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If American Mary is any indication, a Bridesmaids-style breakthrough isn’t in the cards yet. Sisters Jen and Sylvia Soska wrote and directed American Mary, a horror film coming to home video June 18.
What follows is a creepy look at one woman’s descent into a black market teeming with broken psyches, a shot across the bow at the male-dominated medical profession and a film without a compelling third act.
At times, American Mary feels like a spiritual cousin to The Human Centipede, but that film bolstered its unsettling content with a perfect combination of restraint and exhibition and a bravura turn by Dieter Laser. What a shame, then, that Isabelle dials down Mary so much it’s hard to invest in her emotionally for better or much worse. Is it empowerment to take control over one’s body, or are they simply reacting to the horrors that may have been inflicted upon them earlier in life?
The sisters themselves may be one movie away from changing the dynamics of the scare scene all by themselves.
CHICAGO – The 1957 novel “On the Road” by Jack Kerouac, was a missile across the bow of American social conventions, and a precursor to the radical 1960s. It is a reverential depiction, with all the familiar characters from the novel springing to life. In their travels, they come upon Old Bull Lee (Viggo Mortensen) and his wife Jane (Amy Adams), Ed and Galatea Dunkel (Danny Morgan and Elizabeth Moss) and Camille (Kirsten Dunst). The film is episodic, like the book, but in the combination of almost perfect casting, a literal script and reverent performances, “On the Road” comes alive in ways that seemed impossible for a film version, in comparison to its classic source novel.
Director Salles and screenwriter Rivera chose to expand the roles of women in the film (as opposed to the book), to give the viewer a sense of the consequences of the men’s blithe freedom. And speaking of “Beats,” the novel “On the Road” was a veiled autobiography of a significant movement within post-war America, the “Beat Generation.” Sal Paradise is the author Jack Kerouac, Dean Moriarty was Kerouac’s road partner, counterculture icon Neal Cassady. The book, and this film, remains in essence a search for something that in the case of “On the Road,” may have been found. CAPTCHAThis question is for testing whether you are a human visitor and to prevent spam submissions. CHICAGO – The Country Music industry has become as huge as any category of music entertainment.
CHICAGO – The familiar story of the “star crossed lovers” by William Shakespeare, “Romeo and Juliet,” has been given as many interpretations over the years as there are stars in the sky.
The duo’s second feature (their first film, Dead Hooker in a Trunk, cost $2,500) follows a promising medical student named Mary (Katharine Isabelle) who does body modification surgery on the side to make ends meet.


Mary counters with some disturbing imagery, practical FX that includes a monstrously idealized Betty Boop recreation (actress Tristan Risk in a chilling turn) and cool cinematography that shows the sisters heart the horror genre. Our heroine has no guilt over turning patients into physical novelties, like when she surgically removes a woman’s nipples and private area to make her more like a sexless doll.
And while Mary is a strong character who assumes command of her own future, no matter how one disagrees with her choices, do we need to see her in stripper-style sequences that don’t move the plot forward one inch? So female auteurs with a hankering for scares are more than welcome to follow the Soskas’ lead. Witold Lutoslawski (1913-1994) (Pologne) : A«A Variations on a theme by Paganini (Caprice No. For over fifty years, it has eluded a film adaptation, until director Walter Salles (“The Motorcycle Diaries”) found the way to capture it. Sal Paradise (Sam Riley) meets his muse Dean Moriarty (Garrett Henlund), soon after his father dies. Camille becomes Dean’s second wife (while he is still married to Mary Lou), and has his child. All the women actors give tart and thematically defining performances, especially Kristen (Stewart) and Kirsten (Dunst). Garrett Hedlund, known previously for the TV show “Friday Night Lights,” embodies Dean Moriarty in a Brando-like way, straightforward yet mystifying.
It’s all about the spirit, and through that inspirational group of men and women, and all the generations that came afterward and continue to represent them, the “Beat” goes on. The Lyric Opera of Chicago presents the operatic French version, with a bright and venerate staging. Dean likes to expand his boundaries, and draws fellow revelers into his radar, including his young wife Mary Lou (Kristen Stewart) and the poet Carlo Marx (Tom Sturridge). Sal’s adventures with Dean and his myriad of relationships inspire the chronicle on the road, and in becoming his own brand of adult through their relationship he will go on to inspire generations to come. Dean is mysterious and heroic, yet also proves to be dismissive and irresponsible towards his relationships. Stewart goes beyond Bella Swan to show some substantial chops, and she exemplifies her character’s defiance in the face of her two-timing man. The British-born Sam Riley as Sal is the glue of the film, and as he proved in the Joy Division biography film “Control,” he can carry a film when given the opportunity.
It bums me out that video stores are a dying breed because we grew up haunting our local video store’s very decorated horror section and checking out the movie cases.


We’re so lucky we can divide and conquer and that we both are highly motivated and passionate about our work. Mary will join the likes of Jennifer Lopez, Nicki Minaj, Christina Aguilera & many more who also will be performing at the awards event. Somehow, by just indulging in the characters and their lifeblood, Walter Salles – in partnership with his screenwriter Jose Rivera – was able to understand what makes this story tick. Sal and Dean set out to discover America, or at least the America behind the restrictive air of the post World War II conformity and paranoia. Sal is a wide-eyed optimist in approaching his adventures, but also gets burned along the way.
Dunst communicates her frustration marvelously in few scenes, when she is given the right role and direction her beats are right on. In the film, there is an indication that the actors are portraying both the fictional characters and the real men (and women) behind them. It’s a joy to see these legendary literary figures brought to sweet life, Hedlund and Riley do those elusive ghosts proud. Our mom was very cool in the respect that there was no age limit on education, if something interested us, she would talk to us about it. We got scared that night after watching the film and our mum explained to us that it was all make believe and it was the jobs of the actors, effects artists, writers, and director to scare us. By the time the interviews are done, we’re awake, but Jen is an angel and makes coffee. It is about the relationship between two kindred souls, not part of a lost generation, but part of everything that is discovered when challenging the society they are born into.
Kerouac and his merry band of fellow travelers unearthed a new way of being, and helped to launch a new era. Somehow, by expressing that theme within the film, Salles was able to coral the lightning in a literary bottle, and make us understand that in a short life, there are only a few moments to take advantage of youth.



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