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Review: ‘Feral’ Uses a Strong Female Focus to Fight Tired Tropes

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Feral

For horror fans that are tired of werewolves and fed up with zombies, but looking for that same enticing pull of an isolated panic induced by violent contagion, I encourage you to check outĀ Feral from writer/director Mark Young and IFC Midnight.

In Feral, a group of medical students go on a camping trip to celebrate the end of their studies. The three couples include our lead protagonists, Alice (Scout Taylor-Compton – Rob Zombie’s Halloween, Ghost House) and her girlfriend Jules (Olivia Luccardi –Ā It Follows, Channel Zero).

As one would expect with an “into the woods” horror, these kids are not alone out there. A vicious, feral, humanoid creature attacks one of the couples in the middle of the night (immediately following a marriage proposal, no less), leaving him dead and her mortally wounded.

The remaining campers find the bloody scene and escape with their injured friend to find shelter. They encounter Talbot (Lew Temple –Ā The Walking Dead, The Devil’s Rejects) – a local man of the woods – who provides a safe haven as the group splits up to get help.

via JoBlo

Now, I’m just going to take a quick moment to address one of the film’s shortfalls. The secondary characters are kind of cobbled together with slap-dash points of interest in an attempt to make the audience connect with them during their few minutes of screen time.

For example, the marriage proposal. It’s not entirely necessary, but it serves as an easy point to try and attach some kind of emotion to the following attack. The character proposes, then leaves the tent to relieve himself in the woods, and tragedy ensues.

Now, perhaps I’m just being nitpicky, but I feel like if you’re building up to a marriage proposal, you wouldn’t leave 5 seconds later to go to the bathroom. Maybe you’d do that beforehand?

Anyways, logistics of timing your proposal around your bathroom breaks aside, my point is that there are a few moments of haphazardly crammed-in character details. That being said, there are plenty of strong points toĀ Feral that outweigh this missed step.

via Horrorpedia

The concept behind these feral creatures feels fresh. They’re similar to some familiar monsters – zombies, werewolves, and vampires – but as fantastical as the creatures seem, the threat is not supernatural. It’s something new, unknown, and rooted in the very real danger of a mysterious contagion.

While the creatures only come at night, their prowess as hunters means that no one is truly safe after dark. With a mortally wounded friend and no help in sight, our heroines are fighting the clock to survive. As the sun goes down, a prickling tension leaves the viewer watching every shadow for that sinister flicker of movement.

The film itself is kind of likeĀ The Descent by way ofĀ Cabin Fever.Ā Steady action and building intensity keep the pace moving right along.

via YouTube

I recently spoke to Scout Taylor-Compton about FeralĀ and her role as the fiercely capable Alice. She’s a caregiver and a healer, but she’s got a killer instinct (courtesy of her rural upbringing).

Alice and Jules show solid LGBT representation – their relationship headlines in this “couples retreat gone horribly wrong” horror film. These women are a constant and healthy source of support for one another, openly discussing their fears of coming out to family members and providing crisis-mode backup in equal measure.

Alice keeps control and exhibits a great emotional strength, but her confidence falters. Because of this, she’s extraordinarily relatable. Alice is just moving through the crisis one step at a time – she doesn’t have the obnoxious swagger of someone who’s got it all figured out. She knows she’s vulnerable, but she doesn’t let that break her.

via Moviebeasts

Feral has an incredible female focus.Ā I absolutely loved the factĀ that it completely scrapped the male gaze. This film is about women and their relationships and their fight for survival, and a lesser film would have turned that into gratuitous T&A shots and “girl-on-girl action” straight out of a porn keyword search.

Now, a character’s sexuality can beĀ powerful when it’s used well. Take, for example, Wonder Woman’s balance of beauty, compassion, and unstoppable brawn. But, that being said, it’s no secret that horror films tend to use female sexuality to strip away their power. Horror movies are stereotypically known for their scenes of a scantily clad victim traipsing through the scene of the crime.

FeralĀ treated its female characters the same way that it treated the men – they weren’t eye candy; they didn’t use their sexuality as a power play, they were just women.

The film’s climactic finale is not buried in exposition – it opens a wound and lets it breathe.Ā It infects you with this nibbling curiosity; an itch you can’t quite scratch. FeralĀ gets under your skin in a delicious way.

You can watchĀ FeralĀ now in select theatres or VOD. Check out the trailer below.

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ā€˜Strange Darlingā€™ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

ā€˜Strange Darling,ā€™ 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. Heā€™s clearly a student of the game, one who studied his forebearsā€™ 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

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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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, ā€œIt 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 itā€™s such an interesting way into a sci-fi world. Iā€™ve always wanted to do sci-fi. So weā€™ll see what happens.ā€œ

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 sexualityā€”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.

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

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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. Itā€™s the theme of our film. Itā€™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 peopleā€™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.

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