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Justin Simien’s ‘Bad Hair’ is a Terrifying Romp that Will Leave You In Stitches

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Bad Hair

Bad Hair is set to premiere on Hulu on October 23, 2020. The new horror-comedy from Justin Simien takes viewers on an Easter-egg filled ride through the late 80s that will keep you on the edge of your seat.

When Anna Bludso (Elle Lorraine) was just a girl, she had a bad experience with a home relaxer that left her scalp badly burned and since that time she’s worn her hair natural. All grown up, Anna works at a budding music television station and she wants nothing more than to be an on-air VJ. Her new boss (Vanessa Williams) tells her that will never happen unless she changes her look, including taming her hair to appeal to a wider audience.

Though she’s terrified, she goes to a posh salon where a stylist (Laverne Cox) gives her a new look. Unfortunately for her, that new weave is deadly with a mind of its own and her nightmare is only just beginning.

This is Simien’s first foray into the realm of horror. His previous work includes the award-winning film Dear White People as well as the follow-up series by the same title, and his talents and voice as both a writer and director are on full display here.

So let’s break this down.

Bad Hair works on multiple levels.

First, you’ve got a great body horror film where a woman’s weave actually comes to life and starts killing people in inventive and fascinating ways. Simien manages to craft a believable mythology around this special, diabolical hair and manages to pay homage to his influences while doing something all his own.

Furthermore, he and his crew support what we see on the screen with a sound design that will make your skin crawl.

This is not an overstatement. I’m telling you when Anna sits down in that chair and Virgie goes to work on her, my head actually began to hurt and I felt myself sinking down into my chair. The film uses these same types of soundscapes throughout to underwrite the horror, reminding the audience that sound can sometimes be even more important than visuals in creating discomfort and fear.

Then there’s the level of pure late 80s nostalgia. So many things were changing in 1989. New music, new fashion, and new trends seemed to be happening every single day. Keeping up with them was nearly impossible but everyone tried.

Simien brings it all to life in the lighting, the clothing, and the music, throwing in little nostalgic Easter Eggs–listen closely for all the song lyrics as dialogue throughout the film. If you lived through the 80s, you’ll recognize it all. If you didn’t you might just emerge a fan.

Then there’s the third, and possibly the most potent level. The underlying horror of Bad Hair comes from the real life experience of the African-American community and the beauty standards that have been forced upon them for centuries.

Why is it necessary to “tame” or cover natural hair? Why is it that natural hair isn’t seen for its own unique beauty? Why is it important for your hair to look a certain way–and let’s be real here, for it to adhere to white, European standards–in order to be taken seriously?

All of this is important and its imperative to Simien’s storytelling, especially as the final frames of the film roll before the credits.

There are no weak links in Justin Simien’s cast for Bad Hair.

Through all of this, Simien’s seriously impressive cast never misses a beat. Lorraine’s Anna is like an open wound as she navigates the new landscape in which she finds herself. She is as much a victim as anyone else around her, and you can feel her desperation as things get out of hand.

Then there’s Vanessa Williams at her cold-hearted, all-business, take-it-or-leave-it best. No one does this better than Williams. She has a way of looking into another person while sharing a scene that just works for this character. She is constantly sizing up everyone around her to make sure she’s still in charge, and believe me when I say she almost always is.

The remainder of the supporting cast is just as strong. Lena Waithe delivers the best one-liners in the film with cool alacrity while Kelly Rowland’s Janet Jackson-styled character practically leaps off the screen and demands that you dance. Laverne Cox, meanwhile, is beautifully ethereal as Virgie, the stylist, and James Van Der Beek oozes smarmy television exec.

Honestly, there are a thousand reasons to watch Bad Hair, and you’ll have your chance on October 23, 2020 on Hulu.

 

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

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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

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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, “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.

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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. 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.

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