I’ve got a bone to pick with Disney’s latest pet project. The movie Beverly Hills Chihuahua, opening this Friday, looks like the costliest waste of talent, resources, and brainpower to hit the mainstream media since Swing Vote.

I first heard about the movie when I saw its extended trailer in previews for Wall-E this summer. It was just a mess of digitally edited footage of Chihuahuas singing (if you could call emphatic yelps of “Chihuahua!” singing) and prancing about Mayan ruins in Mexico. The trailer told you nothing about the plot of the movie itself, and even misrepresented the title of the film. If it’s called Beverly Hills Chihuahua, what are these pups doing in Chichen Itza?

Well, now that the ad campaign for this movie has revved up for its release, I’ve learned a lot more about BHC and I certainly don’t like what I see, for a few reasons.

First, and probably most egregious, is the fact that BHC is blatantly racist. It is rife with potshots at Mexican and Latino culture. Take, for example, the over-promoted scene in which another dog asks the prissy protagonist (Chloe, from the Hills), “don’t you speak Spanish?” When she stutters, the mastiff replies, “Hello? You’re a Chihuahua, m’hija!” As if the nature of one’s heritage determines one’s linguistic abilities. You wouldn’t walk up to a person who looked Hispanic and deride them for not speaking Spanish, so why is it okay for dogs to do it? Is this the kind example we want to be setting for children, at whom the film is targeted?

Moral repugnancies aside, BHC doesn’t look like it’s going to be racking up any points for creativity. If you include such colloquial gems as “oh no she didn’t!” and “say hello to my little friends!” among the funniest moments in the movie (why else would you include it in the trailer?), there can’t be much else worth checking out. Seriously, Disney, is it still 1992? No one has said “oh no she didn’t!” in all seriousness since overalls were popular. Read More »

Something Old: Halloween (1978)

Something New: The Strangers (2008)

The Connection: Both feature the creepiest of horror creepshows, the lurky masked killer (or killers, plural, in the case of The Strangers)

Long before I had ever seen Halloween, Michael Myers scared the crap out of me. The iconic pictures of his blank white face, unmistakably human and at the same time utterly monstrous, the brief clips from the movie of him unhurriedly lumbering towards his hysterical victims; for me, Michael Myers was an exact representation of that thing that you suspect is lurking in your closet or following you down the street at night when you feel like you’re being watched. Michael Myers was, as young Tommy Doyle observes so astutely in the film, the quintessential Boogeyman.

But a terrifying killer does not necessary insure a good horror movie. And while I respect Halloween’s place in film history, and acknowledge that when John Carpenter made it in the late 70s, he was dabbling in uncharted territory, it just doesn’t quite gel for me. The movie opens with a six-year-old Michael Myers stabbing his older sister to death with a large kitchen knife while she babysits him on Halloween night. His parents arrive home shortly thereafter to find him standing on the lawn in a trance-like state holding the murder weapon.

Flash forward fifteen years to October 30th, 1978, and he’s being transferred from one institution to another under the supervision of psychiatrist Dr. Sam Loomis when he escapes, steals a car, and drives off in to the night towards his hometown of Haddonfield, Illinois. Hiding out in his now abandoned family home, he spots high school student Laurie Strode (Jamie Lee Curtis) on her way to school and spends the day stalking her and her friends, hovering around behind bushes and the like in coveralls and his sinister white mask. That night, while Laurie babysits the aforementioned Tommy Doyle and another neighborhood girl, Myers picks off her drinking, drug-using, promiscuous friends one by one until the final showdown between Laurie and Myers. Read More »