“The Censored Eleven” are the unofficial eleven animated shorts that have been banned, censored, or edited from public consumption and haven’t been seen by most in America. While some of the shorts have been released with a commentary about its social and political context, most are strictly taboo. In this limited series, we’ll review the censored eleven and figure out why these titles are still very volatile.
Sunday Go to Meetin’ Time (1936)
Friz Freleng
Merrie Melodies
Director Patrick Rea’s latest short film for “Withered World” is a unique and interesting take on the revenge film and the consequences of the act that affect literally everyone. While most films would glorify the act of vengeance, “Vindicate” takes a step back and ponders on the ripple effect is for avenging one’s family.
One of the major highlights of “Mallas, MA” is the immense direction from director Sean Meehan. Part of the 48 Hour Film Project, “Mallas, MA” feels like a feature length film busting from the seams of its short film trappings, and while the film itself is fine, I wanted more. Surely, the idea of ghost hunters getting more than they bargained for has been done, but there could be a real unique turn here about crises of conscience and respecting the dead, in the end. “Mallas, MA” benefits from the incredible direction from Sean Meehan who just has a clear visual idea of what he wants this film to be.
I am of the opinion that it would have been an excellent idea to pass the “Die Hard” franchise over from John McClane to his daughter Lucy. That would not only have been a fantastic move for an iconic franchise but breathed fresh air in to a stale movie series. Mary Elizabeth Winstead could have proven herself as an action heroine, the series could have revived the idea that females can lead action movies, and we could have visited a brand new character from the McClane legacy who could have brought a bold new angle to the “Die Hard” series. Sadly, casting females in action movies is still considered bold and new. The producers missed out on a golden opportunity to really change the genre as a whole. Instead we’re given this.
Actress Mary Elizabeth Winstead has maintained a steady stream of notable genre work for many years and has shown herself to be a very good actress with enough charisma and enthusiasm to help carry genre gems like “Sky High” and “Scott Pilgrim vs. The World.” On the flipside, Winstead has also garnered a huge fan base (me included) thanks to her model work and her incredible beauty and sex appeal. With “Smashed” Ms. Winstead seems intent to not only show that she’s much more than a pretty face, but proves to her audience that she’s so much more than a passable actress. Her performance in “Smashed” is Oscar worthy.
Director John Carpenter’s “The Fog” prides itself in being steeped in folklore, and takes on many of the classic traits we know as urban legends. Every urban legend has some source of truth to it and harbors a moral for its audience. “The Fog” creates a new urban legend from a horrific act of betrayal and human greed. Hence why the opening of the film begins with an old seaman regaling local citizens of Antonio Bay with the tale of the spirits on the sea.
Director Nicholas Winding Refn completely blew me away with his 2011 crime thriller “Drive.” It was a cerebral and stylish picture about redemption and atoning for our sins. “Only God Forgives” is that perfect film for cinematic enthusiasts looking for the right experimental movie to dip their toes in to. While Nicholas Winding Refn had every reason to follow “Drive” up with something equally mainstream, “Only God Forgives” goes beyond expectations.