Five classic chick (action) flicks


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The term “chick flick” calls certain images to mind: moonlit kisses in the rain; awkward yet adorable first meetings between lovers; Katherine Heigl. If you’re calling something a “chick flick,” odds are you’re doing it dismissively, as in “My wife is dragging me to that new chick flick.” (NOTE: No one tell my wife I wrote that.) But “chick flick” is such a nice turn of phrase — it’s short, it’s memorable, it rhymes — that I think we ought to take it back. It should apply to all kinds of movies starring women, not just the ones featuring makeover montages or sassy best friends (or Katherine Heigl).

A perfect example is Steven Soderbergh‘s new movie, which opens in theaters this Friday. It’s called “Haywire,” but a more accurate title would be “MMA Fighter Gina Carano Beats the Shit Out of All of Hollywood’s Hottest Young Male Stars.” Carano (official MMA record: 7-1) plays Mallory, a secret agent for hire on a quest for revenge against her former employers. Getting that revenge means wiping the floor with Ewan McGregor, Channing Tatum, and Michael Fassbender, among others. It’s not a “chick flick” as we’ve come to know it — it’s closer to a Chuck Norris vehicle than a Sarah Jessica Parker vehicle — but maybe it should be. We could call it something like a “chick (action) flick.”

Whatever you want to call it, “Haywire” belongs to a fine tradition of action films centered around strong, sexy women. Here are five of our favorites.

“Faster Pussycat! Kill! Kill!” (1965)
Directed by Russ Meyer

Russ Meyer’s camp classic features a trio of busty, deadly woman on a go-go dancing, hot-rod racing rampage through the American Southwest. Meyer’s vixens — Haji, Lori Williams, and especially the voluptuous, karate-chopping Tura Santana — square off against a male cast that is clearly outmatched, both mentally and physically, by their female counterparts. The film’s opening narration, which accompanies images of bouncing sound waves (followed immediately by images of bouncing breasts) sets the tone as well as the connection between the pussycats’ power and their sexuality (“Ladies and gentlemen: welcome to violence!”). No wonder John Waters called it the best movie ever made and “possibly better than any movie that will ever be made.” Forty-five years later, I’m not sure any filmmaker has conclusively proven him wrong.

“Coffy” (1973)
Directed by Jack Hill

Male superheroes have utility belts. Coffy has an afro. She uses it to hide all sorts of useful things, mostly famously razor blades, which come quite in handy — no pun intended — when she finds herself in the middle of a catfight with some grabby prostitutes. Coffy, as played by the charming and stunningly gorgeous Pam Grier, is like the prototype of the woman Gina Carano plays in “Haywire” — beautiful, deadly, kicked around by men, and on a righteous quest for revenge. Though Grier spends a fair amount of the film nude and/or in bed with an assortment of male co-stars, director Jack Hill is actually using the framework of an exploitation film to tell a story of feminine empowerment, of a woman who uses her sexuality to her advantage, and whose enemies are all symbols of patriarchal power: pimps, cops, and, politicians.

“La Femme Nikita” (1990)
Directed by Luc Besson

A secret government agency trains a junkie and convicted cop killer (Anne Parillaud) how to be an assassin — and how to be a lady. Their classes include marksmanship, computer hacking, and grooming. “There are two things that are infinite,” Nikita’s etiquette teacher instructs her. “Femininity and means to take advantage of it.” After her training is complete, Nikita tries to balance her secret life as a deadly spy and her domestic life with a simple grocery clerk with mixed results, a nifty metaphor for the dilemma facing modern working women everywhere. Keeping the personal and the professional apart proves just as difficult as kidnapping an ambassador and stealing his secret files. The film is episodic and almost feels like the pilot of an ongoing television series, so it’s no surprise that there have already been two different “Nikita” television series.

“The Heroic Trio” (1993)
Directed by Johnnie To

This Hong Kong superhero flick gets major demerits for dodgy wirework and a laughable plot (the version available on Netflix Watch Instantly also sports some absolutely horrendous English language dubbing). But that doesn’t change the fact that it also boasts one of the greatest assemblages of woman warriors in movie history. Super-powered Shadow Fox (Anita Mui), and shotgun-toting biker chick Mercy (Maggie Cheung) team up to rescue a bunch of kidnapped babies from the hands of an evil sorcerer who wants to use them to bring about the resurrection of who the hell knows. Eventually, Shadow Fox and Mercy combine forces with the sorcerer’s right hand lady, The Invisible Woman (Michelle Yeoh) and then all three have some absolutely spectacular fight scenes with the movie’s heavy, a flying guillotine toting nutjob played by Anthony Wong. The Trio represent both beauty and brawn; after they win their climactic battle, they grab some flowing robes and do a slow-motion catwalk strut into the closing credits.

“Kill Bill: Volumes 1 and 2” (2003 and 2004)
Directed by Quentin Tarantino

The movie with so much asskickery it had to be split in two parts, first released in the fall of 2003 and the spring of 2004, respectively. Uma Thurman’s The Bride is betrayed and left to die on her wedding day by the rest of her squad of professional assassins; over the course of Quentin Tarantino’s two-part revenge saga, she ferociously repays the favor. “Kill Bill” is, in some ways, the apotheosis of Tarantino’s film quotation aesthetic — the movie’s IMDb movie connections page is almost as long as its screenplay. It combines themes, visuals, and motifs from all these other wonderful female action films — including “Thriller: A Cruel Picture,” “Switchblade Sisters,” and “The Doll Squad” — to create an experience that is arguably more fun than all of its influences combined.


What’s your favorite chick (action) flick? Tell us in the comments below or write to us on Facebook and Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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