Connect with us

News

Fantasia 2020: ‘Lucky’ Needs You to Know That This is Not Normal

Published

on

Lucky

What if you lived under the near constant threat of attack, and there was nothing anyone would do. If — day or night — there was a persistent hum of danger that always kept you on edge. And no matter how many times you expressed fear or concern, it was just met by vaguely accusatory questions and a general indifference to your situation. This is both the unfortunate reality for many women and the premise of director Natasha Kermani’s Lucky. 

In the film, a self-help writer named May fights to be believed as she finds herself stalked by a threatening figure who returns to her house night after night. When she can’t get help from those around her, she is forced to take matters into her own hands.

Written by Brea Grant (who also stars as May), the script really doesn’t beat around the proverbial bush. In one scene promoting May’s new book — aptly titled “Go It Alone” — she holds a Q&A session (Lucky’s equivalent to the overly telling classroom lecture scene); the dialogue is direct, clearly laying down the groundwork for the film’s feminist themes. It poses questions and raises points that prepare the viewer for its very open (if not perhaps a tad heavy-handed) exploration of abuse and aggression towards women, so prevalent in society that it’s seemingly shrugged off with an aloof “this is just how things are”.  

Throughout the film, the script circles back to the absurdity of this notion. May is told to “stay vigilant”, as though an awareness of the situation will somehow prevent it from happening. May’s husband seems unphased by the attacks and the police suggest that it could have been worse; at every turn, May is met with indifference. You can really feel Grant’s grounded exasperation. She plays weary well; you see her exhaustion as she drags herself through each day, frustrated, baffled, and alone. 

The music by Jeremy Zuckerman (Horse Girl) is wonderfully unsettling, with plucking strings and tense, halting notes that sound vaguely like if Philip Glass were to score Psycho. It establishes a moody tone, then throws in a comically on-the-nose fake radio song that croons vague affirmations like “you can do whatever you wanna do” while May shops for the tools to try and keep herself alive. It’s a great yet subtle detail that highlights how bizarre this whole situation is (speaking both for the world of the film and the world at large).

Visually, Lucky is surprisingly serene with hues of blue and white that create a calming atmosphere, so offset with the violence that periodically erupts on screen. It considers the harsh reality that comfort does not necessarily equal safety. It’s like the visual equivalent of aromatherapy; it may make you think you’re at peace, but are you really? These subtle details create a sense of normalcy that brushes over the weirdness, making it all feel like some sort of lucid dream that never quite settles.

To add to this dreamlike quality, Kermani escalates the absurd so that you just keep expecting May to wake up from some bizarre yet very realistic nightmare. You constantly find yourself questioning reality. It works, given the themes and subject matter, and it heightens the supernatural elements of the film so that when weird shit does happen, it’s not outside the realm of possibility.

Lucky has a lot of bones to pick. But for all its not-at-all-hidden messaging, it’s an engrossing and entertaining film. You’re right there with May in her ongoing fight, you’re rooting for her to win. You want to see this guy get taken down.

The subtext is very thinly veiled — it’s about as blunt as a hammer — but the approach is measured. Lucky continually points an accusatory finger at the lack of action taken, the amount of victim blaming and condescension, and the gender narratives we’ve formed as a society. 

Despite all the attention that’s been brought to the issue of violence against women, it’s still a persistent problem with no end in sight, which is as absurd as it is maddening. Women aren’t natural victims; this isn’t normal. Lucky really needs you to know that.


Lucky is playing as part of Fantasia Fest 2020. You can catch the next screening on Friday, August 28 at 11:00PM, EST. For more from Fantasia 2020, click here to read my review of Belgian zombie flick, Yummy.

'Ghostbusters: Frozen Empire' Popcorn Bucket

Click to comment

You must be logged in to post a comment Login

Leave a Reply

News

‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

Published

on

Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

News

Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

Published

on

Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

News

‘The First Omen’ Almost Received an NC-17 Rating

Published

on

the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

'Ghostbusters: Frozen Empire' Popcorn Bucket

Continue Reading

Embed Gif with Clickable Title