CloudyDreams

2y

I’ve never said Hollywood is against the white man, try again. I’ve said it’s a profitable endeavor for film critics and media to care about diversity and minorities and that’s why their praise of all these mediocre and garbage movies simply because people of color are in them is disingenuous. If you can’t understand how that is clearly different from the ridiculous assessment that Hollywood is against the white man (as if the white man isn’t the one profiting the most from this woke agenda), then you’re beyond hope

I said Elvis was better than EEAAO. And it is because EEAAO is f***ing garbage and a blatant MCU audition film (no surprise that these hacks are directing an episode for some s*** MCU show now as well). Elvis vs Nope is a more fair comparison and I will say Nope is Peeles first semi respectable work in his career though he still has zero identity as a filmmaker, but it’s nice that atleast he’s been channeling real filmmakers styles into the big screen, even if he has none himself.

You’re free to not like The Fabelmans, but it’s made by an actual master filmmaker and I enjoyed seeing just how incredible his craft was in that film. Obviously you are film illiterate so I don’t expect you to appreciate that element though. Also, why would I listen to critics when I’ve been s***ting on them the entire time? Because it has an all white cast? I literally began this debate with you saying I didn’t think 1917 or Banshees of Inisherin were good so why would I care about what critics think?

Dunkirk very early in the Oscar race was a front runner but then the agenda politics kicked in and it was one of the least likely films to win. Everybody knows Get Out, CMBYN and Shape of Water were the 3 big ones. Hollywood sees white women as a minority as well, that’s why dogshit like Women Talking seriously got nominated at the Oscars. A mute white woman romance that also functions as a rebellion story (literally a team of a mute white woman, gay man, and black woman) against big corporate interests represented by an evil cis misogynistic white man is just as woke and identity politics driven as Get Out and CMBYN. Lmfao, so now I’ve gone from a white supremacist to only liking gay people because I liked CMBYN? What’s next? Does liking If Beale Street Could Talk mean I hate everyone that isnt black or Jewish now? Your brain is literally fried

Lein

2y

You're working off a baseless assumptions that films with white casts are unfairly maligned, that's just another way of saying hollywood is agaisnt the white man (who get automatically get worse RT ratings according to you).

I don't think Elvis is better than EEAAO or that Nope is Peele's first good film. But I don't accuse others of having ulterior motives or being "film illiterate" if they disagree with my opinion. You on the other hand can't imagine another reason why someone wouldn't share your take on these films.

I don't think you like CMBYN because it's gay, I'm just using your own tactics on you. If you can baselessy accuse anyone of liking film for disingenuous reasons, why shouldn't people do the same to you? You are what you accuse others of being, you're so caught up in identity politics that even movie as apolitical as CMBYN is now supposedly a politically driven story. You are severely brain damaged.

CloudyDreams

2y

No I’m working off what is true and that is the critics are overly obsessed with identity politics in films nowadays rather than the actual quality of the work. It’s got nothing to do with the white man being unfairly maligned and I’ve already debunked your baseless claim with that yet you continue to make it anyway.

Whenever I’ve heard anyone explain the merits of EEAAO or Nope, it often is related to the themes of the film and why they’re so interesting politically rather than the actual filmmaking or craft because the reality is that those films have nothing interesting to say on those fronts. One is a MCU audition movie and the other is a Spielberg and Shyamalan hybrid homage. I have zero interest in a film simply because of its message and I have zero interest in the opinions of others who engage in art with only that in mind. The problem is that 99% of critics think like that either because they’ve been brainwashed by social media or they’re paid by their publications to spew identity politics bullshit because it sells.

every movie is inherently political and so is CMBYN especially when it does use some of the tired tropes of past regressive lgbt movies such as the Stuhlberg speech to Chalamets character as a thinly veiled message to parents to be better and to accept their child for whatever sexuality they are. It’s a lowlight of the film but thankfully much of it just lets it’s characters explore their sexuality and who they are as people without littering some woke message over it like many other acclaimed lgbt movies such as The Half of It or Dallas Buyers Club.

splice

2y

i’ve actually seen this take a lot. which one did you watch first? i watched midsommar first then hereditary a few days ago and i prefer midsommar but if i watched the movies in order maybe i’d feel differently

CloudyDreams

2y

I said all white male casts. None of those movies you named are that except banshees of inisherin. Again this is an extremely small number of movies compared to the many random ass streaming algo movies that get 90% on RT just because they’re about minorities like the Half of It or some s***

I already know blue beetles gonna be trash just like Shazam or the Batman. They’re led by white guys but ultimately they also promote a social justice agenda in their narratives (the Batman moreso). Also most blockbusters are trash, what makes them any better than the average film?

I’m not pushing any agenda. I’m just saying this is how the world works today. I’m just not taking stock in critics opinions anymore because they’re worthless

Saturday

2y

3/5

Saturday

2y

I didn't really f*** with Nope either but a one star is insane.

CloudyDreams

2y

representation is all that matters to critics nowadays