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Many of us by now have noticed the ONSLAUGHT of reboots which have come our way. Between the incessant Marvel movies and comic book sequels which literally will not stop coming, the millions of Spiderman flicks, not to mention the ridiculous amount of Bond movies (25 to be exact).

 blaming spider man GIF

Yes, 25 movies about the same man doing the same uber-masculine assassinations and the same women dying for him and the same villains again and again and again. *Sigh* Even Daniel Craig agrees that good old James is a misogynist.

The live-action remakes of every single classic Disney animation, the TV reboots of our favourite characters for no actual reason and the revivals of our childhood bands. It begs the question, is the entertainment industry just profiting off of our nostalgia? Most definitely, yes.

When it comes to the Spice Girls, Westlife or Take That, by all means they are welcomed back with open arms.

Yet, when it comes to cinema, which is literally CRYING OUT for representation and new voices which are demanding to be heard, why are they using the same old formulas?

Art is supposed to be unique, a form of expression. Not recycled like old Halloween costumes that don't fit anymore but you're just gagging to feel 18 again. Back when life was more about what alcohol to buy for pre-drinks and not what bills you have to pay first so you can survive as a full-grown adult. *shudders*

The point is: a new Batman/Joker combo is not cinematic gold, for God’s sake. A new Pirates of the Caribbean written by the Deadpool duo will not shake the earth.

Recent groundbreaking genre favourites such as A Quiet Place, Get Out and Moonlight have pushed the boundaries of cinematic territory and have told stories from new and vital points of view, so why can't Hollywood give more opportunities to scripts, directors and voices like these?

News recently broke that Shrek, one of the most popular animated franchises of all time, is getting a reboot (pause for gasps).

Those of us who grew up with the infamous green ogre and his hilarious sidekick, Donkey, will most likely shudder at the thought of Hollywood studios replacing a beloved film of our youth with a facade, a copy which can never truly replace the original.

Others will delight in the nostalgia of creating more content surrounding the comedic protagonist and his fairytale friends, especially since the man behind the reboot, as well as the revival of Puss in Boots, is Chris Meledandri.

Known as the mastermind of the Despicable Me movies (and creator of the minions, which have literally overtaken the world and internet memes), Meledandri has been tasked by Universal Pictures with finding some fresh storylines to being the lovable ogre into the modern time. I say modern time as if Shrek is donkeys-years old (yes, I made a donkey joke. Deal with it).

Shrek was originally released back in 2001, making it barely 17 years old. While a lot has happened in technology and film-making in this time, does it really seem necessary to bring back a franchise which has really run its course? After all, Shrek the Fourth only entered cinemas in 2010, and left much to be desired.

Shrek No GIF

Studios are so obsessed with maintaining popularity and success of these franchises, that often they completely ruin the essence of what made it loved by audiences in the first place, in this case: comedic integrity.

I mean, a storyline about an ogre defending his swamp in a land of fairytale creatures, voiced by Mike Myers, Cameron Diaz, Antonio Banderas and Eddie Murphy? The person who successfully pitched that idea must be incredibly rich by now.

At least Meledandri has the good sense to keep the original vocal performances:

“When you look back on those vocal performances they’re awesome, and while you certainly could make a case for a complete reinvention, I find myself responding to my own nostalgic feelings of wanting to go back to those characterizations,” explains Meledandri.

“The challenge for us has been to find something that really does feel like it’s not simply yet another film in a series of sequels.” Good luck with that, Mr. Director Whose Film Company Has Just Released A Remake Of The Iconic The Grinch. You paint a highly believable portrait. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Hollywood remakes have been saturating cinema over the last decade, and there are arguments to be made for both sides of the tide. If a remake is done right, à la A Star is Born, something special can happen.

This is usually a result of some newfangled aspect of the film however, a tweak or drastic change which brings the piece back to life but also gives it a platform in its own right.

Lady Gaga, for example, plays the role of struggling artist Ally in a way that makes it impossible to compare her to Barbara Streisand. The songs are also freshly crafted, and impactful in their raw energy, partially due to Bradley Cooper’s directorial talent and surprising talent as a singer.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Formerly known as an actor, his transition into musicality and the directorial chair allows the film to reach new heights, as if feels as if we are being introduced to someone who we’ve never really known at all.

The Chilling Adventures of Sabrina has also achieved phenomenal success, however there is next to nothing about the show which resembles its predecessor, and it is stand-alone as a result, especially with its sense of ‘woke’ teen angst which is captured almost to perfection.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Yet the majority of remakes are arguably just major Hollywood studios tapping into the nostalgia of audiences who are ready and willing to return to the cinema seat to catch any glimpse of their favourite childhood character or storyline in action.

Certain remakes adapt the trend with refreshing results; such as the Fargo reboot which was recreated as a mini-series and is widely well-reviewed. An audience is more likely to watch something which they are already familiar with, and if the sense of familiarity is matched with something genuinely unique, truly excellent cinematic gold can occur.

Classics are classics for a reason, and taking the formula and twisting it to adapt to a new generation often leads to disastrous consequences. The remake of Psycho, the Great Gatsby (controversial, most people loved the grandeur of Baz Luhrmann yet the power of the written words were essentially erased) and Footloose, for example, need to die a slow death.

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The endless sequels are also a problem, I mean PLEASE learn to leave it alone. Just because the movie was good does not mean it has to be continued and drawn out until the life is sapped out of it.

If there is a new technology, a new actor or actress or director, or scriptwriter who are talented enough to reuse old material and revitalise it, by all means, go ahead. Yet the magic of the true classics cannot be forgotten.

The day the news breaks that the Harry Potter franchise is getting a remake, for example, you will find this writer in a pool of her own tears, echoing the chant; “YOU CAN’T DO THIS TO ME!” on repeat. Don’t judge. Daniel Radcliffe, Emma Watson and Rupert Grint were the heroes of my youth, the faces which encapsulated the characters I had fallen in love with page by page.

sad harry potter GIF

Transforming the series would simply remind me that I am now old enough for my childhood characters to be replaced and made into something new and alien altogether. If they even DREAM of touching perfection like Back to the Future or The Godfather, there will be hell to pay from the ever-protective fanbases.

The love most people harbour for that first spark of a film or character which had never been seen before is difficult to rearrange. There are an infinite number of voices in cinema which have yet to be heard; only now are women gaining access to cinematography, directorial roles, production roles and script-writing responsibilities.

Only now are people of different ethnic backgrounds, diverse economic circumstances, sexual orientations having their voices heard. Can you imagine how many stories they have to tell?

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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For so long, only the powerful were given the chance to create movies. Creating new formulas which give other people a change to feel represented and tell their own stories would revolutionise cinema.

So before we rush to discuss which man will be chosen as the next Bond, which Disney film will be recreated, or which superhero will once again be given a new face, why not look to those who haven’t been given a face, or a voice in cinema?

Imitation is the sincerest form of flattery, as the phrase goes, but authenticity is the greatest form of art.  

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Dublin Feminist Film Festival is back, and better than ever.

The DFFF takes place from 20 until 22 of November at the Light House Cinema, and will prioritise shining a spotlight on women in film and promoting and celebrating female filmmakers.

The huge gem on Dublin’s cultural calendar hopes to inspire and empower others to get involved in filmmaking, and after the turbulent year in cinema with the rise of #MeToo, the DFFF has more meaning than ever.

The festival is run entirely voluntarily, and all proceeds go to charity.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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This year, the theme is REFRAME/REFOCUS.

Instead of foregrounding particular topics, this year features films which are directed by women but also shot by female cinematographers.

The emphasis is to get women as involved as possible in ALL aspects of film, not just in front of the camera.

The dual-aspect of showcasing and celebrating fantastic female film-making parallels with the hope to demonstrate women as compelling and complex characters and subjects.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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The weight placed on cinematography this year is down to a very important fact: Rachel Morrison was the first woman ever to be nominated for an Academy Award for cinematography in 90 years of the Oscars.

Her work on Mudbound was breath-taking, and she worked hard for her nomination.

Historically speaking, cinematography has always been the hardest aspect of film for women to break into. One nomination simply isn’t enough.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Production roles have nearly always been male-dominated domains, but recently some of the most exciting and visceral films in global cinema have been created by women.

For the fifth DFFF, thinking of film from the point of view of a woman behind the camera asks questions about how women see the world.

TimesUp and #MeToo have asked hard questions which need answers, and women are stepping up all over the world to share our stories and experiences.

This includes screenwriting, cinematography, directing, producing and acting.

If someone won’t share your story and represent your experience, go out there and do it yourself. You can do it best.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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We’ve seen it this year with black female actresses taking control of their own projects to finally get the roles they have consistently been deprived of: Octavia Spencer, Taraji P Henson to Lupita Nyong’o are currently producing and seeking out their own projects.

From documentaries to dramas, short forms to features or foreign films to intersectional feminism, there are facets of every side of cinema on show.

Their current aim is to expand the notion of who ‘makes’ a film and what ‘films by women’ actually means, while raising questions about the idea of the gaze.

Do films shot by women encompass a whole other gaze? There’s only one way to find out… see you gals there.

As part of the festival there will be a talk by an esteemed academic on female cinematography, and a roundtable discussion with two Dublin-based female cinematographers as well as screenings of female-made films only.

Ready yourselves for some serious empowerment, ladies (and gents).

The deets:

The DFFF: 21st & 22nd November 2018 – Light House Cinema Smithfield Dublin 7

Launch & Special Events 20th November – The Generator Hostel Smithfield Dublin 7

Feature image: Instagram/@rmorrison

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We could not get enough of the Downton Abbey drama series, so when we heard there was going to be a film, we freaked.

Previously, we were heartbroken when the rebellious Lady Rose MacClare, played by Lily James, revealed she will not be in the upcoming drama.

But we are so excited to hear that the original principal cast from the acclaimed television series have confirmed their appearance in the movie.

And that’s not all! Also joining the all-star cast will be multi-award winning actress Imelda Staunton (Dolores Umbridge from Harry Potter), Geraldine James, Simon Jones, David Haig, Tuppence Middleton, Kate Phillips (Venetia Scott in The Crown), and Stephen Campbell Moore amongst others.

It looks like it is going to be an amazing film!

Academy-Award winner Julian Fellowes, who created Downton Abbey and wrote the film’s screenplay, will be one of the producers as well. So, we can guarantee the movie’s similarity to the series.

Focus Features and Carnival Films announced the start of principal photography on the film today.

So, it is officially filming, and we cannot wait!

The beloved television series went on for six drama-filled seasons, winning three Golden Globe Awards, 15 Primetime Emmys and a BAFTA.

The show has gained global attention, becoming the most nominated, non-U.S. television show in Emmy history!

There is no doubt that the show’s huge fan base is delighted with the news of the upcoming film, especially since we get to see the cast we have grown to love with each episode.

Hopefully, it won’t be too much longer until we get to see what happens next to the drama-filled Crawley family.

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There are so many things I ADORED about Mamma Mia: Here We Go Again. The feel-good musical inspired by the music of ABBA was everything I wanted and more.

 

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I was surprised by just how good the soundtrack was considering they sang most of ABBA's greatest hits in the original film. However, it's been a week since I first watched the movie and Cher’s version of Fernando is still stuck in my head.

One thing that really stood out for me (apart from young Bill aka the man of my dreams) was the young Donna’s style.

The main focus of the movie was young Donna’s journey from graduate to mum, but I couldn’t help but swoon over her outfits. Her quirky boho style was simple, but striking.

 

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Obviously, we’d never get away with wearing outfits like Donna's here in Ireland- thanks rain- but I thought I’d gather up some of the nicest pieces inspired by young Donna.

Sure, it may not be sunny enough to rock these looks in reality, but you can wear them, stick on the soundtrack and pretend you’re frolocking around a Greek island in the 1970s.

New Look Denim Dungarees €20
Forever 21 Orange Maxi Skirt €16
Monki White Tunic Dress €30
Revolve Aquarius Jumpsuit €92
New Look Mom Shorts €24.99
Forever 21 Yellow Belbottoms €17.40
Boohoo Star Print Jacket €36
Dorothy Perkins Platform Boots €16

 

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UPDATE: Unfortunately, due to the rainy weather expected later on this evening, the Happenings and 7UP Free® screening of Dirty Dancing has been postponed until next week.

Happenings, in association with 7up Free is delighted to announce that it will return to Merrion Square, Dublin for the second instalment of Summer Cinema. The park will be transformed into an outdoor cinema for a special screening of the smash hit romcom Dirty Dancing tomorrow evening, Friday, July 27.

There's no better way to spend a Friday night than swooning over Patrick Swayze on the big screen.

The film follows the story of ‘Baby’ (Jennifer Grey) who finds herself on a sleepy summer holiday with her family. While there, she falls in love with the camp’s dance instructor Johnny (Patrick Swayze) whom her father forbids her to see. However, she is determined to help him perform the last big dance of the summer!

Gates open at 8.30pm with the movie screening beginning as the sun goes down.

Before the movie kicks off, guests can settle into a comfy billow bag with a complimentary 7up Free in the beautiful surrounds of Merrion Square – perfectly capturing the taste and feeling of summer.

There will be a host of tasty food vendors available and guests are welcome to bring their own picnics, snacks and outdoor movie essentials! In keeping with Happening’s Leave No Trace policy, Summer Cinema goers are urged to take all belongings with them once the movie has ended and small bags will be provided to dispose of any rubbish.

Places are limited for each screening, so make sure to follow the Happenings and 7UP Free social media channels to be the first to know the dates and times for each screening and avoid missing out on these blockbuster events.

Tickets are priced at €5 and are available to book in advance online or on the door. Early arrival is advised to get the best seats in the house – “Nobody puts baby in a corner!”

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Get ready to hide behind  – well, anything, because Michael Myers has returned for one final killing spree, 40 years after his first in 1978. 

The official trailer for Halloween was released last week at San Diego Comic Con and it scared the absolute sh*t out of us tbh. 

The sequel follows on from the second movie in 1981 (making the wise decision to ignore the later, more unforgettable sequels.)  

Jamie Lee Curtis is back as Laurie Strode, who is suffering from PTSD following the bloody events of that Halloween night 40 years ago. 

This time, the plot goes as follows: Michael has been incarcerated in a psychiatric facility since the original night of murders when he is confronted by two filmmakers who want to learn more about his attacks.

Triggered by this, Michael escapes and heads off to stalk and torture women once again –  but he knows one thing: Laurie will be ready and waiting for his return. 

There are some changes to Jamie Lee's characters backstory – in this version, she has a daughter, played by Judy Greer, instead of a son.

She is also not the sister of Michael Myers, who is simply a manic, unknown serial killer.

Jamie Lee discussed how these changes positively impacted her character at San Diego Comic Con.

According to Entertainment Tonight, she said, ''it's a movie about trauma. It’s a movie about what happens to somebody when you’re 17 years old and you have this horrible trauma perpetrated on you, and you have no help. This is a woman who has carried, for 40 years, her entire adult life, this trauma.''

Yes, we can imagine being chased by a knife-wielding masked man who has butchered your two best friends would be fairly traumatic alright. 

“We are seeing in the world today, primarily women, who have been traumatised in all sorts of ways, physical violence, emotional violence, sexual violence and, in Laurie’s case, actually knife-attack violence… all of those women are having the moment where they will no longer allow that to be the narrative.”

She continued, ''no longer does that define them, that they are standing up and saying, ‘Enough’. And this is a movie about ‘enough’ at a time when it happens to be a national and worldwide message. And so it couldn't’t be timed better, and it couldn't’t have been written better.”

John Carpenter's Halloween has long been hailed a a classic and fans have been sharing their excitement on social media in the lead-up to this latest instalment. 

Someone on Twitter clearly wasn't counting down or anything when they wrote, ''12 weeks and 87 days till the #HalloweenMovie drops on theatres!'' while another said, ''amazing how this movie will bring us #HalloweenMovie fanatics together. The cool thing is we have a couple of months to go to grow this family. Gonna be awesome.''

The eagerly-anticipated movie will hit screens worldwide on October 19th 2018 and WE. CAN'T. WAIT. 

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Pixar fans, rejoice! One of the greatest Dublin cinemas is showing the best Pixar movies throughout the month of August.

The Lighthouse Cinema will be screening classics like A Bug’s Life and Toy Story, and newer releases like Inside Out and Coco.

Fan favourites including Cars, Monsters Inc. and The Good Dinosaur will also be shown. How exciting!

The Pixar season is bound to attract herds of people to the cinema in Smithfield, who are known for their famous film seasons.

Speaking of the exciting summer event, they said: “This summer we’re bringing you (and the kids!) a season of Pixar films, including every feature film in their repertoire, a Toy Story marathon for all to fill your hearts with joy and a Cars marathon for all the little Lightning McQueens out there.”

It looks like we'll be spending most of August at the Lighthouse Cinema, stuffing our faces with popcorn and enjoying some of the best animated movies.

Pixar season will run from August 10 to August 26. You can purchase tickets for your movie of choice here.

Check out the full list of Pixar screenings below:

A Bug's Life

Finding Dory

Finding Nemo

Cars 3

Cars 2

Cars

Inside Out

Wall-E

Monsters Inc.

Up!

Ratatouille

Monsters University

Toy Story

Toy Story 3

Toy Story 2

The Incredibles

Coco

Brave

The Good Dinosaur

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Summer of 84 is hitting cinemas next month and it is the perfect summer scary movie. 

Set (obviously) in the summer of 1984, the plot centres on a 15-year-old neighbourhood conspiracy theorist Davey, who starts to think that his police officer neighbour might be the serial killer that is being splashed across the local news.

Davey and his gang of friends quickly band together to form their own murder investigation squad, and they soon begin to seriously suspect that the cop, Officer Mackey, is the killer. 

There are obvious comparisons to Stranger Things. Both are set in 1980's America suburbia with a group of teenagers riding around on bikes and chasing unknown dangers. 

However, instead of the supernatural, the dangerous force here is one that's grounded in reality – a serial killer.

Summer of 84 is more of a slasher than anything – think John Carpenter's Halloween's in the 1970's, Stephen King's Carrie or 1990's Scream

It seems that the horror genre is really having a moment. 

Box office records were being broken left, right and centre in 2017 when it came to any kind of horror or thriller. 

Jordan Peele's Get Out arrived early in the year, to a rapturous reception and a stunning $175 million at the box office. 

The It remake was a huge surprise, nabbing the highest grossing horror record of all time at the US office, and earning $478 million worldwide. It is also the largest ever opening for a horror movie and the largest September opening of all time. 

These figures speak for themselves and coupled with what is now the pop culture phenomenon Stranger Things, it's quite clear: scaring yourself in the cinema is officially in. 

So, for those of you who love the whole nostalgic kids-banding-together-against-evil like in It or The Goonies, then you're in for a treat with this latest cinematic offering.  

Watch the trailer below for the first look at Summer of 84.

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The weekend festivities may be over, but that doesn’t mean you have to wallow in your own self-pity tonight. One of the best things to do after a hectic weekend is to unwind and watch one of your favorite movies.

We recommend watching something light and funny to deal with that dreaded Sunday night fear, and luckily enough the perfect Sunday night flick is on TV tonight.

Thanks to the wonderful people over at Universal we’ll be tuning into one of the funniest Sandra Bullock movies.

The Proposal is on at 9 pm tonight and we are beyond excited about it. It’s hard to believe it’s been nine years since the film was initially released.

The hilarious movie stars Sandra Bullock and Ryan Reynolds. Bullock stars as the fierce editor whose world flips upside down when she is told she might be deported back home to Canada.

Luckily, the quick-thinking boss puts a plan together and uses her assistant to solve her problems. She tells Reynolds’ character, Andrew, that he must marry her, but he will only agree if she promotes him to editor and publishes his book.

The duo embarks on a trip to Andrew’s hometown where they have to convince his family and their immigration agent that their marriage isn't a complete farce.

This movie is full of witty scenes, touching moments and an infamous dance sequence with Betty White.

We couldn’t think of anything better to watch on a Sunday night.

You can catch The Proposal on Universal at 9 pm tonight.

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Sunday is a day for relaxing. We’re sure most of the country has spent the day at the beach, sunbathing in the park, or enjoying a barbecue at home.

Don’t get us wrong, we love the sunny weather, but we must admit that it can leave us feeling exhausted.

After spending the day working on tanning our pasty pale legs, all we want to do is curl up on the sofa with a glass of wine and a classic rom-com on TV.

Thankfully, RTÉ 1 have got our Sunday night movie covered as they are streaming one of Julia Roberts’ best movies tonight.

This 1990 classic has a strong female lead, the dreamy love interest, a kickass soundtrack and a complicated love story, what more could you ask for?

Pretty Woman is one of the most iconic romantic comedies and there’s no doubt that we’ll be tuning in tonight.

The film follows the complicated love story of a millionaire and a prostitute. Gere’s character decides to hire prostitute Vivian, who is the perfect partner to accompany him to lavish work events. Much to his surprise, he starts to develop feelings for her. The pair come from completely different worlds, but as the saying goes, opposites attract.

Pretty Woman has a stellar cast with Julia Roberts and Richard Gere taking on the lead roles. It also stars Jason Alexander, Laura San Giacomo, Ralph Bellamy and Hector Elizondo.

You can watch Pretty Woman on RTÉ1 tonight at 9:30 pm.

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Hollywood's need to make the film industry more inclusive extends beyond the silver screen itself, to the reviewers of movies as well.

After all, they're the ones determining Rotten Tomatoes scores and swaying viewers' preferences (and more importantly, their ticket purchasing choices).

It honestly comes as no shock at all then that these film critics are, on the whole, mostly white and male.

Researchers from USC Annenberg School for Communication and Journalism found that men wrote 77.8 percent of the nearly 20,000 reviews on the top 100 films of 2017. Only 22.2 percent of these film reviews were by women. 

A staggering 82 percent of the reviewers were white. Just 18 percent of film critics in the report were from non-white backgrounds.

As well, at top publications the gap between film critics who were white and those who were people of colour widened to 88.8 percent and 11.2 percent, respectively.

Women of colour are especially underrepresented in the field of film criticism.

Female reviewers coming from non-white backgrounds made up 4.1 percent of the reviews sampled in the report.

That drops to just 2.5 percent when looking at top critics, putting the ratio of white male top critics to female top critics of colour at nearly 27 to one.

Commenting on this, the report's authors wrote, "The dearth of underrepresented women is startling in its own right, but more so when considering the invisibility of women and girls of colour on screen in film.

"We would expect that female reviewers from underrepresented backgrounds would be more likely to notice the absence or misrepresentation of women of colour on screen.

"Yet, the very critics who might be attuned to these issues rarely review films—even films with women of colour in leading roles."

If all of this is making you hot under the collar, you're not alone.

The team made recommendations that may help drive change, including a suggestion that sites show how many of their reviews were authored by people of colour, queer people, and other marginalised groups. 

This way, readers can see whether a film's rating is skewed by male and/or white voices.

One small way you can help combat this disappointing trend of underrepresentation is by supporting women of colour who are film reviewers as well.

Just to get you started, here are a few ladies whose incredible work you can support: Angelica Jade Bastién, Emily Yoshida, Valerie Complex, and Kristen Lopez (who's also outspoken on discrimination against disabled critics).

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*Disclaimer: Mild spoilers ahead*

Based on true events, and portrayed by the actual people that lived them, Clint Eastwood's latest cinematic release, The 15:17 to Paris, tells the the terrifying story of three American backpackers who, with the help of other passengers, stopped a terrorist in his tracks.

Determined to find his purpose in life, the film follows the story of Spencer Stone, who along with his two best friends, Anthony Sadler and Alek Skarlatos, mature from trouble-making school boys to courageous young soldiers.

What is, on paper, a hugely dramatic and inspiring story – the film unfortunately fails to capitalise on the rich plot right from the get-go.

The first half of the feature is largely based around the boy's developing friendship and childhood obsession with the military, and while a little bit of background is always necessary to set the scene, as a viewer I couldn't help but feel my attention start to drift slightly after the first 40 minutes.

However, I was quickly reeled back in as the story jumped a number of years, with the now young adults, facing a cross-roads in their lives.

At this stage, the three real-life heroes settle into their debut acting roles, and while there are moments when their inexperience shines through, it is that blatant authenticity that helps to lift the film to new levels.

As life takes them in different directions, the friends deicide to reunite for a backpacking trip across Europe.

After drinking, partying and sight-seeing their way across Italy and Germany, the young men plan to finish the trip in Paris and board a high-speed train departing form Berlin's Central Station.

Without giving too much away, this is the moment the entire plot has been building up to.

Faced with a dramatic and frightening series of events, the young backpackers must, without thought or hesitation, put their lives at risk to save some 500 passengers on board.

Despite a disappointing first half, The 15:17 to Paris manages to pick itself up in the nick of time.

Honest, emotional and completely enthralling in moments, Clint Eastwood proves he's still got something left to give with this latest release.

Our rating – 3.5 stars!

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