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Imprint Entertainment (TWILIGHT, Percy Jackson and the Olympians: The Lightning Thief) has optioned the film rights to Pam Grier’s autobiography Foxy, My Life in Three Acts. Grier, the iconic African American female sex symbol and action star from the 70?s, launched an era of films that became known as “Blaxploitation” movies – boasting predominantly black casts for black audiences. Grier’s most notable films include Black Mama, White Mama, Scream Blacula Scream, Foxy Brown, Friday Foster, and Above the Law. Imprint Entertainment is currently in postproduction on upcoming crime thriller PAWN starring Forest Whitaker, Ray Liotta, Nikki Reed, Michael Chiklis, Common. 23-year-old Douglas Booth shows off his modelling chops in a new shoot for Interview magazine, where he chats about his upcoming film Pride and Prejudice and Zombies.
In the zombie adaptation of the classic Jane Austen novel, Douglas takes on the role of Mr.
Be sure to check out Douglas in Pride and Prejudice and Zombies when it hits theatres on Friday (February 5)! Douglas Booth Steps Out to Celebrate the Launch of Vivienne Westwood’s Newest Collection! If you're looking for a new book to get you through the month, be sure to check out Lindsey Rosin's new novel Cherry, out today! Actress Anna Kendrick graces the cover of Marie Claire UK's September 2016 issue, where dishes on Twitter, her upcoming book, and the Pitch Perfect cast.
This guest post by Emanuela Betti appears as part of our theme week on Male Feminists and Allies. I’ve often considered Quentin Tarantino the new Russ Meyer for various reasons: bringing exploitation cinema to mainstream screens, their unconventional humor and unique storytelling, and in particular for their celebration of women. Watching a Tarantino movie is like watching the 1973 Battle of the Sexes tennis match, in which Billie Jean King defeated Bobby Riggs, proving that women are just as equally skilled and able as men. Like Pulp Fiction, Tarantino’s follow-up movie Jackie Brown was a love letter to cinema (Blaxploitation) and its icons (Pam Grier). Volume 1 is about the Bride’s rage, while Kill Bill Volume 2 is about the emotional development of the characters: we are shown the desires and vulnerabilities of the protagonist and her enemies. Tarantino has created dynamic and interesting female characters throughout his cinematic career, celebrating their strengths, personalities, and never presenting gender as an obstacle—instead, being a woman in his stories is often an advantage. Emanuela Betti is a part-time writer, occasional astrologer, neurotic pessimist by day and ball-breaking feminist by night. She miraculously graduated with a BA in English and Creative Writing, and writes about music and movies on her blog. The Saturday Night Fever star’s breakout performance as flamboyant lawyer Robert Shapiro earned him his first Emmy nomination for the FX anthology series The People v. After earning an Oscar for Saturday Night Fever in 1977, it was 17 years before the 62-year-old earned major critical acclaim again as Vincent Vega in Quentin Tarantino’s Pulp Fiction.
The 10-episode Ryan Murphy helmed series detailed the behind-the-scenes dealings and maneouvering on both sides of the O.J.
Travolta’s Emmy nomination is among 22 nominations for the show, which earned rave reviews from the critics. The 68th Annual Primetime Emmy Awards will air on ABC on 18 September (16) and will be hosted by Jimmy Kimmel. These girls are badass when you meet them-now put them in a situation where they have to defend themselves. Imprint Entertainment looks forward to bringing this triumphant story to life,” says Becker. 40 years later Grier is an internationally celebrated award-winning actress who is beloved by all audiences.
Roger Ebert called Russ Meyer a feminist filmmaker, and although Tarantino never openly called himself a feminist, many of his films place women at the center of the story. In many Tarantino movies, the idea of gender equality is prominent in many ways—take for example the two screenplays written by him before his directorial debut: True Romance and Natural Born Killers. When looking at Tarantino characters, we see female characters with strong motives and personal qualities, who are strong, smart, yet still very complex. The opening sequence is a reference to The Graduate, in which we see a character “gliding” through LAX.

Tarantino has the ability to surprise, not only with story, but also with character development. Every Tarantino movie is a love letter to cinema, and just like Jackie Brown was an homage to Blaxploitation, Kill Bill was a love letter to the Shaw Brothers, samurai and yakuza movies, Sergio Leone and spaghetti westerns.
While initially presented as a deadly killer, we finally see the Bride’s complex development: she begins as a naive pupil, blushing at Bill’s every word, but begins building a tough skin under Pai Mei’s teaching. The various interactions between the Bride and Bill, during the dress rehearsal and at his home, reveal her conflicting feelings for him; at times she has nostalgic affection for Bill, but she never allows those feelings to sway her goals.
The movie was protested by Scottish women’s groups, including the Scottish Women Against Pornography (SWAP) and Scottish Women’s Aid, due to the portrayed sadistic violence against the female characters.
The “three girls” device is very typical of Russ Meyers (which he used in Faster, Pussycat! Tarantino’s portrayal of women is based on developing them as characters and individuals, rather than focusing on their gender and their weaknesses. Simpson murder trial, as well as attempting to put the events into context against a backdrop of police brutality and racism in Los Angeles at the time of the 1994 murders.
Follow Today’s Lifestyle for helpful tips to start living a better, healthier, happier life! As Quoted by Director Quentin Tarantino while promoting his 1997 film JACKIE BROWN “Pam Grier might have been the first female action star.” Pam Grier not only opened doors for African American women but for women of all races.
Just like Russ Meyer’s films, Tarantino’s women are the stronger sex: they are sharp-minded, better fighters, and always outsmarting their male counterparts. Both stories revolve around a Bonnie-and-Clyde outlaw couple; however, the female characters are not merely ornamental girlfriend, but “partners in crime,” as in both genders are equally involved in the story. Like the movie it references, Jackie Brown is a story about age—getting older, and dealing with that stage in life.
While being a cold-blooded assassin, the Bride is also capable of strong maternal instincts when it comes to her daughter, especially when she fears for her child. Transforming into the beautiful girl she always was, she shows up at school the next day and watches the jaws drop.
The men, on the other hand, often underestimate women, like Ordell in Jackie Brown or Stuntman Mike in Death Proof, resulting in them being the butt of the joke. While The Graduate is about entering adulthood, Jackie Brown is about middle-age, or entering middle age. With a strong female lead, Tarantino could have easily relied on her as the sole woman in the story, but the movie is packed with interesting female characters.
Elle Driver has all the negative aspects of a female killer: she’s a back-stabbing, dirty fighter.
The Bride is a complex character who can balance toughness and vulnerability, resisting stereotypes or cliches. Slasher movies are the Big Mac and fries of cinema—they’re fast, cheap, and give you what you ask for. A partner is a more respectable role, because she’s not there for the male protagonist, but is a protagonist with him.
We see the theme of aging in Max Cherry, but mostly in its female title character and protagonist. Jackie Brown was an homage to Pam Grier and her character Foxy Brown, and although we still get a glimpse of Foxy Brown’s nerves of steel and fierceness, in Jackie Brown she is an older version, worn down by age and a lousy job as an airline stewardess. There’s Vernita Green, who is almost a parallel of the protagonist: she quit her job as an assassin and has a daughter, but is still a cold-blooded fighter when confronted with the Bride. Elle Driver is also obsessively clingy about Bill; she is based on Patch from Switchblade Sisters, who was a second-in-command character, just like Elle Driver feels like second-best in the eyes of Bill, and her desire to kill the Bride is a competition fueled by her jealousy. She is a woman who undergoes multiple symbolic deaths–first, on the eve of her wedding, and then when she is buried alive, but she is reborn stronger and more determined. The idea of equality is present in another way, taking for example Kill Bill and Death Proof. Her gender is not so much an issue though–Detective Dargus mocks Jackie not so much for being a woman, but her age, and her less-than-impressing accomplishment in life. There’s Gogo Yubari, the teenage bodyguard, who is more lethal than all the Crazy 88 put together.

We see this trope of the “investigative gaze” used twice in Death Proof: first with Arlene, when she spots the suspicious Stuntman Mike, and then with Abernathy.
In these two movies, the main characters are doubles: Beatrix and Bill are both equally able fighters, while Zoe Bell and Stuntman Mike are both professional stunt performers, and are equally prepared to react to a dangerous situation. Yet she still possesses a sharp mind and infallible instincts, which is why she’s one step ahead of every other character. O-Ren, a female yakuza leader, is given a tragic backstory, which is also tainted in revenge, and offers a compelling view into her character’s development. It’s easy to assume that the protagonist of the movie is Stuntman Mike, since he is present throughout the story, but the true protagonists (or heroines) don’t show up until half-way through. Like the previous women, they are also targeted by Stuntman Mike, and subsequently chased and attacked. I would be walking around Acuna, Mexico with no shirt, going into the barrio, eating at people’s houses and stuff.
Despite being a woman and leader of the Tokyo yakuza, her gender seems to hardly be an issue–the only complaint she receives is about her mixed heritage, not her gender. Tarantino starts the story with the first trio of women (Jungle Julia, Arlene, and Shanna), who are brutally killed by Stuntman Mike after a night of drinking. But this time, the women are on par with their aggressor—they can drive just as fast, and they’re just dangerous as him. In the world of Kill Bill and Tarantino’s narrative style, women are not “the Other,” and the fact that a woman could lead a yakuza army or be the best fighter in the world is not unusual, and maybe even expected. The violence exerted on the first group of women is what you can expect from a typical slasher—violence and gore—but it also served as a plot device to establish the merciless and dangerous antagonist. The car chase between Stuntman Mike and the women is incredibly exciting, because now the roles have been reversed—the women are the ones chasing Stuntman Mike, creeping up on him the same way he stalked and crept up on the previous women, and when they catch up they’re not forgiving.
Stuntman Mike’s reason for finding sadistic enjoyment in mutilating women is never explained, but it’s well depicted that he is the embodiment of the male gaze: creepy voyeuristic tendency, stalking and finding pleasure in objectifying his victims. As much criticism this movie has received, when you watch the women exulting at the end, there’s no doubt that this is a movie for women, and not against them. We did it, and we thought, even if we never do [a Machete film], at least we put him in this movie.Everybody has that uncle that nobody knows what he does. We got as close as we could to a Western without horses! Desperado was as Western as you could get without horses. This was a hard movie to shoot because we were in Romania, it was cold, and they had the best Western town I’d ever seen. Roel Reine, the director, directed me in Death Race 2 and 3, so he knew how I liked to work.
As I was watching the film, I couldn’t deny the 9-year-old in me who was going absolutely nuts over it. Trejo: Gloria, my agent, got the [offer], and she said, “Do you want to do a Hollywood first?
I mentioned to Robert something about a helicopter, and there are three helicopter deaths in the movie! I take three guys’ heads off with one shot of a machete, but everybody laughs because of the way the heads bounce. I was trying to get a hold of Robert before we did Machete, when we were putting it together. This guy who used to fight Chuck Norris, Benny Urquidez, a kickboxing champion, was John Cusack’s sensei. Trejo: I think Machete would be a little too slick, and I think Rambo knows it!WTI: Do you have any intention of stopping making the Machete movies? We all went to look at this car somebody got–everybody was looking at the interior, the color, etc.

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