The #MeToo movement is surely proving itself, showing quite the impact it has made and continues to make in Hollywood in 2018 so far. Thanks to a much-needed rise of female directors making feature films, as well as female-centric storylines including kick-ass heroines and action stars, Breaking In is contributing to an increasing canon and genre of films where girls can have as much fun as boys beating up the bad guys. Don’t get me wrong, audiences luckily have had some of the best female action heroes thanks to actresses like Uma Thurman in Kill Bill, Chloë Grace Moretz in the Kick Ass action film series and of course, Marvel’s own female protagonists with the likes of Scarlett Johansson as Black Widow, Evangeline Lilly as The Wasp, Elizabeth Olsen as Scarlet Witch, to the upcoming and anticipated Brie Larson as Captain Marvel. With Breaking In, Gabrielle Union joins a long list of strong women who never take no for an answer and fight back, even when the going gets tough.
The United States of America is surely not the most adorned country in the world right now. Once considered to be the globe’s superpower, has easily been the running and laughing gag to the rest of the world, including its absurd President, peaking violence and of course, its laughable gun control laws. Yet, you would think that the men who make up the Broken Lizard comedy collective would use all of these disheartening issues plaguing the United States, and come up with a comedy farce that would/could redeem the American integrity, or (at the very least), offer some sort of hopeful message wrapped around some poignant and redeemable comedy farce, especially using such iconic and classical culty characters. Instead, the guys behind Broken Lizard bring back the Vermont State Highway Patrol Men in disappointing fashion, after seventeen years of leaving their highly absurd and man-childish antics legacy lingering on the big screen since Super Troopers, with Super Troopers 2.
Imagine if Willem Dafoe and Jack Nicholson’s the Joker had a baby and was captured with that disturbing and oddly sinister SnapChat filter that embellishes your mouth. Now imagine that offspring haunted and followed you around declaring you choose “Truth or Dare” in a twisted game of survival, untimely death and mutilation. Well, if you’ve pictured that perfectly in your head, then you’ve visualized the type of disturbing and demonic visions torturing a young group of teenagers who have played a deadly game of truth or dare in Mexico.
“Penises🍆 are like plungers, they’re not for pleasure, they’re for use”.
Audiences around the world go to see a Wes Anderson film for many reasons; imagination, creativity, wonder and most of all, amazement. A man who has crafted and added to, not only a branch of the film industry within the independent market, but an individual who arguable has his own genre of film, proves with his latest that you are able to make an independent success, commercial darling and fading animation style feature film revolutionary. After eight feature films which enrich the medium as a whole, Wes Anderson delved, for a second time, into the stop-motion foray with his ninth future film, and quite possibly his best yet with Isle of Dogs.