Review: The Kitchen is a woman’s place, indeed
Movie Review: The Kitchen
Part revenge-quest, part sisterhood of the travelling pants with pistols, The Kitchen has so many male constructs sewn into its inseam, first-time director Andrea Berloff doesn’t have a lot of room to move. It’s a man’s cut, yet but makes it comfortable by wearing it all a size too large, boyfriend style, writes critic Katherine Monk.
Tracy Edwards Still Breaking the Waves
Interview: Tracy Edwards on the documentary Maiden
Of course she’d rather be sailing, but the woman who charted a winning course in world class yachting says the real victory has been watching a new generation of women ride the winds of change without fear. Tracy Edwards chats with Katherine Monk about lingering anxieties, navigating the shoals of sexism, and Alex Holmes’s new documentary, Maiden, chronicling Edwards and her all-female crew as they surfed over the ambient obstacles, and made history in the Whitbread Round the World Race in 1989.
How Bao’s house of women brought new dimensions to Pixar animation
#OscarCheck2018
Interview - Bao Filmmakers Domee Shi and Becky Nieman-Cobb
The Oscar nominations come out January 22 and Canadian director Domee Shi is already on the shortlist with Bao. She can’t talk about the Academy Awards, but the Toronto-raised animator says just making the short at Pixar feels like a victory.
Box Office Analysis: Female demographic gets big push
Early spring is typically a season dominated by testosterone-laced action tentpoles, but with Pitch Perfect 2 blowing the tires off Mad Max: Fury Road, the boys of summer may get benched by funny girls
By Katherine Monk
Mad Max may have defeated a villainous clan of wasteland warlords in order to survive a two-hour hell ride, but he couldn’t beat the ladies of Pitch Perfect 2 in the box office demolition derby called opening weekend, raising some doubt as to who rules the box-office in the era of digital, videogames, bit-torrent downloading and studio movie ennui.
As this weekend’s tally proved: Women are starting to outspend men at the wicket.
Mad Max revved up a respectable $44 million in receipts, but Elizabeth Banks’s gleeful girl movie about snarky singing competitors hollered to the tune of $70 million, proving the long-vaunted 14-year-old boy demographic does not rule
the box-office after all. According to the Motion Picture Association of America’s ...
