Lucas

Good points of consideration. The film and its source material absolutely play on the societally ingrained notion of violent misogyny, particularly in terms of the “missing female” typically being tied to the husband as a primary suspect. In the film, Amy exacts her revenge on Nick by manoeuvring through these unfortunately archetypical situations and using them to her utmost advantage.

As an auteur-styled filmmaker, Tarantino represents an intriguing case study. His work is very refreshing, yet also unique due to his mainstream success. The fact that he writes and directs his films is also a rare feat in 21st century popular cinema, especially as they are fairly incomparable to those of any other filmmaker contemporarily. Nonetheless, Tarantino accomplishes his style and narrative forms through constantly referencing and paying homage to other films: namely, the spaghetti westerns of Leone, kung fu films, Fellini, and other B movie / exploitation pieces. Accordingly, the “originality” of his films comes into question. In this regard, Tarantino views himself as a successor of Godard’s similar technique of in film “quoting.” And while your average movie-goer heading to the theatre to see the newest Tarantino work of action and violence may not catch the slightest reference to some fifty year old film, the informed film viewer can note the extent to which Tarantino’s oeuvre is indebted to and aware of cinematic tradition and history.

Isn’t the comparison of Straight Outta Compton to The Avengers part of what makes SoC a problematic film, especially as a biopic? As a biopic (produced uncoincidentally by Dr. Dre and Ice Cube), SoC is largely uncritical of its subjects and presents them in an exaggeratedly heroic form. I found the film to be incredibly crafted and considered in terms of this characterization of unrealistic representation. Accordingly, I find biopics that are impartial to the portrayal of their subject to offer a more so meaningful viewing experience.