The Woman (Lucky McKee, 2011)
I’m honestly not sure “scorned” is the word I would use here.
photo credit: horrornews.net
What almost everyone knows about The Woman who knows anything about The Woman is that is has caused, and continues to cause, a firestorm of debate in the horror community as to whether it is meant as a feminist film or a misogynist one. (I lack an understanding of why this debate exists, given Lucky McKee’s previous filmography; everything he has done has had a marked feminist streak.) I am unsure how many of the people involved in this debate have actually sat down and watched the silly thing, the third installment in a series that began with Jack Ketchum’s novels Off Season and Off Spring, both of which have already been filmed (both by other directors, and both not nearly as well as this). It’s not McKee’s best work—in fact, in McKee’s entire filmography, including Red (for which he received no credit), I ended up rating The Woman the lowest—but that does not mean it is not a good film, nor that you should not see it as long as you have the stomach for it; Lucky McKee bringing his C game to the table is still better than about 90% of dedicated horror hacks bringing their A games, and McKee has a light touch with savagery compared to a number of other recent enfants terribles (Eli Roth, anyone?), so that while he’s making a film that is just as nasty as the ones being made by those guys—even more, in many ways, just as it was in Sick Girl—McKee is good about leaving things just enough offscreen to trick you into thinking you maybe saw a lot more nastiness than you did. That’s an impressive trick to pull off. It also has the unfortunate side effect of fueling those debates, but you can’t have everything.
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