Sunday, January 1 1995
Cody's special in a very particular way -- in a second-coming kind of way -- which, in movie-logic, makes her the prime target for a slew of Satan's minions.
'I'm a kid in America, I can do whatever I want.' Jutting her chin at the camera, New York City high schooler Charlie (Bijou Phillips) mouths off to her stuffy-suit dad, who's been pestering her about where she goes after school.
'There are some naysayers,' one Blair Witch fanatic enthuses, 'who come and they say nay.' Not the sharpest wooden stake in the breastbone, this guy.
The cultural systems that condone more subtle forms of homophobia are left unexamined. This allows viewers to forget the important fact that homophobia and strict either-or gendering practices do prevail in today's 'civilized' cultures, liberal and tolerant as they may seem to those who don't have to worry about such things.
Robots: we either love 'em or hate 'em. Movies have given us friendly Star Wars droids like R2-D2 and C-3PO and sadistic mechanical henchmen like Maximilian in The Black Hole. Science fiction television has shown both Buck Rogers' loyal sidekick Twiggy and the destructive Cylons of Battlestar Galactica.
Beowulf saves the girl and carries her to the stronghold, where she immediately breaks away again and allows herself to be killed. Evidently there's 'something' inside the castle worse than death -- the rest of the movie.
Behind a triumphant tale of self-discovery is a subtext of anxiety that ultimately enhances what might have been a pretty ordinary film.
Though behaving like proper girls and boys has little effect on Megan and the other patients, they still pretend that they are actually heading down the path to heterosexuality.