By Thomas H Cullen (UK)
The 2009 remake, Sorority Row, is when a film is intellectual but the intellectualism fails to have a grasp on the immorality of censorship. Sorority Row deserves to be celebrated, but, at the same time it’s not as if the product deserves a monopoly when it comes to the assumption of celebration.
Sorority Row lacks the assumption, which in all fairness is important; however, it’s for a possibly very weird reason that the 2009 remake deserves to be celebrated.
Sorority Row is a “gallery” of fun characters, and it’s a “gallery” of charisma. In general, the “gallery” works, make no mistake, but, it’s the very weird element of Sorority Row that its “actual” exciting and charismatic element just boils down to a single character: Jessica, played by Leah Pipes.
To keep things straight to the point, it’s just Sorority Row’s Jessica who’s able to single-handedly keep the film afloat, and it’s possibly for this reason: Jessica is a character who links a target to the void of a presence, because this lets no target become present.
Creating a reality where nothing is a target is life’s ultimate objective. The entire history of the universe is a story of course correction after course correction, the endgame being that nothing has to be subjected to being a target. Being a target is humiliating, and it’s cruel and it’s barbaric.
The character played by Leah Pipes, Jessica, is the character of Sorority Row who is the tragedy of moral objective. The nature of Jessica is to be a caricature of wickedness and manipulation – nastiness and ill-intent. However, the true meaning to the character of Jessica is that Jessica’s ill-intent and immorality is a cover story (so to speak): Jessica’s immorality is about the formula that by exposing disdain for elsewhere, the opposite comes to fruition.
When Jessica is hateful, or malicious towards others, and when she makes use of an area or when she makes use of a physical object in a way which is malicious and hateful, the ulterior nature to the hatefulness is the bridging of reality. And all of this makes Jessica an angelic force of nature.
Overall, Sorority Row is actually the “real” Scream. The satire is actually funny, and the movie is better when it comes to depicting its slasher killer. However, it’s really just the strange and surreal essence that surrounds Jessica which is what makes Sorority Row deserving of celebration. Again though, the overall details of the film makes it very easy to understand why Sorority Row would inevitably be forgotten.
As for the symbolism, which has been covered by this review, it’s the sort of symbolism which will always impress on an internal level but feels endangered when it’s made external. The probable reason, why it invokes fear to make the symbolism known is that the nature of the symbolism is to do with something so particular to the story – Jessica isn’t the main character of the film, and she’s just one character of a fair number of characters.
Even so, making the symbolism known has been a true delight, and a true source of excitement; the character Jessica is an excitement of connection, and is an excitement of connection because of the connection being invalid