Jennifer Lawrence Backtracks Female-Led Action Stars Comment

Following a firestorm of criticism, Jennifer Lawrence is clarifying a comment she made earlier this week concerning woman-led action movies. The Causeway actress told Viola Davis in Variety's Actors on Actors feature, "I remember when I was doing Hunger Games, nobody had ever put a woman in the lead of an action movie because it wouldn’t work — because we were told girls and boys can both identify with a male lead, but boys cannot identify with a female lead."

She added, "And it just makes me so happy every single time I see a movie come out that just blows through every one of those beliefs, and proves that it is just a lie to keep certain people out of the movies. To keep certain people in the same positions that they’ve always been in."

Twitter users took note of Lawrence’s comments about being the first female lead of an action movie, with many listing other great female action stars before her like Linda Hamilton, Sigourney Weaver, Milla Jovovich, Pam Grier, Michelle Yeoh and Uma Thurman.

Now, Lawrence, 32, backtracked these remarks with the Hollywood Reporter yesterday (December 8). The actress said, "That’s certainly not what I meant to say at all. I know that I am not the only woman who has ever led an action film. What I meant to emphasize was how good it feels. And I meant that with Viola — to blow past these old myths that you hear about … about the chatter that you would hear around that kind of thing. But it was my blunder and it came out wrong. I had nerves talking to a living legend."

Speaking of the way quotes can be misconstrued or taken out of context by the media, Lawrence told the publication, “One time I was quoted saying that Donald Trump was responsible for hurricanes. I felt that one was ridiculous, that it was so stupid I didn’t need to comment. But this one, I was like, ‘I think I want to clarify.'”

Women make up a small percentage of feature film directors, but despite that, they have produced excellent films. Based on IBDc ratings that were released from 2011 to today, we've compiled a list of spectacular women-directed films that you must see.

IMDB rating: 7
Director: Andrea Arnold

Star (Sasha Lane), a teenage girl from a troubled home, runs away with a traveling sales crew that drives across the American Midwest selling subscriptions door-to-door. Finding her feet in this gang of teenagers, one of whom is Jake (Shia LaBeouf), she soon gets caught up in the group's lifestyle of hard-partying nights, law-bending days and young love.

IMDb rating: 7.3
Director: Kelly Fremon Craig

The Edge of Seventeen follows an awkward 17-year-old (Hailee Steinfeld) through anxiety-ridden high school mishaps with friends, crushes and her all-star older brother Darian starts dating her best friend Krista. Woody Harrelson plays teacher Mr. Bruner, who offers dark humor sprinkled throughout the film.

IMDb rating: 7.4
Director: Kathryn Bigelow

Directed by the only woman to win a Best Director Oscar for 2009’s The Hurt Locker, Bigelow's follow-up, Zero Dark Thirty, uses a similar, crisp documentary-like camera style that hovers and observes action. Zero Dark Thirty puts a woman at the center of war drama with Jessica Chastain starring as a CIA investigator who brings down Osama bin Laden.

IMDb rating: 7.4
Director: Patty Jenkins

Jenkins' directorial feature career began with 2003's Monster, the true story of a mentally ill prostitute who became a serial killer (Charlize Theron won the Best Actress Oscar for the role). Jenkins followed that up with Wonder Woman, starring Gal Gadot as the titular superhero. The film was praised for presenting a complex, compassionate hero with universal appeal that comes from a dynamic representation of female power.

IMDB rating: 7.4
Director: Greta Gerwig

Gerwig earned a Best Director Oscar nomination (one of five in total for a woman), for this modern coming-of-age drama with its disaffected titular character (played by Saoirse Ronan). Lady Bird is an ambitious and wildly courageous teenager, who shocks audiences when she leaps from a moving car at the film’s beginning to escape her mother's (Laurie Metcalf) belittling comments. Timothée Chalamet plays her love interest in the film as well.

IMDb rating: 7.4
Director: Alma Har’el

Honey Boy stars Shia LaBeouf as his own abusive, alcoholic father in a semi-autobiographical film (that he also wrote) about a child actor who ends up in rehab. LaBeouf's ex, FKA Twigs also stars in the film. FKA Twigs leveled a number of disturbing allegations against LaBeouf, accusing him of threatening, trapping and strangling her, as well as knowingly infecting her with a sexually transmitted disease.

IMDb rating: 7.5
Director: Jennifer Lee

Lee directed the film which inspired children to “let it go” in this Disney animated film that won the Best Animated Feature Oscar in 2014. Frozen made Lee the first female director with more than $1 billion in revenue from a single film. Lee’s screenplay is unique in creating princess characters with a focus on sisterhood rather than love with men or weddings.

IMDb rating: 7.5
Director: Lynne Ramsay

Tilda Swinton gives a stand-out performance in this drama-thriller that explores maternal anxiety and dread of parenting a murderous psychopath. Swinton's character can't seem to bond with her son, who grows from a fussy, demanding toddler into a sociopathic teen (Ezra Miller).

IMDb rating: 8.2
Director: Céline Sciamma

Portrait of a Lady on Fire follows two women in 1770 France, a painter and subject; Marianne, a painter, is commissioned to do the wedding portrait of Héloïse, a young woman who has just left the convent. Héloïse is a reluctant bride-to-be and Marianne must paint her without her knowing. She observes her by day, to paint her secretly. Sciamma forces her audience to consider what it means to look and be looked at in new ways through the desire of her lead characters.

IMDb rating: 8.2
Director: Greta Gerwig

The fourth adaptation of Louisa May Alcott’s 1860s novel reflects women’s rage, their economic status and their options to marry of the times following the Civil War. Gerwig’s version of Jo March (Saoirse Ronan) produces a novel, Little Women, but also negotiates its contract and conclusion: Should the heroine end up married or dead as her publisher requires or will she invent a compromise that parallels her own story?