Slanted: A Genre-Bending Satire That Criticizes White Supremacy and Ethnic Cleansing

By: Myriam Akbar

Slanted is a 2025 multi-genre film that comes from the mind of Amy Wang, who wrote and directed it. It blends body horror, comedy, sci-fi, and coming-of-age drama. The plot follows Joan, a Chinese-American teen who yearns to be prom queen. However, there’s a problem: the school’s previous winners don’t look like her. In an effort to secure the crown, she undergoes racial transformation surgery. The film’s reception was generally positive, receiving 5.8/10 on IMDb and 68% on Rotten Tomatoes. It explores themes of racism, identity, self-hatred, and assimilation. It’s an intentional, committed, and impactful film. It’s also shocking, humorous, and emotionally charged. There are passionate acting performances and a deliberate pace that kept me interested from start to finish. Its conceptual familiarity and tentative ending were my only negative criticisms, making this a largely successful project from Wang. It feels like a mashup of Mean Girls (2004), Get Out (2017), and Grafted (2024). I would even describe it as being similar to an episode of The Twilight Zone. On a surface level, Slanted is about the deep-rooted challenges of a teenager chasing popularity. However, underneath it’s a bold critique of the societal pressures to adhere to Western beauty standards.  

Spoilers ahead..

The film begins with Joan as a child, sitting in the car with her father, as they cruise through town. She watches buildings pass from the window, studying the names of businesses like “Freedom Beans” and “AR-15 Foods Market.” Slanted doesn’t hesitate to dive into its themes, mocking the U.S. in its first scenes. Her experience of moving there is full of isolation and sadness, due to micro-aggressions and othering from those around her. In class, a student looks at her while stretching his eyes out across his face. At lunch, she throws away her food because students sitting across from her plug their noses. These events are critical in the shaping of Joan’s identity, resulting in a desire to look White during her teen years. She watches videos of content creators while wearing a wooden clothespin clipped to her nose to make it smaller. She also dyes her hair blond, which her mother is noticeably disappointed by.  Each of these scenes is deliberately used to demonstrate how the beauty standards associated with White Supremacy can result in self-hatred and rejection of cultural heritage. Although she reminds Joan that her natural hair color is beautiful, an encounter with classmates counteracts that reassurance. Full of disgust, they point out her dark roots and walk away–yet they have more than she does. This scene not only shows the cruelty she experiences but also serves as an example of White privilege, demonstrated by the girls getting away with what she is being ridiculed for. This privilege is essentially behind the creation of the Ethnos clinic that offers the racial transformation procedure. Joan ironically receives a message from them, offering a free hair treatment that’s available for the next hour. At this point, the film pushes the satire to the max. 

When she arrives, the guard at the entrance describes it as a place to help people reach their “full potential.” While receiving information on the services provided by the clinic, the founder says that before having the procedure himself, he had to suffer the “injustice of being a person of color.” Joan is shown a video featuring customer testimonies, one claiming that even animals will treat you better after treatment. The slogan, as stated by the founder, is “If you can’t beat them, be them.” At some point in the film, there’s also a music video reinforcing the idea that life is easier when you’re white. Although some of these scenes are written to be humorous, they reflect racism in the U.S. and the difference in lived reality for people of color. White privilege, which exists due to racism, is what grants White people more opportunities, allowing them to reach their “full potential.” They aren’t inherently smarter or more capable. People of color suffer many injustices for the same reason, such as police brutality and employment discrimination. While dogs cannot hold ideological beliefs to treat people differently based on race, they can mirror their owners’ anxieties and be trained to fear or show aggression towards people of specific races. This is the meaning behind the satire and it shows another example of how racism impacts the lives of people of color. 

Joan decides to go beyond hair color, receiving the full racial transformation process. Despite the happiness its success brings her, she still needs somewhere to lay her head down at night. The most emotionally charged part of the film is how her parents react when she explains what she’s done. After she proves her identity to them, they’re filled with profound dismay. Although they understand the impact of cultural assimilation, they’re devastated by Joan’s inability to see her ethnic background as special. 

The Ethnos Clinic’s services have become popular, with tons of people lining up to get it. On the other hand, like with most body horror, Joan is suffering from side effects. Typically, with these kinds of films, transformation happens both externally and internally. Not only does her skin droop and peel, but she also becomes egotistical and obsessed with maintaining popularity. Her new position in society makes her immune to the pain she inflicts on her friends and family. 

The founder’s slogan, “If you can’t beat them, be them,” is critical to understanding and analyzing the film’s themes. There is no beating a system created to benefit one group and create suffering for the others. People undergo cosmetic procedures to meet Western beauty standards, such as rhinoplasty or skin bleaching; however, there’s no procedure that completely alters a person’s race. Even if there was, it shouldn’t be a solution because it isn’t the problem. In the film, people aren’t actually getting the treatment for aesthetic purposes; they’re getting to elevate their livelihood. People want to be freed from the challenges that a racist system creates, like Joan, who just wanted to become prom queen. Or as shown with her father’s employment struggles. 

One of my issues with the ending of the film is that the thematic concerns are not fully tackled, and it becomes more about Joan’s superficial desires, specifically whether her goal to become prom queen is accomplished. When, in fact, Slanted had the potential to pack deeper meaning into the final act. Only the procedure’s physical side effects are addressed, not the blatant racism running rampant through the town. The treatment’s element of consent minimizes the real-life horror of ethnic cleansing, redefining it through desire and choice. Not only are these people being scammed, but they are being deeply insulted. Rage rather than dissatisfaction would have added depth to the film. It would have been more impactful if there had been a final transformation within Joan, a scene that shows her realizing that there was never anything that needed to be changed about who she was. That, or the clinic being boycotted and shut down. I would argue that the number of people seeking permanent change is more nonsensical than the procedure’s invention. 

Clayface Trailer Generates Buzz by Diving into the Horror Genre

By: Myriam Akbar

Clayface is an upcoming film in the DC Universe, directed by James Watkins. The screenplay is written by Mike Flanagan and Hossein Amini, based on the eponymous character from the comics. It’s a stand-alone film serving as an origin story, but it’s still connected to the broader DCU narrative. The plot follows Matt Hagen, an actor whose face is mutilated by gangsters, resulting in an experimental procedure that transforms him into a clay-like monster. Hagen’s Clayface was first introduced in Detective Comics in 1961; however, it's not his origin story that’s being used in the film. Flanagan was inspired by the character’s portrayal in the two-part Batman: The Animated Series episode “Fear of Clay” (1992).

A week ago, the trailer for Clayface was released, and not only did it generate widespread enthusiasm, it also received high praise from fans and critics. Commenters applauded its dark tone and disturbing nature; however, some people were shocked by the body horror elements, which are uncommon for comic book films. Ironically, the original Clayface, Basil Karlo’s origin is directly tied to horror. Karlo was an actor who became a serial killer, after learning that a remake of a film he starred in was being made. He adopted the persona of the film’s villain, killing cast and crew members of the remake. 

Both Watkins and Flanagan are best known for their work with horror films, so you could say Clayface in good hands. From the beginning, Flanagan wanted it to be a combination of horror, thriller, and tragedy. Producer James Gunn describes it as being body horror and says that he hopes it works for horror fans, even ones that aren’t interested in DC. Peter Safran, another producer of the film, compares it to The Fly and says that it won’t have a campy tone. 

I decided to ask some TikTok content creators how they feel about the Clayface trailer and the film’s direction overall. MovieFiles says the trailer reminded him of Brandon Cronenger’s 2020 film, Possessor. “I’m a fan of Clayface and Mike Flanagan, so I’m excited. The teaser gave us a good idea of the tone and vibes the film is going for,” he says. 

Alexsorcist says, “I knew nothing about Clayface before watching the trailer. If people hadn’t mentioned that it was DC, I would have thought it was just a horror movie. I like that they are trying something new.” However, she has slight doubts about its delivery and whether the filmmakers can find that bridge between comic book and horror. “I say this because there will be a need to satisfy the fandom. I will watch it for sure, but I think I probably have low expectations,” she adds.

“James Gunn is keeping that promise that every project is going to feel different; you can see that with the trailer and tone of the film,” Caz Cinema says. He is feeling optimistic about Clayface and thinks the DCU is headed in the right direction. He emphasizes that comics books vary from each other all the time; for example, having different writers or artists. “Unfortunately, many people will compare it to the MCU, without admiring its bravery to do something distinctly different from their competitor,” he adds. 

Miss Deisy thinks incorporating horror into a comic book film will bring in a different crowd than with previous ones. “I love the horror elements. I found the skin melting and face distorting to be so unsettling,” she says.

Cinespidey thinks leaning towards horror is a clever move for any comic book studio to take. “You can tell by the trailer that the filmmakers want you to feel Matt Hagen’s loss of identity. Now the world can understand that horror isn’t just all about scares, there’s always something deeper,” he says. 

The film’s visual effects are what stood out to KB’sFlix, admiring the realistic and practical look. “With studios overworking VFX artists and the increasing pressures to rely on AI, I’m glad that filmmakers are returning to the roots of sci-fi and horror movie magic,” she says. 

“If the film sticks the landing, it could be one of those projects that really proves comic book movies don’t have to follow the same formula every time,” SweeneyIsOdd says. He’s really excited about Clayface, despite being mostly a fan of Marvel, and thinks it’s the perfect character for DC to tap into the darker genres. He argues that horror has always been a core part of comics, even if it doesn’t always translate on screen. 

Screen & Scored also thinks Clayface is the kind of character that fits the horror genre and feels it’s the best way to approach the story. However, he questions the financial gain due to parents not wanting to take their young children to see it, considering they’re a big demographic for comic book films. “I hope the trailer isn't being deceiving, it’s one of my most anticipated films of the year,” he says. 

Although originally scheduled for early September, the release of Clayface was pushed back to late October to benefit from Halloween time. Considering this is the horror community’s favorite time of year, I believe the turnout will be amazing. With the amount of buzz generated from the trailer, I can only imagine it tripling after people finally get to watch the film.

Sources: Wikipedia.com & IMDB.com

Lee Cronin’s The Mummy Receives Mixed Reviews, But Successfully Grosses Viewers Out

By: Myriam Akbar

A week ago, The Mummy was released in theaters and audiences can agree on one thing—that the disgusting and gory scenes effectively made their stomachs turn. Written and directed by Lee Cronin, the film acts as a reimagining of the original Universal monster story. The plot follows a family’s reunion with their previously missing daughter, Katie, after she is mysteriously discovered in a catatonic state. Desperate for answers, her journalist father investigates her disappearance and her nurse mother attempts to heal her at home. While many viewers praised the grotesque nature of The Mummy, some felt it was all the film had to offer. There was a lot of criticism pertaining to the runtime and the lack of decision-making skills demonstrated by the characters. Audiences also compared the film to The Exorcist and Evil Dead Rise, suggesting there was an overall lack of originality.

As for myself, I will begin with the positives. The tension built in the opening scene was expertly done. The use of intense sound immediately hooked me as a viewer, starting off strong with a jump-scare. Secondly, the visceral practical effects and body horror elements make for a thrilling and unnerving watch. Although saturated with them, the film creates moments of shock that are perfect for the theater experience. While on the extreme side, the gore used to illustrate the mummification is seemingly realistic for a half-preserved human body. For example, the peeling of discolored skin and wooden-like toenails that were almost impossible to clip. Another positive is the effort to make scenes appear as if they take place in Egypt. The primary film locations were Ireland and Spain, but there’s a clear strategy used to alter the audience's perception of geography through climate and aesthetics. Lastly, Cronin offers a unique twist on the mummification aspect of the film. This approach, compared to the Universal Monsters version and the 1999 loose remake, isn’t historically accurate. However, it’s innovative and the nature of what happened to Katie is viciously brutal. I agree with critics that the family dynamic part of the plot lacks originality, as well as the film relying heavily on horror tropes. However, the choice to have a child as the mummy is clever and adds a layer of obscurity. It also tugs on the emotion of the audience because I, for example, was rooting for her recovery throughout the entire film. 

Without spoiling too much, I will say that my main negative criticism is the decision to extend Katie’s possessed behavior to other characters in the film. This took the focus off of the actual mummy and created a sense of inconsistency within the lore, as well as being unnecessary. An issue for many viewers, including myself, was the way the parents reacted to their daughter’s condition. To be specific, their actions after her return and overall sense of urgency. Their emotional response could have been an acting performance issue, but other moments were just awful script choices. For example, Katie being roughly dragged up the stairs in a wheelchair rather than having her body carried gently up to her room. This scene was confusing and unintentionally comedic—because what was that? 

Cronin has a few upcoming projects, such as a supernatural film he has been working on for some time, Box of Bones. It has also been reported that he has an untitled mystery thriller project approaching with James Wan’s Atomic Monster, Blumhouse, and New Line. One thing we can know for certain is that he’ll deliver some gag-worthy practical effects and gore.

Earth Day Watchlist

By: Myriam Akbar

Today is the 56th anniversary of the global celebration of our planet, Earth Day. First held in 1970, it has become a day to promote environmental literacy, climate action, conservation, and reduction of pollution etc. Cities organize events such as tree planting, neighborhood clean-ups, and fundraisers. The theme for this year’s Earth Day is “Our Power, Our Planet.” So, I have compiled a short list of my favorite films and television episodes where we don’t have the power–nature does. Mostly horror and sci-fi, these works explore a range of themes such as: the unpredictability of nature, transformation, humanity’s negative impact on the environment, and the dread of impending disasters. 

The Ruins

The Ruins is a 2008 horror film written by Scott B. Smith and directed by Carter Smith, based on the novel of the same name. The plot follows two couples who travel to Mexico and meet two other tourists, joining them on a trip to find a Mayan temple. What begins with adventure and curiosity, ends with a fight for survival. Upon arrival, they’re met with indigenous villagers armed with weapons and all hell breaks loose. They seek shelter in the temple, now unable to leave it. However, those weren’t the only threats–to their shock, the vines are violent and seemingly intelligent. The Ruins is a unique, unnerving, and intense film that makes you think twice about entering unknown locations. It’s currently available to watch on Paramount+.

Creepshow, “The Lonely Death of Jordy Verrill”

Creepshow is a 1982 horror anthology film written by Stephen King, in his screenwriting debut and directed by George A. Romero. One of the segments, “The Lonely Death of Jordy Verrill” is based on King’s short story "Weeds.” It follows a man who watches a meteorite crash on his farm and after he touches it, things get ugly. This segment is gross and despairing, visually making you itchy all over. It’s currently available to rent on Amazon Prime and Fandango. 

Die Alone 

Die Alone is a 2024 post-apocalyptic horror film written and directed by Lowell Dean. The plot involves the outbreak of a virus that turns humans into plant-zombie-like hybrids. A man suffering from memory loss searches for his missing girlfriend, running into a violent encounter and being rescued by a woman also fighting for survival. Die Alone has layers of revelations throughout the film, as well as eye-catching practical effects used to create the plant-zombie hybrids. It has fluid pacing, convincing acting performances, and a plot twist that creates an unexpected ending. It’s currently available to watch on Tubi.

47 Meters Down

47 Meters Down is a 2017 survivor horror film directed by Johannes Roberts. The plot follows two sisters who while cage diving in Mexico, sink to the bottom of the ocean and are hunted by sharks. In my opinion, what sets this film apart from others tackling a similar concept is the story between the sisters. Kate is more adventurous and confident than Lisa, so she urges her to try something new by cage diving. Their dynamic is demonstrated during their fight for survival, playing a significant role later in the film. 47 Meters Down is cramped, nerve-racking, and surreal. It’s currently available to watch on Tubi.

Stay Out of the Basement (Goosebumps: Season 1, Episode 12 & 13)

“Stay Out of the Basement” is one of my favorite episodes of the television show Goosebumps, directed by William Fruet. The plot follows siblings Margaret and Casey who begin investigating their father’s behavior, after he starts spending too much time locked away in the basement. He’s a botanist who is experimenting with plants and like any mad scientist, takes things too far. For a child-friendly show, this episode is pretty creepy. It’s mysterious, paranoia-filled, and a little bit nasty. It’s currently available to watch on Tubi, marked as episode 9 and 10. 

Frozen

Frozen is a 2010 survival horror film written and directed by Adam Green. The plot follows three friends stuck on a ski chairlift after the operator neglects them and turns it off. Throughout the film they attempt to find a way down, challenged by unexpected guests that roam underneath them. Frozen is anxiety-inducing, dreadful, and will have you second-guessing your next trip to a snowy landscape. It’s currently available to watch for free on a handful of platforms, such as Tubi and Amazon Prime. 

Knowing 

Knowing is a 2009 sci-fi thriller film directed by Alex Proyas, with a story by Ryne Douglas Pearson. The plot follows a scientist who discovers that a note left in a time capsule is actually a record of predictions concerning massive disasters. While investigating the truth behind the note, he attempts to prevent future catastrophes. The film explores a range of themes such as: science versus faith, religious allegory, the inevitability of death, predestination, cosmic intervention, dealing with grief, and the cycle of life. Knowing is esoteric, lively, and has some stunning CGI scenes. It’s currently available to rent on Fandango and Apple TV.

The Midnight Sun (Twilight Zone: Season 3, Episode 10)

“The Midnight Sun” is an episode of The Twilight Zone involving the Earth becoming dangerously close to the sun. A woman and her landlady struggle against the extreme heat, relying on a radio for updates. Due to police officers fleeing the city, citizens are faced with an increase in looting and things get chaotic. The episode is panicky, claustrophobic, and twisty. It’s currently available to watch on Tubi.

Source for Images: IMDB.com 

Creator Highlight: Megan Loucks

By: Myriam Akbar

Meet Megan Loucks from Michigan! She’s known on social media as @wondermeg_ and is a member of the Michigan Movie Critics Guild. She was born and raised there, admitting that she wouldn’t pick anywhere else to live. Loucks has her own website, wonderwatchlist.com and has been on over 100 podcast episodes as a guest speaker. Content creation didn’t come naturally for her, she says that she just wanted a space to talk to people about the things she loves. The inspiration behind having her own corner of the internet came from her love of MySpace. In 2019, she began posting videos on YouTube and Instagram about collectibles, comics, and eventually film.

Loucks attributes her love for television and film to her family. Growing up, her parents worked a lot and often did opposite shifts. However, they always made time for movie nights. “I found myself watching movies all the time, anything from True Lies to Hercules. I don’t know if my parents thought it would have that big of an impact on me, but it did,” she says. “I’m really an open-minded person with genres! If you ask any of the editors I work with, they’ll tell you the same,” she adds. Loucks gravitates towards monster and comic book films, fantasy, and anything directed by a femme person. As long as it sounds interesting, she says she’s willing to give it a chance. Her current top four on Letterboxd are Furiosa: A Mad Max Saga, Sorry, Baby, Excalibur, and The Bride of Frankenstein. These films capture what she loves most about cinema, a film’s ability to transport audiences into perspectives and stories that allow them to escape for a couple of hours. Additionally, she adores anything by Ridley Scott and emphasizes that her Twilight phase never truly ended. In terms of television, Loucks enjoys Game of Thrones, The Wire, and The Sopranos. 

When asked what the best parts of making content were, Loucks lists a handful of aspects. She highlights designing posts and trying to improve each time, as the most fun part of the experience. She says having her work recognized by her followers and other creatives makes her feel that she’s doing something right. She also treasures seeing comments and messages from people who speak various languages and come from different cultures. “It’s nice when something you post goes viral, or a review you spent a lot of time on gets compliments. Nothing has to be perfect right away, part of the fun is seeing how far you’ve come in writing, designing, or producing,” she says. Loucks shares that due to social anxiety, she has met many of her friends on the platforms where she makes content and has found opportunities to do collaborations. For example, in 2022 she went to New York Comic Con with Comic Book Resources and interviewed some of her favorite comic creators, including Todd McFarlane. As a collector, she had always wanted to go to a large convention to see all the new items coming to shelves. She had never been on a plane or went to a big city, other than Detroit. “Needless to say I was really nervous, but I look back at that moment with pride. It was a pinch me moment and I’m very proud of myself for doing it,” she says. 

Another moment that was peak for Loucks was working with people from around the world to advocate for the American Foundation For Suicide Prevention. In 2020 and 2021, she and two other women (The Nerd Queens) made their own online convention called Justice Con. They used their voices, time, and resources to celebrate Zack Snyder’s journey to getting the Snyder Cut released. They chatted with members of the AFSP, Ray Fisher, and Snyder himself. The convention raised thousands for charity, while giving people stuck in quarantine a few days of fun. “It wasn’t perfect, but it was born from love and respect for the art of filmmaking,” Loucks says. 

On the other hand, like with most creators, there’s challenges. Loucks lists time management, comparing herself to others, and finding motivation after a long day of work to be the biggest obstacles. “It’s easy to see others doing things like going to festivals or conventions, and think–why not me? Social media fuels a negative algorithm towards creators and although we try to foster a positive feed, it still impacts us,” she admits.

Loucks tries not to think too far ahead due to the state of the world; however, she shared a few of her goals moving forward. She plans to spend more time perfecting her work, putting more pieces on her site, delving into opinion-styled writing, and doing guides on how to get into film. Like many content creators, she also has aspirations to quit her day job and do film reviews as a full time job. 

2026’s The Raven: Starring Horror Icon, Tony Todd in Posthumous Release

By: Myriam Akbar

Anthony Tiran Todd (commonly known as Tony Todd) was born on December 4, 1954 in Washington D.C., although he grew up in Hartford, Connecticut. He was an alumnus of the Artists Collective, Inc. and also attended the University of Connecticut. He then went on to study theater at the Eugene O’Neill National Actors Theatre Institute, as well as, the Trinity Repertory Company in Rhode Island. Todd’s career reflects his versatility as an actor in Broadway, television, film, and audio narration.   His extensive filmography spans over 40 years, having over 100 roles. He is known mostly for his work in Horror, Sci-fi, and Fantasy. His striking yet distinct voice made for memorable performances, positioning him as a dominating force on screen. Todd’s roles in Night of the Living Dead, Candyman, Wishmaster, and The Final Destination franchise lead him to become an icon in the horror genre. 

In 2025, Todd reprised his role in Final Destination: Bloodlines (posthumous release) and gave an unscripted performance that served as a farewell to fans. He says, “I intend to enjoy the time I have left and I suggest you do the same. Life is precious. Enjoy every single second.” He starred in Werewolf Game and Cutter’s Club, which were also released after his passing. The Raven (2026) is credited as Todd’s final performance; however, he stars in The Pitchfork Retreat, which so far has only been shown at festivals and limited screenings. 

The Raven is a gothic horror film written and directed by Gregori J. Martin, currently available to watch for free on Tubi. Inspired by the works of Edgar Allen Poe, the plot follows a man’s descent into madness after the passing of his lover. It involves themes of grief, regret, guilt, and acceptance of death. Todd plays Father Reginald/The Messenger, gracing the screen within the first couple minutes. He uses his deep and raspy, hauntingly seductive voice to create a brooding atmosphere at a funeral. His tone gives Father Reginald a wise and commanding personality, as he offers advice on grief to the main character. 

Todd’s legacy will remain impactful on the horror genre, as he is a pivotal contributor to many well-loved franchises. His role as Candyman serves as culturally significant to African-American community–a film that examines themes relevant to society, such as racism, social injustice, and community. He also is cherished among fans of Final Destination, a franchise that will be continuing without him. It will be hard to ignore the lack of presence and he will be greatly missed. 

Sources: Wikipedia.com 

Images: IMDB.com