Bad Girls Behind Bars Cinemax
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Bad Girls Behind Bars Cinemax
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Marshall: Spending ten months undercover in a women's prison? I can think of worse.
Mary: You do know it's not all lingerie and pillow fights?
Marshall: But it is sometimes, right?
Women's prison is a setting that stands out for how unbelievably rare its depictions are... outside of porn that is. At most, only expect a vague allusion but the instances where the lives of female inmates are featured are vanishingly rare in comparison to that of male inmates. And the only thing that most people recall about women's prison is its Fetish Fuel potential.
In short, women's prisons are hotbeds of... uh... intrigue. For instance, if there's a female detective character, she pretty much has to be sent to prison undercover, as is the law in most countries.
Still, an unfortunate effect of Most Writers Are Male is that most of them have never been to a women's prison, nor do they know how life is inside of it. It can be because men are not allowed inside, much like women in men's prisons. It may be because female offenders aren't considered as Badass as male offenders and thus less worthy of scrutiny. Or it may be because they just Did Not Do the Research .
But, let's face it, it's mostly because most of them assume women's prisons are a lesbian porn heaven . No matter what, in sharp contrast to men's prisons, women's prisons are always believed to be a Fetish Fuel station where women learn to be bisexuals thanks to this oh-so beautiful and chaste thing called lesbianism (which doesn't involve rape at all, oh no), so they can serve men's fantasies better once they get out. And of course, female guardians partake joyfully in it as well as the lucky male staff who live in this palace of pleasure! Depending on how dirty-minded the audience is, and the time slot, this may result in a sort of Chekhov's Gun scenario as the audience expects... action . In a movie or late-night cable TV show, there will be at least one Shower Scene or strip-search.
Needless to say, the above description is purely fantasy and NOT Truth in Television , except maybe for the shower scenes and the nudes searches, as can be seen in men's prisons. But the preponderance of the porn-friendly description is so deeply ingrained in pop-culture that realistic depictions of women's prison as a main setting that don't include these elements are exceptional.
In Real Life , women's prisons are populated with the same ilk as men's prisons: criminals and lawbreakers. Thus, the laws of fight for dominance also apply there, and the Alpha Bitches can be just as ruthless and violent as Alpha Dogs in men's prisons, especially to newcomers who happen to be prettier than them .
Carter: Why do I feel like I'm in a women behind bars movie?
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By Jacob Oller | August 1, 2022 | 3:58pm
HBO Max may have begun dominating the Max title among movie streaming apps since its release, but before it burst onto the scene, Max Go was one of the premium ways to watch movies. While its website is still active, the Cinemax streaming companion has since taken a backseat to the HBO parent streamer. That doesn’t mean, however, that Cinemax isn’t still offering up hundreds of great movies. From great action flicks, war movies, and westerns to comedy and drama, the premium channel still has the hits. In our curation efforts, we’ve skipped over Max After Dark options, so those after “Skinamax” offerings will have to venture into that territory on their own. Let us know whether Bikini Avengers or College Coeds vs. Zombie Housewives need to make the list.
This list covers the best on offer, up to date.
Year: 2003 Director: Fernando Meirelles, Kátia Lun Stars: Alexandre Rodrigues, Leandro Firmino da Hora, Phellipe Haagensen, Douglas Silva, Alice Braga, Seu Jorge Rating: R Runtime: 129 minutes
Originally released in January 2003 to critical praise, Fernando Meirelles’ masterful yet brutal City of God receded from view until Miramax re-released it for Oscar consideration. And while it failed to even garner a foreign-language-film nomination that year, the alternately intense and intimate depiction of Rio’s desperate favelas has only grown in stature and power. Based on the novel by Paulo Lins (and adapted by Bráulio Mantovani), Meirelles turned an unflinching eye on a world forgotten by the wealthy and powerful, ignored by police and indifferent to law and order. City of God set the template for other shocking urban films to follow (not to mention a revival of “favela funk” by music-marauders like Diplo and M.I.A.), but whereas other cinematic studies like Gomorrah (about modern Sicily) and the documentary Dancing with the Devil wallow in such viciousness, this film plunges deeper, grips harder, and yet always allows glints of humanity into such darkness. City of God ’s harrowing depiction of daily violence in the favelas exemplifies in shocking detail the Hobbesian view of life as “nasty, brutish and short,” but the film never casts judgment. While chaos and bloodshed rule the world of protagonist Rocket and those of his generation—psychotic druglord Li’l Zé, groovy playboy Benny and solemn Knockout Ned (singer Seu Jorge, in his breakout role)— City of God elucidates an underlying symmetry, exhibiting if not poetic justice, then the street version of the same. — Andy Beta
Year: 1987 Director: Norman Jewison Stars: Cher, Nicolas Cage, Danny Aiello, Olympia Dukakis, Vincent Gardenia Rating: PG Runtime: 102 minutes
Snap out of it! A rom-com with a genuinely romantic sensibility (the hopeless kind), Moonstruck is an undeniably adorable comedy about chance, family and what it means to “settle.” Pragmatic widow Loretta (Cher) agrees to marry a nice sensible guy (Danny Aiello), but soon finds herself in a sitch with his passionate and mercurial younger brother Ronny (Nicolas Cage). Cher’s comedic chops are not insignificant, and the chemistry between her and Cage is great. The film has an incredible wealth of wonderful supporting performers (perhaps most notably Olympia Dukakis, who plays Cher’s mother). Norman Jewison’s directorial sensibility here might not qualify as “high art” but it’s a damn fine rom-com, with crackling dialogue, tons of energy and seductively likable characters: A paean to the joys and inevitable sorrows of dealing with your family, this film has spirit and smarts and soul. And a certain image of Cher in opera garb kicking a beer can up a silent Brooklyn street that one could be forgiven for characterizing as “iconic.” —Amy Glynn
Year: 2003 Director: Peter Weir Stars: Russell Crowe, Paul Bettany, Billy Boyd Rating: PG-13 Runtime: 138 minutes
The pilot for one of the greatest movie franchises that never was, Peter Weir’s Napoleonic War adventure plays a long game of cat-and-mouse over two oceans, between a French vessel and the British HMS Surprise . The film takes great pleasure in old ways: it luxuriates in the myths and salty humor of Georgian mariners, gets swept up in the pre-WWI mentality of war as a flag-waving lark and, in a brief excursion to the Galapagos Islands, pines for the days of analog exploration. This is a feel-good film with a high body count—Weir and his cast of character actors take great pains to ensure the dozens of seamen are keenly and affectionately drawn to a man, so that each limb-endangering injury, each fatality is felt—thanks in large part to the squabbling chemistry between Russell Crowe as the ship’s driven Captain Aubrey, and Paul Bettany as its stern doctor. Through them it very nearly becomes a buddy movie, with the pair constantly nit-picking and bantering, but at the end of the day always reaffirming their friendship with a violin/cello jam. A match this good deserved a sequel, but the one movie we got is good enough to savor. —Brogan Morris
Year: 2002 Director: Danny Boyle Stars: Cillian Murphy, Naomie Harris, Christopher Eccleston, Megan Burns, Brendan Gleeson Rating: R Runtime: 113 minutes
The classical zombie film was effectively dead by the time 28 Days Later came along in 2002 and completely reanimated the concept. (And yes, we all know that the “infected” in this film aren’t technically zombies, so please don’t feel that you have to remind us.) The definition of “zombies” is fluid, and always expanding. Here, they’re living rather than dead, poor souls infected by the “rage virus” that makes them run amok, tearing through whatever living thing they see. It’s a modernization of the same fears that powered Romero’s ghouls—unthinking assailants who will stop at nothing and are now more dangerous than ever because they move at a full-on sprint. It’s hard to overstate how big a quantum leap that mobility was for the zombie genre—the early scenes of 28 Days Later where Jim (Cillian Murphy) tries to navigate a deserted London in hospital scrubs, chased by fast-moving zombies, did for this genre what Scream did for the slasher revival, sans the humor. Indeed, 28 days Later is a dead-serious horror film, marking a return to seeing these types of creatures as a legitimate, frightening threat. It’s indicative of another trend of the 2000s, which was to reimagine the classic rules of zombie cinema to fit the needs of the film. The Zack Snyder Dawn of the Dead remake replicated a lot of this film’s DNA when it was released two years later, although it marries the concept with the more traditional Romero ghoul. Together, those two movies gave birth to the concept of the 21st-century serious zombie film. —Jim Vorel
Year: 2020 Director: Paul Greengrass Starring: Tom Hanks, Helena Zengel, Bill Camp, Elizabeth Marvel Rating: PG-13 Runtime: 118 minutes
Paul Greengrass and screenwriting partner Luke Davies may have adapted Paulette Jiles’ 2016 Western novel News of the World at least in partial consideration of how far the United States hasn’t come as a nation—around the time of the book’s publication, such cursed phrases as “fake news” and “alternative facts” were inducted into popular language by fascists and crooks attempting to pull a fast one on the American people. Neither of these terms, nor their equally grotesque cousins, make their way into Greengrass’ film, but the spirit that conjured them into being four years ago is alive and well in his recreation of the American frontier. His hero is Captain Jefferson Kyle Kidd (Hanks), a Confederate Civil War veteran who, having stood on the losing side of history, moseys across the Lone Star State and reads out-of-town papers to the locals at each stop on his journeys. The movie doesn’t exactly ask the viewer to overlook which side of the war Kidd stood on: In fact, the truth of his old allegiances becomes more unavoidable the less directly they’re spoken of. This is Texas. An erstwhile soldier in Texas could only have fought on one side of the aisle. News of the World damns Kidd without having
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