). The film then follows the Sandin family as they are subjected to the horrors of the Purge.

The second movie, The Purge: Anarchy (2014), follows a different cast of characters, the only exception being Edwin Hodge who reprises his role as The Stranger. The film is also different in terms of setting too. Where the first Purge movie took place in suburbia, this one takes place on the streets of Los Angeles. Set two years after the events of the first Purge movie, it now focuses on Leo Barnes (Frank Grillo), Eva Sanchez (Carmen Ejogo) and her daughter Cali (Zoë Soul), Shane (Zach Gilford) and his estranged spouse Liz (Kiele Sanchez). Through each character’s perspective, the film further delves into everything wrong with The Purge, building on what the first movie established (Vulture, 2018). The NFFA returns as well, but we’ll cover why that’s important later on.

By the time the third movie, The Purge: Election Year (2016), rolls around, Frank Grillo reprises his role as Leo Barnes who is now a security agent for a senator running in opposition to the NFFA. This senator, Charlie Roan (Elizabeth Mitchell), runs with a big change in mind. Roan is dead set on doing away with the Purge, having been a victim of it herself. In a bid to run unopposed and stay in power, the NFFA tries to orchestrate her death (and fails, resulting in their very timely demise). Finally, the next movie in release order is the First Purge (2018), which shows viewers the origin of the fictional holiday. As a prequel to all the movies before it, the First Purge shows “how grotesque the idea of the Purge is” at its core.

A Commentary on Our Society

One thing all of the past iterations of the Purge movies have in common is that they speak to some of the issues the United States often has trouble with. For one, there’s the issue with getting unemployment down to a consistently low level. Not to mention the contentious debate surrounding just how much disenfranchised people should be supported in government policy. That’s where the wicked idea of the Purge comes in. According to an article by the Los Angeles Times, the directors had a very specific concept in mind when constructing the in-movie atmosphere which leads to the normalization of the Purge. They set the movie in a “near-future dystopia in which a dominant ultraconservative party…has legalized for one night each year” (Los Angeles Times, 2018). In our current political climate, there is still much debate that goes on regarding how much support people ought to be…well, supported. Just look at the conversation surrounding stimulus checks from a couple of months back. In the first movie, the Purge is hinted as being specifically designed to eradicate disenfranchised people or the people who need support. People that are homeless, poor, sick, they’re the ones who are being targeted since they can’t do much in the way of aptly defending themselves, which make them easy targets for various Purgers trying to rack up a kill streak. The Vulture article previously mentioned also notes that the debate for welfare pretty much becomes moot, since having this weeding system is beneficial to both the top 1% and lawmakers as they no longer need to “shell out as much [money] for assistance programs like welfare or health insurance” (Vulture 2018). That notion right there is arguably the heart of the matter. Deciding what is worth spending on and what isn’t. The movie attempts to address quite an interesting question, it asks: “At what point does blatantly neglecting the less fortunate members of our society become that much more appealing?” It leaves one to conclude that, in a way, it’s already occurring. Discussions like these are not solved overnight, as they are complex problems by nature. Sadly, people don’t just stop struggling because we haven’t found the be-all end-all answer yet. The only difference between waking life and The Purge is that said neglect is not as straightforward as a holiday like the Purge. That’s just the first movie.

The Purge: Anarchy then shifts itself away from the perspective of some of the wealthier individuals in society and delves into what the Purge looks like for people that are disenfranchised. To quote the director, James DeMonaco, he says that he wanted to show how the Purge as a system is “unhealthy” and goes on to further note that it is meant to be a “metaphor for the predatory economics that we’ve seen over the years where we’re feeding the rich and taking from the poor” (Los Angeles Times, 2018). It’s meant to show that even the system we have now isn’t perfect, that while this is a dystopian universe, it is not at all that far removed from our own reality. When The Purge: Election Year released, that’s when the conversation really began to ramp up. There was some allusion to this theme in the movie before, but in this one, it was heavily leaned into. The Purge: Election Year dove headfirst into the politics of the former President, where DeMonaco perceived a pretty distinct “parallel between the New Founding Fathers” and the previous Administration, doing well to outline their penchant for “the[ir] use of fear tactics” for the sake of motivating people (Los Angeles Times, 2018). It’s also important to mention that, according to the directors, they weren’t explicitly trying to emulate reality for Election Year. That in a bizarre nightmarish way, “the mirrors to ‘The Purge’ [were coming] true” (Los Angeles Times, 2018). Outlandish as it sounds, the situation only speaks to the direction America was indeed headed towards.

Final Thoughts

Whether one agrees with the creators’ outlook or not, the Purge movies do well to stimulate a much needed conversation people do need to be having with one another. Ignoring or pushing our collective issues off to the side doesn’t solve them, arguably, it only exacerbates them. Which is why they’re conversations that need to be had. The Purge’s commentary on American society does well to get these conversations going, and only serves to underscore the importance of the film franchise. That being said, the newest installment, The Forever Purge, will likely also do well to stimulate similar conversations if the film franchise’s track record holds. The Forever Purge is set to release on July 2nd, 2021.

‘Fast and Furious 9’: What You Need To Know & What’s Changed Over The Course Of The Film Series

Posted on June 24, 2021November 16, 2022 by nyfa

Fast and Furious 9 (or F9) is part of a series of films that spans nine movies as well as one spin off film. Suffice it to say, there is a lot that goes on in the Fast and Furious universe, and it can’t simply be boiled down to racing and cool stunts. Here’s what you need to know for the upcoming film F9.

The Timeline

The Fast and Furious movies can get complicated in places. There are a ton of ancillary characters to keep track of, but the story mainly revolves around Vin Diesel’s Dominic Toretto, Paul Walker’s Brian O’Connor, and Michelle Rodriguez’s Letty Ortiz. Eventually, Dwayne “The Rock” Johnson’s Luke Hobbs becomes a character the movies focus on. Other notable stars that have found their way to the franchise include Charlize Theron, Jason Statham, Gina Carano, Rhonda Rousey, and in the upcoming F9, John Cena, to name a few. In addition to the fates of some of these characters, this opens up the conversation to the trickiest aspect of the Fast and the Furious universe. The in-movie timeline gets pretty windy, despite the release dates of the films. As a quick and easy reference, here is a list of the Fast and Furious movies in order of release.

The Fast and the Furious (2001)
2Fast 2Furious (2003)
The Fast and the Furious: Tokyo Drift (2006)
Fast and Furious (2009)
Fast Five (2011)
Fast & Furious 6 (2013)
Furious 7 (2015)
Fate of the Furious (2017)
Fast & Furious Presents: Hobbs & Shaw (2019)
F9 (2021)

The first two films, The Fast and the Furious (2001) and 2Fast 2Furious (2003) are where they should be as the start of the film series’ canon. All is well and good until you debate which movie you should watch after viewing those two. An article by CinemaBlend notes that “2003’s The Fast and the Furious: Tokyo Drift” should be next in line “if you’re watching in the franchise’s order of release” (CinemaBlend 2020). However, the story these films lay out for their audience actually suggests that next in line is Fast and Furious (2009). This is because of the appearance of a character named Han Lue who dies in Tokyo Drift. Han is also seen in Fast Five (2011) and Fast & Furious 6 (2013). This particular storytelling choice then makes Fast and Furious (2009) as well as the two films after it, prequels to Tokyo Drift. The movie series’ prequel streak ends in Fast & Furious 6 (2013) when the film revisits and retcons the circumstances surrounding Han’s death. After seeing Fast & Furious 6 you can safely begin to entertain watching Tokyo Drift (even though it was retconned). As the movie where Han’s death actually occurs, it would make sense that it would come next. From here on, viewers can immerse themselves without any timeline oddities. To make simple what was explained above, here is the revised watchlist when considering the in-movie canon.

The Fast and the Furious (2001)
2Fast 2Furious (2003)
Fast & Furious (2009)
Fast Five (2011)
Fast & Furious 6 (2013)
The Fast and the Furious: Tokyo Drift (2006)
Furious 7 (2015)
Fate of the Furious (2017)
Fast & Furious Presents: Hobbs & Shaw (2019)
F9 (2021)

For more insights as to the reasoning behind this viewing order, CinemaBlend’s The Fast And Furious Movies’ Timeline Explained (from which a majority of this information was sourced) covers some of the finer details of the Fast and Furious in-movie canon.

The Fast Saga’s Inception

Now that we have the complexities out of the way, we can move on to how the series began. According to an article by the Chicago Tribune, the movie was inspired by a combination of two things. The first being a film that came out before The Fast and the Furious called Point Break (1991), which was a movie about an FBI agent going undercover to infiltrate a community of surfers (some of whom are bank robbers). The Fast and the Furious 2001 film isn’t that much different, as Paul Walker’s character (also an undercover cop) infiltrates a gang of notorious car thieves to learn their identities. Both main characters also develop complex relationships with the people they are sent to investigate.The other key source of inspiration for The Fast and the Furious was an article published by Vibe called “Racer X”. The article, written in 1998, covered “real-life illegal street-racing gangs in California” (Chicago Tribune, 2019). This aspect lends itself nicely to Dominic Toretto’s own gang, since they not only steal cars, they use them in street races as well. From this starting point however, the long road that represents the Fast saga twists and turns from a narrative perspective as often as the characters themselves.

The Series’ Evolution

Ever since the first movie in 2001, the Fast & Furious movies have always been about family. But at a certain point, it stops being about other things, such as the racing aspect the first film introduces its viewers to. Revisiting the Chicago Tribune’s article, 2Fast 2Furious is where the series’ first divergence is hinted at. In this movie, the action becomes “more cartoonish” and is otherwise referred to as a “bizarre follow-up” (Chicago Tribune, 2019). It introduces what the series will later become widely known for, which is its insane car related stunts. The next movie, Tokyo Drift, sees a change in both directors and writers as Justin Lin and Chris Morgan respectively are brought on. From there on, they direct and write pretty much every movie that comes out following Tokyo Drift. With each movie that comes out after Fast and Furious (2006), the stunts get progressively bigger and badder, as does the action. It isn’t until Fast Five however, that the series completely does away with any semblance of realism and “fully embrace[s] the ludicrousness” of the Fast and Furious universe (Chicago Tribune, 2019). In short, the Fast and Furious movies become off-the-wall crazy, not bearing much resemblance to the movie that started it all back in 2001.

Reception and Final Thoughts

Believe it or not, despite how far removed the Fast saga might be from reality, it actually made the franchise that much better. A quick glance at the reviews for each movie on Rotten Tomatoes shows that, since Fast Five, the franchise trends upwards in terms of reception. All in all, Fast Five set the tone going forward quite successfully. The Chicago Tribune also affirms this notion and notes that this new formula would prove worthwhile, as Fast Five “grossed $626 million worldwide, a number [which] would only increase with future installments” (Chicago Tribune, 2019).

By now you might be asking yourself, “okay, what do I do with all this info?” Well, to quote the Notorious B.I.G., “if you don’t know, now you know”. All jokes aside though, if you were on the fence about watching the upcoming F9 before, hopefully this article piques your interest in the franchise. F9 is set to release on June 25th, 2021.

A Femme Fatale is What Type Of Character? Examples From Film and Television

Posted on May 27, 2021January 8, 2024 by nyfa

Cruella de Vil, a character most widely known from the One Hundred and One Dalmatians animated film, explores the origin story of the villain, with Emma Stone portraying Cruella. That is the question, though, isn’t it? Just who is Cruella? Why is it important that her story be told? The answer, as we will soon discover, lies in the archetype of Cruella de Vil as a member. One that, arguably, deserves some more fresh takes, this archetype being the femme fatale. So when it comes to the question ‘a femme fatale is what type of character in film?’ the answer isn’t as straightforward as you may think.

A Femme Fatale is What Type Of Character in Film?

The femme fatale archetype comes from film noirs around the 1940s and 1950s. What makes them such compelling characters is that they are willing to meet whatever ends they deem necessary to achieve their ambitions, but at the same time, contend with feelings and motivations that prove counter to those self-same ambitions.

In a way, they are somewhat contradictory in an oppositional sense. The way they are portrayed, they often have to compromise their comfort zone to reach their desired state of comfort and security. It is a layer of characterization that grounds them, making femme fatales feel very authentic and human despite being fictional in nature.

Examples of Femme Fatales in Film and Television

The femme fatale is a classic role in film characterized by a confident, mysterious, and seductive woman.

Here are some notable examples of femme fatales in film and television.

Villanelle in Killing Eve (2018)

Jodie Comer’s portrayal of Villanelle in Killing Eve is a masterful embodiment of the contemporary femme fatale. With a charismatic and unpredictable demeanor, Comer brings a highly skilled and enigmatic assassin to life, adding layers of charm and wit that make Villanelle a standout character.

Catherine Tramell in Basic Instinct (1992)

Played by Sharon Stone, Catherine Tramell is a crime novelist who becomes a prime suspect in a murder investigation. Her cunning and provocative demeanor make her a classic femme fatale.

Mace, Strange Days (1995)

In Strange Days (1995), Angela Bassett delivers a powerful and dynamic performance as Mace, a skilled bodyguard and confidante. Her strong, resilient femme fatale portrayal adds depth to the character, challenging traditional expectations and contributing to the film’s exploration of identity and justice in a dystopian future.

Claire Underwood, House of Cards (2013)

Claire Underwood is a formidable woman, exemplified by Robin Wright. Operating behind cunning and power-hungry politicians in the vein of Machiavelli, Underwood is an equally scheming partner to her nefarious husband.

The Bride, Kill Bill: Volume 1 (2003) and Volume 2 (2004)

Uma Thurman’s role as The Bride in Quentin Tarantino’s Kill Bill establishes her as an iconic femme fatale in cinema. Thurman’s portrayal combines strength, resilience, and vengeance, creating a character on a quest for justice with a deadly and seductive allure.

Ginger, Swordfish (2001)

In Swordfish, Halle Berry’s portrayal adds a layer of complexity to the character, blending allure with a sense of enigma and unpredictability, making Ginger an intriguing and memorable figure in the film’s narrative.

Brigid O’Shaughnessy in The Maltese Falcon (1941)

Mary Astor portrays Brigid O’Shaughnessy in this classic film noir. Her enigmatic and manipulative character leads private detective Sam Spade into a complex web of deception.

Cruella de Vil, Cruella (2021)

Emma Stone’s portrayal of Cruella de Vil is a stylish interpretation of the classic femme fatale. Stone brings a charismatic and rebellious edge to the character, showcasing Cruella’s evolution from an aspiring fashion designer to the iconic villainess. Her performance is marked by a perfect blend of wit, cunning, and a touch of madness.

Catherine in Dangerous Liaisons (1988)

Glenn Close plays the cunning and manipulative Marquise de Merteuil in this adaptation of the classic novel. Her character is a schemer who uses her charm to control those around her.

Gail and Ava Lord in Sin City (2005)

Several characters in the neo-noir anthology, including Gail (Rosario Dawson) and Ava Lord (Eva Green), embody femme fatale characteristics. The two are often entangled in complex and dangerous narratives.

Selina Kyle, Batman Returns (1992)

Michelle Pfeiffer’s portrayal of Selina Kyle, aka Catwoman, in Tim Burton’s Batman Returns (1992) is iconic in its embodiment of the femme fatale archetype. Pfeiffer’s Catwoman is a complex and mysterious character, blending sensuality with a vengeful and cunning nature.

Mia Wallace in Pulp Fiction (1994)

In addition to playing The Bride, Uma Thurman played Mia Wallace in Pulp Fiction. In this iconic film, Thurman exhibits femme fatale qualities with her enigmatic allure and involvement in a pivotal dance scene that adds tension to the narrative.

Kathryn Merteuil in Cruel Intentions (1999)

Sarah Michelle Gellar’s portrayal of Kathryn Merteuil in Cruel Intentions (1999) is a captivating take on the femme fatale. Gellar infuses Kathryn with a potent mix of sophistication, manipulation, and a dark sense of mischief, creating a memorable character in this modern adaptation of Les Liaisons Dangereuses.

Amy Dunne in Gone Girl (2014)

In the hit movie Gone Girl, Saltburn (2023), star Rosamund Pike portrays Amy Dunne, a woman who manipulates the media and orchestrates a complex plan to frame her husband. Her character embodies modern femme fatale elements.

Why is The Femme Fatale Archtype Important?

Quite interestingly, an article by CinemaBlend offers a thought-provoking perspective on the film Cruella. The article says that Cruella is not necessarily a character that can be easily rehabilitated, as her endgame is perceived as too vile. In a sense, this is not necessarily an untrue statement to make, but this is why reinventing the femme fatale is so important in this day and age.

The femme fatale as an archetype has evolved in a way that doesn’t just reinforce the male gaze. One can argue that it can now work towards celebrating women’s power as well as providing a platform to speak out against some of the injustices they are faced with. By telling the story of Cruella’s descent into villainy, for example, the story can inform its viewers of a couple of key concepts.

For one, understanding where Cruella de Vil comes from as a character can reinforce the idea that being “evil” has more than one dimension. Seeing Cruella’s side of the story allows viewers to contemplate what allows evil to fester. Is it the way we treat people? How to what extent do our societal norms play into this process? Questions like these are what viewers should have in mind when engaging with the story the film has to tell.

Femme fatales are often faced with decisions that cause them to leave their comfort zone to attain the security they desire. What if turning into the brash and heinous character we know Cruella to be is the only way for her to enjoy the successes she strives to attain? This is why exploring the kinds of obstacles she faces before the events of One Hundred and One Dalmatians is so important. In addition, not only would Cruella’s character have a chance at rehabilitation, but the femme fatale as an archetype, too.

By making this movie, the femme fatale could do more than being a fear-inducing character that people are expected to root against. Instead, the archetype could be used to inform viewers of the challenges women face and show that it is not impossible to overcome these challenges.

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