Luckily for me—and for all of us—Noah Centineo’s swoonsome Peter isn’t that kind of good guy. In this respect, the film departs, winningly, from the novel from which it’s adapted. In the book, Peter is that kind of guy—or at least, his boorishness in insisting that “no rom coms” be written into the contract by which he and Lara Jean establish the terms of their fake romance, is a clever feint suggesting we have on our hands a character reminiscent of the insufferable John Thorpe in Austen’s Northanger Abbey. In the film, by contrast, it’s Lara Jean who writes in to the contract the condition that Peter must watch Sixteen Candles, while he in turn stipulates that she must watch Fight Club. The mutuality of the agreement sets their relationship on the right terms. The scene in which we watch them—Peter, Lara Jean, and Lara Jean’s younger sister Kittie—watch Sixteen Candles together is all the proof we need that the onscreen Peter has evolved from the Peter on the page.
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Sarah Tindal Kareem — Avidly
Looking at Alien through the gender prism.
Alien has some mixed signals to send about women. On the one hand, signs of the female dominate in the film: the operating system of the ship is called Mother and the men in the crew aren’t macho at all. Nor are the women particularly feminine. The sole survivor is a woman called Ripley, played by Sigourney Weaver, who is tall, striking and very capable. She’s often cited as one of the first female action heroes in twentieth century cinema. ((The proof? Even when she is struck still by the horror of the alien, she keeps on strategizing. Her dash for the ship at the end is panic-stricken, but also calculated.) Ripley’s gender is such an exception that that Alien is often understood as upending the casual misogyny and gender dynamics in many horror and action films. And yet Weaver’s casting was a last minute choice; writers, producers and Scott had all thought she would be male. The aliens’ physiology was also a decision after the fact; the Swiss surrealist artist H.R. Giger had been drawing their eroticized shapes for years before filming began, and Scott’s genius was in importing Giger’s creepy grace rather than creating it from scratch.
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Jenni Quilter — Avidly