Film

There is a very interesting blog entry on the Harry Potter Amino Apps page that compares Lord Voldemort (nee Tom Riddle) from the Harry Potter series to Andrew Nehman, the protagonist of Whiplash. The main thrust of this argument is that both characters come from a long line of mediocrities, and develop an obsession with being the best in their chosen fields in order to counter this, even if it costs them their humanity and personality. They also share at least one other similarity that goes unremarked upon in the blog: namely, that both of their mothers died in childbirth.

The question is, does Voldemort have any other traits that make him similar to other obsessed creatives (real or fictional) besides just Nehman? What, if any, artistic talents does he possess, and what are some of the lengths he goes to master them? In terms of his characterization, just how essential a role does creativity play in making him who he is? Is there actually anything to the idea that Tom Riddle/Voldemort’s backstory and arc are that of an obsessed artist or creative personality, or does he just happen to have some traits in common with one obsessively artistic character purely by chance?

Matrix: Resurrections released in 2021 and returned viewers to the world that was built on in the previous trilogy. The first movie, The Matrix (1999) has been confirmed by the Wachowskis to be a trans allegory on some level, and the meaning of the first trilogy is still debated. The topic taker should examine if the themes of the most recent film add something to the trilogy’s discourse. Along with that, the topic taker should examine if any allegories are made within Matrix: Resurrections. Specifically, the topic taker should aim to answer the following question after their theme and allegory analysis:

Does Matrix: Resurrections provide any meaning to where society finds itself with technology and the rise of AI?

The topic taker is free to go into the history of the Matrix as a whole, including how it was produced to see if there are any similarities to how Resurrections was produced and if the new film took this history and the discourse surrounding the original trilogy into consideration. The topic taker can, of course, include any research on this topic that they wish. For example, if following the trans allegory of the original Matrix helps establish something that Resurrections is conveying, please include that in your analysis!

Link to an interview excerpt by Lilly about The Matrix’s trans allegory: (link)

Saltburn (2023) was one of the biggest viral films on Tiktok for it’s numerous shocking scenes, excellent cinematography and catchy soundtrack. But one element of criticism it received was that many couldn’t follow the theme of the film.
While it drew elements from "The Talented Mr. Ripley" and many other film classics it’s message seemed muttled to many critics.
The writer can target the films core thesis, which is that the rich, should rightly fear their economic lessers because they’re scoundrels.
The writer can draw from historical rage against the rich along with the contemporary resentment of the wealthy and widespread calls of "Eat The Rich" along with the general antipathy of classes as economic disparity grows more every day.

James Gray continues to prove himself as one of the unseen heroes of modern cinema with each and every film he releases. His dedication to form, his deep sympathy for each of his characters, and his ability to muster the most sensitive performances out of his actors are just a few reasons why he’s one of the best American directors we have. He also tackles similar themes throughout most if not all of his films such as family, loyalty, regret, love, and time. There is one rumination, however, that James Gray explores better than most other filmmakers have ever dared to try: the contents of the American Dream. What it is, where it’s coming from, where it’s going. In this article, the writer could examine many of James Gray’s films, specifically his New York stories which include "Little Odessa", "The Yards", "We Own The Night", "Two Lovers", "The Immigrant", and "Armageddon Time" as a means to uncover how James Gray explores the idea of the American Dream, how New York City plays such a key part in that story and idea, and what it means to all of the different types of people that golden idea has affected (including himself).

Paul Verhoeven’s sci-fi action film "Starship Troopers" has long been celebrated for its satirical take on militarism and fascism. However, some critics have proposed an intriguing reinterpretation of the film in the context of the post-9/11 era.

The writer could examine how the film’s themes of propaganda, military intervention, and the dehumanization of the enemy resonate with the post-9/11 political climate in the Western world.

Analyze specific scenes and narrative elements that parallel events and attitudes surrounding the 9/11 attacks and the subsequent "War on Terror." Consider the implications of viewing "Starship Troopers" through this new lens, including its commentary on nationalism, surveillance, and the erosion of civil liberties in the wake of a national tragedy.

Look at how films like John Wick, Kickboxer Vengence and potentially films like the Bourne series or Taken have taken the more modern approach to fight scenes, but still integrate the mystical or ‘unknowable’ martial artist that make the protagonist a superhero. How have these films shifted in the last 30 years? Are the protagonists existing in a superpower zone or more in reality than classic martial arts films?

How does Takeshi Kitano, a prominent Japanese television personality who debuted his film directorial career with ‘Violent Cop’ in 1989, subvert the typical stylistic elements of action thrillers and sex in drama film in 1980s and 1990s cinema?

How can we interpret the depictions of sex and violence in movies such as ‘Violent Cop,’ ‘Boiling Point’ (1990), Sonatine (1993) and Hana-bi (1997)? How do they differ from conventional American action and drama of this period?

Does Takeshi Kitano’s subversions of the genre serve to critique its tropes and the genre itself, or to reinforce them and create a new status quo in the depiction of sex and violence in cinema?

For quite some time now, there has been a drastic decline in the appreciation of superhero films. Whether it is because of the poor CGI (no blame to the artists), the numerous films and shows pumped out every year, or that most of the films are made on unknown characters, more and more complaints have come out detailing the audience’s distaste. New characters have been introduced with little applause and the universe of the MCU in particular has become a laundry list to keep up with. Every film is interconnected, making for a difficult watch to get through over 25 films and numerous shows to supplement.

Despite all that, there has been an immense amount of anticipation for the upcoming film "Deadpool and Wolverine". This film has started to be hailed as the savior for the MCU, with many saying Deadpool is going to be the one to bring Marvel back to its "glory days". How did this film come to be this anticipated? Is it the characters? Actors? There are numerous factors at play, making this film at the top of many to-see lists. Whether this will flip the narrative surrounding the MCU and superhero content as a whole is yet to be seen, but there is a lot riding on this film.