Actual exit surveys for films like The Hunger Games series offer a very different picture of who's going to
the movies than the myth of the young, white, male.
Not exact matches
The volcano, in addition to being a beautiful and alien visual backdrop for a
movie is also a monolithic wall, blocking their view of the rest of the world; Mexico and the United States, to the North, are more
myth than reality.
The premise involves a shapeshifting monster that stalks its targets until they have sex, passing on the curse to someone else, and though a generation ago, this would seem like a fairly clear - cut AIDS metaphor, Mitchell (The
Myth Of The American Sleepover) makes it at once more complicated (for instance, after killing a target, the titular It begins stalking the previous one again) and more primal, a locus for all kinds of sexual and social fears that horror
movies tend to express more clearly
than any other genre.
But even as the revelations pile up and the screws tighten and you start to sense that terror and violence are inevitable, the
movie never loses grip on what it's about; this is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay's themes — which means that when the bloody ending arrives, it seems less predictable
than inevitable and right, as in
myths, legends and Bible stories.
The director of the fine coming - of - age
movie The
Myth Of The American Sleepover more
than confirms the promise of that debut with an unexpected turn into horror.
«A lot of people in Southie loved Jimmy,» Plemons's Weeks says on the soundtrack, and the
movie lets the statement go unchallenged because the
myth sells better
than the complicated reality.
Mitchell had already gained respect with his first film, The
Myth of the American Sleepover, and his electrifyingly scary
movie made him, as they say, hotter
than Georgia asphalt.