Indie-Horror Week: It Follows

It Follows tells the story of Jay, a teen who inherits a bizarre sexually transmitted curse. Soon after, a shape-shifting entity begins following her. The only rule is either pass it on by having sex with someone else or keep running.

This movie is definitive proof that sometimes the scariest concepts are the simplest ones. How many of us have that same nightmare where something we can’t explain is following us, and no matter how fast we run we feel we can never escape? Tie in the adolescent fear of growing up and having sex and ta-da! You have It Follows.

I read somewhere that the concept for the film did come from personal nightmares of the director, David Robert Mitchell, and so he filmed it to read like a dream. A lot of things are very vague, like the actual ages of the kids and the era in which it takes place. This adds to the overall atmosphere of the film and I think it really enhances the overall creepiness.

As for the scare factor, I’m fifty/fifty. I really think the concept and the execution are really interesting and original. There are some actually fantastic scares that land hard, and the overall theme of fighting something that only you can see is always creepy no matter what. There are some aspects that don’t really make sense to me. Like if “It” can be anyone, even people you know, why wouldn’t it use that more often. Why would it choose random (usually naked) people? It used the person you know thing like one time. That seems like a pretty good tactic that is going vastly unused. Also why all the nudity? I didn’t really get the point of it except for basic shock factor. I think that would typically give away the surprise. Like at least try and fit in “It”, at least try.

Still, overall it is a really interesting and unique take on a horror film. The tension that naturally builds when you know you are constantly being followed is palpable throughout the story. It’s just a naturally scary premise that the director used to its full effect. It’s dark, gritty, and sometimes over-the-top with imagery. In the end, it really is a fantastic horror film that draws heavy inspiration from the slow stalking of Halloween and the small town inescapability of Nightmare on Elm Street.

Personally, I always viewed this film as a symbolic take on growing up before you’re ready, and having your decisions literally follow you around your whole life, always having the potential to return when you least expect it. There are a lot of scenes that deal with the concept of growing up and getting older, and viewing the film through that lens offers a potentially new and deeper take on a pretty simple story.

Amy’s Recommendation: 8/10

Indie-Horror Week: The Monster

The Monster tells the story of a Kathy and her daughter, Lizzie, as they encounter a creature on a deserted road after their car breaks down.

This movie sounds like the most rehashed plotline out there. A family breaks down in the woods. Something attacks them. They have to get to the main road. Yadda Yadda Yadda. But this movie feels so original and so tragic because it interweaves a simultaneous narrative in flashbacks detailing the strained and sometimes abusive relationships that Kathy has had with her daughter. As tensions and danger rise, Kathy and Lizzie must confront their relationship, discovering how much they need each other.

It’s a basic monster tale, but more in the ways that Moby Dick is monster tale. The monster, as far as I interpreted it, is a symbol for the turbulent relationship between Kathy and Lizzie. As Lizzie’s angry memories of her mother escalate, the attacks by the monsters also intensify. The monster forces Lizzie to reconcile with her mother by realizing that she is stronger than she knows and that her mother truly loves her, regardless of her past actions.

The movie deals with emotional topics like emotional and physical abuse, alcoholism, true love, and sacrifice all within the premise of a traditional creature feature. It offers a new take on a monster movie and tells the story of a sheltered and emotionally traumatized girl’s quest to find bravery and strength within herself while also coming to terms with her complex familial relationships.

As a horror film, it does deliver a constant sense of claustrophobic tension. The performances of both Zoe Kazan (Kathy) and Ella Ballentine (Lizzie) are fantastic, as they are essentially the only people in the film and the entire plot centers on their relationship. Some of the dialogue seems almost too mean, especially in the beginning, but the main scenes on the road and most of the flashbacks are tragic and emotionally heart wrenching. The only other complaint is that a lot of the scares are really cheesy and predictable, but the actual story is great.

The Monster takes an overdone concept and makes it feel original. The addition of an emotional subplot allows the two leads to work off each other and find redemption in their own ways throughout the film. It shows the true extent of love and sacrifice and tragic relationship within families. The concept itself sounds like a lifetime movie that merged into a horror film, but I thought it was well done, well acted, and emotionally poignant.

Amy’s Recommendation: 9/10

Indie-Horror Week: Pet

This week’s theme, inspired by my recent viewing of Get Out, is the re-emergence and arguable takeover of indie-horror. Mainstream horror has almost exclusively become a re-make factory/cookie-cutter money machine that has traded in originality for mindless fanfare. Although usually monetarily successful, these contrived films become so predictable and old that creativity and character development fall to the wayside. Indie-horror, however has done the opposite, and consumers are going crazy for fresh-feeling scares. Focusing more on character development, psychological horror, unique storytelling, and original concepts, indie-horror has reimagined the horror genre and has become a breath of fresh air to a dying genre.

The first installment on my descent into the world of independent horror is Pet, starring Dominic Monaghan (Lord of the Rings and Lost), Ksenia Solo, and Jennette McCurdy (yes, the blonde girl from Disney Channel’s iCarly has now entered the horror genre). Pet provides a fresh take on the traditional stalker/kidnapper narrative and offers a few well-placed twists. The cast, more specifically Dominic and Ksenia, play interesting and difficult roles that keep you guessing what and who you should believe.

Dominic Monaghan plays Seth, a hapless/socially awkward dog shelter employee who falls for Holly, a beautiful waitress. As she spurns his love, he becomes obsessed and events escalate.

This movie may not have been the perfect example of the true impact indie-horror has on the genre in the effect that it wasn’t that good as a complete film. Still, it introduces surprisingly new ideas and twists that do exemplify the subgenre. This film focuses mostly on the psychological element of Seth and Holly’s relationship, allowing both to question who is in control. It expertly blurs the traditional line between villain and victim and complicates gender expectations in horror.

I would say the largest problem with the film is that it doesn’t quite know what it wants to be. It borrows a lot of elements of other good movies and mashes it all into one, making it blocky and overly complicated. Does it want to be Gone Girl? Saw? Fight Club? I really don’t think the director or the screenwriter really knows. It has very strange components of all three and they don’t fit together very well as a whole. One twist, I’ll applaud. Two twists are risky. But this thing has so many twists that they completely lose their effect and seem like the screenwriters just invented the storyline as they went along.

The worst part of the film is the ending. It is the final twist that nobody asked for. After the film cuts to black, the rest is irrelevant. I won’t spoil it, because there really are a lot of twists in this thing, but after the narrative logically ends, the movie decides it’s a good idea to just keep going. It is a poor excuse to try and shock the audience one last time. It’s illogical, it’s stupid, and it completely delegitimizes the previous hour and half of plot. It tries to get too cocky with its own premise and it completely loses its footing along the way.

There are some really interesting concepts in this movie, and it plays with the expectations in a horror films regarding both normal horror tropes and typical gender roles in the genre. Dominic Monaghan and Ksenia Solo have interesting chemistry in in not-so-typical situation and until the end, you never really are sure who is really in control. It is a subversive and interesting film, even though it gets bogged down in its own premise and tries to trick the audience a few too many times. The inclusion of so many twists makes a clever premise seem tacky. For an original and interesting new idea, this could really have been a great film, but it tried to be too many different things at once instead of focusing on its central theme of control and delusion.

Amy’s Recommendation: 7/10

 

 

 

Mom’s Movie Week: Get Out

Finally, I get a chance to review a theatrical release! Due to my college student budget I never get to make it to the theaters anymore, but viva la Spring Break in Massachusetts! My mother and I ventured out to the mall to see the incredibly well received Get Out to see if it lived up to it’s hype.

Get Out tells the story of Chris, an African American man, who visits his white girlfriend’s family in upstate New York. Things seem strange, but the longer Chris stays, the more he realizes that strange can quickly descend into danger.

Jordan Peele (of the Key and Peele variety) directs this weird satire/horror/comedy/thriller and honestly, I assumed it was going to be another over-hyped critic bait movie when I entered the theater. However, I must say I was impressed. The final plot twist is one I truly didn’t see coming, which is incredibly rare in modern horror and I can’t spoil it because it really is quite the twist. Jordan Peele is a proven comedic gem, and Get Out has some solid laughs, but it is so much more than a simple dark comedy or generic horror satire. It is a truly original film. I was worried that it would feel like a stretched out or overcomplicated skit, as Jordan Peele’s claim to fame is his sketch series and this is his first feature film. However, it defied expectations and the final result is a solid satirical film.

It is incredibly difficult to blend humor and horror together without sounding like you’re making Scary Movie 6: Girlfriend’s House or some other off-brand terrible horror satire. Horror satires are either brilliant (i.e. Tucker and Dale vs. Evil or Scream) or just god-awful (i.e. Scary Movie Franchises and A Haunted House). This movie I must say falls in the brilliant category. It was fresh, funny, and genuinely entertaining. It delivers some solid scares with eerie visuals on top of already scary social conventions without the annoying reliance on jump scares. It’s an over-the-top psychological thriller that also serves as a biting satire on modern social norms dealing with race and class structures. I wish I could get into the social satire so much more, but alas, Spoilers. Still, trust me the interesting and original viewpoint on new slavery, modern racism, and cultural appropriation will leave you thinking.

The best part of this film is watching it play out. There are so many weird twists that keep you on the edge of your seat for the entirety of the film. For a film that majorly takes place in one location, that is quite the feat. It is also insanely original, and for the horror genre, that is practically impossible. That is easily the best part of the film, the sheer originality. A breath of fresh air in the horror genre is so desperately needed that this kind of story is welcomed and heralded for it’s sheer original feel. It finds it’s premise and it follows it to the smallest details. The dialogue is funny and clever, the premise is outlandish but intriguing, and then there is the shining star of the entire film: Rodney Williams, TSA.

Developing an entirely original premise, Jordan Peele has created the near perfect blend of satire and horror. It is a clever satire of society and the horror genre in general, and it delivers. The acting is incredible (except the brother who seems more like a purge extra than a paid role) and allows the story to follow its outrageous path until it’s gloriously insane finale. It is well paced, well acted, and well written and is honestly a completely entertaining hour and forty-five minutes that’ll even leave you thinking after the credits roll. Also hello, it has Rodney Williams, TSA, case closed.

Amy’s Recommendation: 9.5/10

Mom’s Thoughts:
“The movie generates a real sense of suspense. I was on the edge of my seat the entire movie. However, I am not a fan of gore, and this movie has some really gory moments. Still, I was anxious all day, and it really stuck with me, which I guess is what horror movies are supposed to do.”
8/10

Mom’s Movie Week: Rocky

Rocky is the classic 1976 tale about an underdog boxer who gets the chance to face off against the current heavyweight champion, Apollo Creed. With help from his friend, his girlfriend, and his trainer, he discovers he has a lot more of a chance than he could have thought possible.

Rocky was always one of those movies that I can’t believe I never watched. I felt like I had seen it, because it was so iconic, but I never actually sat down and watched it. I call it Godfather Part II Syndrome. I chalked this one up for my not really being a huge Sylvester Stallone fan, but honestly after watching this movie I can understand why it is responsible for launching is career.He forms a really well-rounded character out of something that could have easily been a flat one. Sport’s movie’s sometimes forget the heart of their characters and make all their motivations simply “win the fight”, “beat the team”, “be the champion”, but Rocky doesn’t do that. The main character, Rocky Balboa, is trying to better himself for a woman he loves, Adrian.

Adrian also is a well-rounded character, which grows and becomes more confident and self-assured. They better each other, and even if they both are a little awkward, they’re comfortable together. She is just a wallflower who blossoms into a sparky, confident mate for Rocky. Rocky is just a poor boxer and Adrian brings out his tender human side. They make each other more three-dimensional, and the most tender and scene-stealing moments together allow the audience to see new sides to the characters. I would like to know how Adrian could see for the rest of the film as she suddenly stops wearing her glasses to shed her dorky, shy image, since I doubt they had contacts in the ghettos of Philadelphia in 1976. Was she just blind for the rest of the flick? Because those were some thick lenses. Still, doesn’t matter, just me being the nit-picker I am. Still the inclusion of them together as a couple creates and entirely new side of a seemingly simple story. It allows the film to transcend its own genre of generic sports film and makes it a tender look at inner-city Philadelphia and the lives that reside there.

Knowing Stallone was completely broke when he wrote and sold the screenplay and also convinced studio execs to let him star in his own movie when he had zero recognition in the film industry, adds an even more inspiring spin on an already inspiring tale. Rocky Balboa is Sylvester Stallone, and without him the film wouldn’t have the same charm. It was a risk that wholeheartedly paid off. The screenplay has heart and action, and it tackles difficult issues like poverty and racism in 1970s Philadelphia. The score is iconic for a reason, and the training montage scene that everyone knows and loves is truly beautiful. The final fight is brutal, but well choreographed, feeling like both a dance and a natural fight. It’s brutal and raw and sometimes hard to watch, but still a fantastically done fight. I’m looking forward to watching the sequels if they even come close to the quality of their origin story.

Let’s be clear, the only downside is that there isn’t enough Butkus the Bullmastiff. That is my one and only complaint. Long live Butkus: 1969-1981.

Amy’s Recommendation: 9/10

Mom’s Thoughts:
“I liked the movie as a whole, but the ending was confusing. We had to rewind it to figure out who even won. Entertaining film overall but could have used a more clarifying ending.”
8/10

Mom’s Movie Week: The Exorcism of Emily Rose

The Exorcism of Emily Rose is a courtroom drama with a horror element as it follows the court case of Father Richard Moore after a young girl dies during an exorcism. It grapples with questions of the existence of God and thus the devil.

Ok. So the legal drama part of this movie is pretty interesting, it’s all the supernatural elements where I find myself getting pretty lost. Exorcism movies are easy. The concept itself is already scary and adding the scientific doubter’s viewpoint does complicate the traditional narrative well. It’s a new way to tell an exorcism story, which I applaud. However, do I think they necessarily succeeded without a reasonable doubt? No.

Based on the true story of Anneliese Michel, a German teen who died of starvation and malnutrition in 1952 after routine exorcisms, the story tells the story of Emily Rose who is going through the same things. The story itself is an interesting one, and for the most part the viewer has to decide what side to believe. The courtroom scenes are genuinely interesting, even if they copped out big time at the end. But still, the legal parts of the movie are solid. The horror parts of the film however, are not so scary. For a film titled, The Exorcism of Emily Rose, the exorcism scares are pretty low. Understandably, it is based on a true story, so I would assume they had to stay at least generally faithful to their source material and sometimes going over and above the scare line retracts from the actual story. So I can understand that move. Still, people going in for a straight horror flick are going to find a lot more Law and Order: Exorcism Unit and less Conjuring 2.

Its more the technical execution of the film that I have the majority of my issues with. The lighting is dark, but not in a foreboding way, more like in a not-well-shot way. There are a couple of shaky cam jump cut kinds of shots that don’t add to the horror or the tone. They just distract the viewer.Certain scenes could have been more solid, but the editing was a little off. It just felt low budget, when it realistically had a budget of 19 million dollars.

In the end, I just wish they left it ambiguous. That was the best part of the film, the constant wondering of what was reality and what was fiction. It was interesting. But when they start hammering you over the head with the “right” viewpoint, it seems too one-sided and it loses its original premise. My mom would argue the ending justifies the film entirely, but in this case it really is up to the individual viewer. I won’t spoil anything, but the end will either make or break the whole movie for some people. It’s really up to you.

Amy’s Recommendation: 5/10

Mom’s Thoughts:
“I believe the message is important because people don’t believe it anymore. The devil is real, and stories like this need to be told. I liked the ending, and I think the fact that it is based on a real girl who suffered through the same experiences really hammers home that the devil is real and these things aren’t just in fiction.”
10/10

Mom’s Movie Week: The Boss

In the long line of crude comedies by the ever-amusing Melissa McCarthy comes the next installment, The Boss. Directed by her adorable husband, Ben Falcone, this movie follows McCarthy’s character Michelle Darnell as she loses everything and movies into her former assistant’s home. She then sees her possible rise back into financial success in a local Girl Scout troop.

It’s a pretty straightforward flick, composed of a lot of bits that are reminiscent of McCarthy’s many characters. She’s found her niche in crude physical humor and she follows typical suite with this film too. Kristen Bell plays her assistant, and as a huge fan, I think she holds her own here and is pretty well matched with McCarthy. The kids are all kind of one-joke premises. They swear and one girl is very tall and aggressive. That’s about all the character development they get, but it’s fine because we really don’t care about them all that much. The tender moments are effective and we see the once entirely narcissistic character, Michelle Darnell, evolve and become a more well rounded character.

The only part I would say was a detriment was Peter Dinklage as the villain. He is a little annoying and his jokes don’t’ really hit their mark. He is over-the-top but not in a good way. It comes off silly, a caricature, and doesn’t really land as a solid character. This also goes for Darnell’s driver, Tito, who’s jokes go on too long and seem misplaced. Luckily he’s not in it for too long.

The best part of the whole thing is obviously Melissa McCarthy. She’s a funny actress and although she often falls into the same routine with joke delivery, she still has funny original moments. She’s crude, clumsy, and unafraid to say whatever she wants and it pays off.

There are some really funny points and some really stupid points, but overall it’s a decently entertaining hour and forty-five minutes. Is it the next great comedy? No. Is it still a pretty fun way to pass some time? Yeah, I would say so.

Amy’s Recommendation: 6/10

Mom’s Thoughts:
“It was funny in spots, but the language was too vulgar. When kids swear it seems like a cheap way to get laughs, but I don’t like it.”
6/10

Mom’s Movie Week: Noah

So this week is Mom’s Movie Week. Due to a Massachusetts snowstorm I was stuck with my mother in the house for a day. This led to an impromptu movie marathon and thus the basis of this week’s posts.

First up is Noah, the 2014 Russell Crowe epic. If anyone knows my mother, then you probably aren’t surprised the first movie is biblical in origin. It tells the age-old story of Noah, the guy with the ark and the flood, yeah you know the guy. This time he is Russell Crowe, and his family is vaguely British, but not really. It’s very confusing, considering they are ancient Jews…maybe? Jennifer Connolly is his wife. I know. It also doesn’t really fit the ancient mesopotamia vibe, but I guess we’ll allow it.

Visually speaking, it is pretty cool to watch. They did try their best to find an inventive way to tell a story that literally everyone and their grandmother knows. But at times it comes off as a Steampunk Bible story, and I honestly don’t know how to feel about it. There are moments where it looks inventive and new, the montage on the creation of earth is quite stunning and mesmerizing. However, there are some REALLY rough scenes that look 2-dimensional and come across almost as a bad video game. The rock people are the worst CGI ever. They don’t feel real most of the time, and though I’m sure their clunky movements are supposed to be intentional, it comes across as lazy graphics. One scene in particular, when Noah’s family and the main rock thing is walking across an ash field that looks like a rookie green screen job. It’s truly so horrible that it’s distracting. The scenes that are supposed to be epic do look pretty incredible, but it’s all the middle scenes that seem lazy and boring.

I think the worst thing this movie did was not use it’s star power to it’s full potential. The cast includes Russell Crowe, Anthony Hopkins, Emma Watson, and Logan Lerman, and none of them get to show their incredible abilities. The writing isn’t wonderful, so a lot of lines are either mumbled through by Crowe strangely delivered. The best scenes are when they are actually on the ark, because it forces the characters to focus on the more human parts of the story. They are all stuck in there so they have to talk about things, and that is where the cast can truly act and they come through. Emma Watson is easily the best part of the second half, and she does a decent job with what scenes she gets.

I think the most frustrating part of the 2 hour and 18 minute movie is that it just drags along and has random scenes that are an entire waste of time. Never mind how confusing some additions were. My main questions:

Why is there a pangolin dog running around and no other fake animals on the entire ark…how was that relevant? Why would anyone let Russell Crowe sing in a film again, even for a scene, did we forget Les Miserables? Why does Noah visibly age throughout the film but his wife never looks older than the opening scene? Why is Noah’s son a British child in ancient Mesopotamia, then not British adult? Why is the little girl a non-British child that grows up to be British Emma Watson? This is basic continuity,people!

Anyways, I ranted a bit, but it’s not the worst movie ever. It does look pretty cool and they added story in to try and make it feel more original. The fight scenes look pretty cool, and there are moments that are quite beautiful. I give them credit for trying to make something new out of an overdone story and I applaud them for trying to make it an epic, but it just seems to fall a little flat. They just got tangled up in an overly complex plot for such a simple story.

Amy’s Recommendation: 4/10

Mom’s Thoughts:
“It was ok. It was somewhat entertaining, but a little confusing and boring at times.”
5/10

Badass Women’s Week: Changeling

Changeling tells the incredible true story of a single mother, Christine Collins, (Angelina Jolie) in 1928 who’s son vanishes and is replaced by the LAPD with an imposter. As she fights for her son, she is targeted by a corrupted police force that does everything they can to silence her and save their own reputations.

This is one of the most amazing true stories that we almost lost in the annals of history. It tells the dual story of Christine Collins, who sued the LAPD after they made her take in an imposter of her son and then forcefully locked her in a mental asylum to keep her quiet, and the infamous Gordon Stewart Northcott who was responsible for the tragic Wineville Chicken Coop Murders in 1928.
The film announces itself as a true story, not based on a true story, and the screenplay and storyline back up the claim. Though some historical facts were omitted, presumably due to the already formidable run time (2 and a half hours), a lot of direct dialogue was pulled from court transcripts and the entirety of the story is dramatically factual. It is an amazing story, with a brilliant performance by Angelina Jolie that earned her a Best Actress Oscar nomination.

The era feels brilliantly executed (too soon? Sorry Gordon), and it feels genuine and immersive into the world of the 1920s. It takes an old story and yet makes it feel entirely relatable. Christine Collins was a strong, independent woman who fought for what she knew was right. She should even be considered one of the greatest muckrakers in history considering she had the strength to take on an entire police department in pursuit of the truth. She defended herself and she never wavered even in the face of outstanding adversity. It is an amazing story of a mother’s quest to find her son, to find closure and forgiveness, and to find truth when the whole the world told her she was a liar.

Christine Collins was a real-world badass female and Changeling is a superb final capstone for my Badass Women’s Week.

Amy’s Recommendation: 10/10

Favorite Badass Movie Line:
“I used to tell Walter, “Never start a fight…but always finish it. I didn’t start this fight…but by God, I’m going to finish it”

Badass Women’s Week: Suffragette

Suffragette documents the early suffragette movement in the UK. It primarily focuses on Maud Watts as her life unravels in the pursuit of justice.

The film follows Maud Watts as she finds herself swept in the quickly militarizing suffragette movement in the UK. She begins as a humble wife who works in a factory along with her husband to provide for their son. Dealing with sexual harassment from her boss, who also assaults many other women in the factory, she finds herself drawn to her fellow workers who meet to discuss women’s empowerment and the growing suffragette movement. At this time women were beaten and jailed for demonstrating for the right to vote and as Maud grows more and more active her personal life at home unwinds.

A beautiful tale, the story highlights a point of foreign history unbeknownst to a lot of modern Americans. As American women secured suffrage in 1920, foot soldiers in the UK fought to join this monumental movement until they eventually succeed in 1928. This is no happy tale, however as it shows what these women endured and sacrificed for their fellow women, even the one’s who did not fight alongside them.

The film combines both fictional people (Maud Watts) with real women who are well known in the early stages of feminist protest, including Emmeline Pankhurst and Emily Davidson. Maud slowly becomes enamored with the movement, eventually radicalizing, and seeing how far some suffragettes were willing to go for the cause.

The film itself is beautiful, but it takes a long time to catch its bearings. It has an idea of what it wants to be, but it takes to long to establish its premise and then rapidly catches up with its own plot, with a lot of major plot points happening in the second half.

Meryl Streep also appears on a lot of the promotional material for the film, yet only has about five minutes of screen time. Still, those five minutes contain one of the most beautiful speeches in recent film and allows them to reference one of the most publicized suffragettes of the period, Emmeline Pankhurst. The only other major downside is the use of handheld camera in a majority of the film. It makes some scenes seem overly shaky and unclear, and it is a huge detriment to important moments. It also gives the film almost a guerilla kind of feel, which does add to the thematic mood of the story, but overall it comes off as distracting.

Still, we women today are in a stage of unrest. Women around the world have showed they continue to carry the torch of protest that was laid out before us by inspirational early feminist fighters of the past. We must also acknowledge, as all women, that we have the rights that we have because of people who sacrificed everything they loved and suffered tremendously in order to show that they deserve the same treatment as any man. It is a shocking look at the strong women, the fighting women, and the jailed women, who allowed us to be the free women we are today. Is the fight over? Hell no! But look at how far we’ve come.

Amy’s Recommendation: 9/10

Badass Suffragette Line[s]: (This one gets more than one because I simply couldn’t choose)

“For fifty years, we have laboured peacefully to secure the vote for women. We’ve been ridiculed, battered and ignored. Now we have realised that deeds and sacrifice must be the order of the day. We are fighting for a time in which every little girl born into the world will have an equal chance with her brothers. Never underestimate the power we women have to define our own destinies. We do not want to be law breakers. We want to be law makers. Be militant, each of you in your own way. Those of you who can break windows, break them. Those who can further attack the sacred idle of property, do so! We have been left with no alternative, but to defy this government! If we must go to prison to obtain the vote, let it be the windows of government, not the bodies of women, that shall be broken! I incite this meeting and all the women in Britain to rebellion! I would rather be a rebel than a slave!”

“You want me to respect the law? Then make the law respectable”

“We break windows, we burn things. Cause war’s the only language men listen to!”

Unfortunately this film is only on HBO, but if you have the subscription I highly recommend it. I had to include it on my list simply because real badass women deserve as much of a spotlight, if not more than fictional ones.