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Intertitles: Gods of Egypt: A Three-Act Tragedy, by Genevieve Valentine (12/21/15)
To watch the trailer for Gods of Egypt is to be that person in a horror movie standing by as their travel companions wander off to investigate those strange noises all alone.
Intertitles: The Guest, Camp, and the Horror of Masculinity, by Genevieve Valentine (10/26/15)
Few genres are more actively in conversation with themselves than horror.
Intertitles: It Follows, and the Zombification of Rape Culture, by Genevieve Valentine (8/3/15)
The premise of It Follows seems simple enough: Our young heroine contracts a supernatural STD that makes her the target of an unnameable monster.
Intertitles: Have Courage: Ex Machina, Cinderella, and the Construction of the Feminine Identity, by Genevieve Valentine (6/15/15)
The scene of feminine transformation is one of cinema's most familiar.
Intertitles: Daughter of the Dragon: Anna May Wong and the Hollywood Problem, by Genevieve Valentine (4/6/15)
In fact, non-whiteness is so often coded as the Other that it becomes subtly reinforced as a speculative element; a person of color appearing at all begins to suggest something supernatural—both within the text, and as evidence that a person of color made it in front of the camera at all.
Intertitles: Oh, the Cleverness of Me!: Masculinity and the Horror Show, by Genevieve Valentine (1/5/15)
There's no shortage of films about men, of course (when has there ever been?), but this year saw an influx of films that questioned both the masculine ideal and the otherworldly quality of masculine expectation.
Reviews for the week of 10/20/14
Monday: The Girls at the Kingfisher Club by Genevieve Valentine, reviewed by Phoebe North
Wednesday: Broken Monsters by Lauren Beukes, reviewed by Alix E. Harrow
Friday: Things We Found During the Autopsy by Kuzhali Manickavel, reviewed by Sofia Samatar

Intertitles: And Was Obliged to Go On Dancing: The Red Shoes and the Chastised Woman, by Genevieve Valentine (9/22/14)
At first glance, "The Red Shoes" is a story about dancing, and it's no surprise that the relatively rare screen adaptations of the story are almost exclusively dance pieces . . .
Intertitles: A Million Ways to Die in the West, by Genevieve Valentine (7/7/14)
A nameless drifter has the only thing he calls his own stolen from him by a band of thieves; amid a world of lawlessness where the quickest draw makes the law, he sets out to get it back.
Reviews for the week of 6/30/14
Monday: Short Fiction Snapshot #9: "A Dweller in Amenty" by Genevieve Valentine, reviewed by Benjamin Gabriel
Wednesday: Lagoon by Nnedi Okorafor, reviewed by T. S. Miller
Friday: In Your Eyes, reviewed by Raz Greenberg

Intertitles: The Final Frontier: The Beautiful Fatalism of Near Space, by Genevieve Valentine (4/28/14)
There are six people in space right now.
Intertitles: A Thing That Lives on Tears: Goodness and Clarice Starling, by Genevieve Valentine (3/17/14)
Once, Jack Crawford called up a trainee barely old enough to rent a car, and asked her to interview the most notorious serial killer currently living, in order to catch one that was, for the moment, slightly less notorious.
Intertitles: Brand New Girl: Gender Performance in Earth Girls Are Easy, by Genevieve Valentine (1/20/14)
Of all the SF comedy musicals that address gender performance, Earth Girls Are Easy is the other one.
Intertitles: Ten Worlds About Ben Affleck's Batman, by Genevieve Valentine (10/7/13)
1. Ben Affleck's Batman is terrible.
Intertitles: In This Together: Duality in Two Apocalypses, by Genevieve Valentine (8/19/13)
Let's talk about the end of the world.
Intertitles: Superhuman Masculinity and the Musketeer Mythos in The Fast and the Furious, by Genevieve Valentine (6/10/13)
These movies operate under the extremely handwavey rules of what Hollywood sometimes fever-dreams comics to be like, meaning that continuity and physics are flexible, but dammit, honor never is.
Loving the Alien: David Bowie's History of Science Fiction Film, by Genevieve Valentine (4/22/13)
In David Bowie's most recent music video for "The Stars Are Out Tonight," directed by Floria Sigismondi, he and Tilda Swinton play outwardly content suburban marrieds whose darker sides emerge in the fantastical faces of their rock-star mirror-selves, undergoing a mutation from the conventional to the alien, and confronting the transformative trap (and trappings) of fame.
Intertitles: Hell Here: Catwoman and the Superhero Origin Tragedy, by Genevieve Valentine (2/4/13)
The origin story is a pretty tough gig.
Intertitles: Cloud Atlas, by Genevieve Valentine (12/10/12)
Making a film about Greatness is awfully tricky work.
Intertitles: The Persistence of Memory: Cinematic Time Travel in the Surreal, by Genevieve Valentine (10/29/12)
The thing is, a time travel movie is pretty much always surreal.
Intertitles: Girl Wonder: Lawn Dogs, Hard Candy, and the Age of Innocence, by Genevieve Valentine (8/13/12)
Intelligent beyond her years, more sympathetic to adults than her peers, and positioned at the center of an otherwise-adult world, comes the enduring cinematic image of the girl wonder: the young woman on the verge of adolescence who seems to have extraordinary, even supernatural, qualities simply by virtue of what she is.
Intertitles: Putting Out Fires with Gasoline: The Sexuality of Cat People, by Genevieve Valentine (6/11/12)
Every so often, Hollywood's ceaseless remake grinder accidentally turns out an incarnation which is both a hilariously dated product of its time and a film actually in conversation with its predecessor.
Intertitles: "Do Not Wither/Look at Me": Feminist Identity as Supernatural in Orlando and I am Dina, by Genevieve Valentine (4/30/12)
One of the handiest things about speculative fiction is its ability to provide shorthand for an exploration of the human condition.
Intertitles: Tinker Tailor Soldier Sci-Fi: Espionage and the Speculative, by Genevieve Valentine (2/13/12)
A man walks through a hub room where outside information is being gathered and translated by crew members who shuttle it through the circulatory system; he steps into the padded orange room at the center of it all, where he sits down at a black glass table and reports to an inscrutable Control that the enemy is on the move.
Intertitles: Frame Story: Drive, Shame, and the Aesthetics of Identity, by Genevieve Valentine (12/19/11)
In a gold-toned, anonymous hotel room, a man stands with his back to the camera, looking out at the empty night-roads of LA.
Reviews for the week of 10/31/11
Monday: 21st Century Gothic, edited by Danel Olsen, reviewed by Farah Mendlesohn
Wednesday: Mechanique: A Tale of the Circus Tresaulti by Genevieve Valentine and The Night Circus by Erin Morgenstern, reviewed by Abigail Nussbaum
Friday: Love and Romanpunk by Tansy Rayner Roberts, reviewed by Erin Horáková

Intertitles: There's No Happy Ending with Me: The Fall, by Genevieve Valentine (10/24/11)
The thing about The Fall is, it's hopeless.
Intertitles: Adaptation (and Other Conversations), by Genevieve Valentine (8/29/11)
The art of movie adaptation is a tricky one; though Hollywood has scoured literature for material since moving pictures were invented, it's awfully easy for the process to go unspeakably awry.
Souvenir, by Genevieve Valentine (8/15/11)
The body's a week old, and Claudia hopes there's still a nice sharp souvenir left. Cops don't like vague answers from touches.
Intertitles: In Praise of the Glorious Mess, by Genevieve Valentine (7/4/11)
For all the nonlinear narrative that has stymied reviews of The Tree of Life, you can't really say that one goes into it unprepared for oddity. When a film gets booed at Cannes, and then goes on to win the Palme d'Or, you know something is up.
Intertitles: "A Strange and Savage Beauty": Carlos Saura's Flamenco Trilogy, by Genevieve Valentine (5/9/11)
Dance—an art form whose energy, grace, and wordless emotion could have been designed expressly for film—has often served as a cinematic gateway drug to the surreal and supernatural.
Intertitles: Winter's Bone: A Mythic Marrow, by Genevieve Valentine (3/14/11)
The film uses fairy-tale archetypes to define its stakes and provide markers for its hero's journey.
And She Shall Be Crowned According to Her Station, by Genevieve Valentine (9/6/10)
The first roach appears in the sink, mahogany-dark and glossy against the stainless steel. Jessie grabs a sponge and slams it down, listens for the crunch of wings.
A Brief Investigation of the Process of Decay, by Genevieve Valentine (11/16/09)
There was a pause before "interested" that meant "acclimated," as if Mars was going to be just like the rez, except without oxygen.
Bespoke, by Genevieve Valentine (7/27/09)
The floors were real dateverified oak, the velvet curtains shipped from Paris in a Chinese junk during the six weeks in '58 when one of the Vagabonder boys slept with a Wright brother and planes hadn't been invented.
29 Union Leaders Can't Be Wrong, by Genevieve Valentine (6/18/07)
He's not, though; no better and no worse. He looks like someone he would know. He touches his cheeks, runs his finger down the bridge of his new nose. When he cries Callahan stares at the cabinets until he's got hold of himself.