Search Results
8/3/2025, 1:15:06 PM
>he recently published New York Times list of “The 100 Best Films of the 21st Century” is that paper’s most significant cultural diktat since the 1619 Project, and it’s equally fallacious.
>In Millennial journalism, it’s often the case that what’s presented as fact is usually a matter of group identity and agreement, i.e., ideology. The Times list distracts from the era’s failures by highlighting its deceptions. These are the films that the liberal institutions — from the Oscars to the Golden Globes and critics’ groups — have acknowledged as “best,” actually meaning that they’re socially engineered signposts. They’re all dystopian narratives. The Times also held a parallel readers’ poll where the top choices repeated the industry poll with only a few exceptions: The public favored Christopher Nolan films (Interstellar, The Dark Knight) while the industry favored race films (Get Out, Moonlight).
>Perhaps a Better-Than List, comparing the top twelve films in terms of quality, can illustrate the originality and imagination overlooked by both the Times and the industry.
A.I. Artificial Intelligence > Parasite
>Spielberg’s exploration of how soul is manifested versus Bong Joon-ho’s sadly popular communist notion of social envy: property as theft.
Femme Fatale >Mulholland Drive
>De Palma presents an erotic tour of the film noir psyche while Lynch tours Hollywood’s exploitation of same.
War of the Worlds > In the Mood for Love
>Spielberg’s vision of modern apocalypse surpasses Wong Kar-Wai’s intoxicating escape into romanticism.
Man of Steel > Moonlight
>Zack Snyder’s idealized study of masculine endeavor surpasses Barry Jenkins’s myth of the pathetic black queer.
Wild Grass > No Country for Old Men
>Alain Resnais’s exuberant panoply of human will outclasses the Coen brothers’ struggle with hipster nihilism.
>In Millennial journalism, it’s often the case that what’s presented as fact is usually a matter of group identity and agreement, i.e., ideology. The Times list distracts from the era’s failures by highlighting its deceptions. These are the films that the liberal institutions — from the Oscars to the Golden Globes and critics’ groups — have acknowledged as “best,” actually meaning that they’re socially engineered signposts. They’re all dystopian narratives. The Times also held a parallel readers’ poll where the top choices repeated the industry poll with only a few exceptions: The public favored Christopher Nolan films (Interstellar, The Dark Knight) while the industry favored race films (Get Out, Moonlight).
>Perhaps a Better-Than List, comparing the top twelve films in terms of quality, can illustrate the originality and imagination overlooked by both the Times and the industry.
A.I. Artificial Intelligence > Parasite
>Spielberg’s exploration of how soul is manifested versus Bong Joon-ho’s sadly popular communist notion of social envy: property as theft.
Femme Fatale >Mulholland Drive
>De Palma presents an erotic tour of the film noir psyche while Lynch tours Hollywood’s exploitation of same.
War of the Worlds > In the Mood for Love
>Spielberg’s vision of modern apocalypse surpasses Wong Kar-Wai’s intoxicating escape into romanticism.
Man of Steel > Moonlight
>Zack Snyder’s idealized study of masculine endeavor surpasses Barry Jenkins’s myth of the pathetic black queer.
Wild Grass > No Country for Old Men
>Alain Resnais’s exuberant panoply of human will outclasses the Coen brothers’ struggle with hipster nihilism.
7/26/2025, 4:05:50 AM
>>213095871
>363 Mil production
>200Mil Marketing
>450 Mil to break even
>T-Theaters will show it for f-free!
Yup.
>inb4 G-Gunn said!
Lies
>363 Mil production
>200Mil Marketing
>450 Mil to break even
>T-Theaters will show it for f-free!
Yup.
>inb4 G-Gunn said!
Lies
7/22/2025, 7:49:28 PM
7/15/2025, 10:12:16 AM
>one review from the king of /tv/ rattled the Gunnpedos so much that they made a separate thread shit talking about it only to be BTFO by KinoChads and cope.
Based.
Based.
7/15/2025, 5:08:52 AM
>We may never know Zack Snyder’s master plan for advancing the Superman saga since his Man of Steel opus (The Godfather of superhero movies) was disrupted by studio executives at Warner Bros. who insisted on a comic book series that emulated Christopher Nolan’s nihilistic but more profitable Batman franchise. They wanted darkness, not Snyder’s seriousness. But “dark” means trivial in Millennial film culture, and now, with James Gunn’s new Superman, Warner has gotten the inconsequential movie it always desired.
>Snyder took up the Superman comic book myth then enhanced its meaning as American cultural heritage with classical, spiritual roots. This grand vision opposes fanboy frivolity, which is the basis of Gunn’s commercialized version. His Superman (portrayed by David Corenswet) is introduced as a humiliated, known quantity. He has already lost a battle, slammed into the pavement of Metropolis, and is bloody, wounded, and wheezing.
>Gunn’s point is to replace myth and destroy all faith. This Superman movie is the most cynical imaginable. It doesn’t just go against the original Joe Shuster–Jerry Siegel comic book ubermensch that Snyder understood; it reworks a figure for the dystopian millennium and Hollywood resistance.
>Snyder took up the Superman comic book myth then enhanced its meaning as American cultural heritage with classical, spiritual roots. This grand vision opposes fanboy frivolity, which is the basis of Gunn’s commercialized version. His Superman (portrayed by David Corenswet) is introduced as a humiliated, known quantity. He has already lost a battle, slammed into the pavement of Metropolis, and is bloody, wounded, and wheezing.
>Gunn’s point is to replace myth and destroy all faith. This Superman movie is the most cynical imaginable. It doesn’t just go against the original Joe Shuster–Jerry Siegel comic book ubermensch that Snyder understood; it reworks a figure for the dystopian millennium and Hollywood resistance.
7/12/2025, 12:36:09 PM
>>212620221
>>212621217
>>212621625
>>212621844
Why are gunnjeet/gunntranny shills bringing up the audience score? They do understand averages right? Man of Steel has 75% audience score with 250,000+ reviews. Superman has 94% audience score with 5000 reviews. No shit the people who want to watch and like this movie will rate it highly on the first day/few days. But it won't be able to hold out when stretched thin between 250,000 reviews. Especially with the shitty nauseous fishbowl visuals and horrible CGI, costumes etc. It'll end up below 75% (when the mass rewatch of Man of Steel for comparison begins), I'm predicting around 64% at a push, maybe 55% at the lowest. Although hey, I'm expecting basedlennials and redditors to still be gunn-ho for capeshit. Could be even lower.
>>212621217
>>212621625
>>212621844
Why are gunnjeet/gunntranny shills bringing up the audience score? They do understand averages right? Man of Steel has 75% audience score with 250,000+ reviews. Superman has 94% audience score with 5000 reviews. No shit the people who want to watch and like this movie will rate it highly on the first day/few days. But it won't be able to hold out when stretched thin between 250,000 reviews. Especially with the shitty nauseous fishbowl visuals and horrible CGI, costumes etc. It'll end up below 75% (when the mass rewatch of Man of Steel for comparison begins), I'm predicting around 64% at a push, maybe 55% at the lowest. Although hey, I'm expecting basedlennials and redditors to still be gunn-ho for capeshit. Could be even lower.
7/11/2025, 3:13:55 PM
We may never know Zack Snyder’s master plan for advancing the Superman saga since his Man of Steel opus (The Godfather of superhero movies) was disrupted by studio executives at Warner Bros. who insisted on a comic book series that emulated Christopher Nolan’s nihilistic but more profitable Batman franchise. They wanted darkness, not Snyder’s seriousness. But “dark” means trivial in Millennial film culture, and now, with James Gunn’s new Superman, Warner has gotten the inconsequential movie it always desired.
Snyder took up the Superman comic book myth then enhanced its meaning as American cultural heritage with classical, spiritual roots. This grand vision opposes fanboy frivolity, which is the basis of Gunn’s commercialized version. His Superman (portrayed by David Corenswet) is introduced as a humiliated, known quantity. He has already lost a battle, slammed into the pavement of Metropolis, and is bloody, wounded, and wheezing.
Gunn’s point is to replace myth and destroy all faith. This Superman movie is the most cynical imaginable. It doesn’t just go against the original Joe Shuster–Jerry Siegel comic book ubermensch that Snyder understood; it reworks a figure for the dystopian millennium and Hollywood resistance.
Snyder took up the Superman comic book myth then enhanced its meaning as American cultural heritage with classical, spiritual roots. This grand vision opposes fanboy frivolity, which is the basis of Gunn’s commercialized version. His Superman (portrayed by David Corenswet) is introduced as a humiliated, known quantity. He has already lost a battle, slammed into the pavement of Metropolis, and is bloody, wounded, and wheezing.
Gunn’s point is to replace myth and destroy all faith. This Superman movie is the most cynical imaginable. It doesn’t just go against the original Joe Shuster–Jerry Siegel comic book ubermensch that Snyder understood; it reworks a figure for the dystopian millennium and Hollywood resistance.
7/2/2025, 7:02:46 PM
>Kosinski isn’t exactly a montage master. F1’s racing scenes don’t match Walter Hill’s The Driver, Sam Peckinpah’s Convoy, or Michael Bay’s astonishing 6 Underground and Ambulance — the best of all automotive cinematic sensations. Kosinski’s hackwork typifies the unexceptional spectacle of Millennial movies (so recently endured with Cruise’s Mission: Impossible: The Final Reckoning), where the effort to overwhelm uses technology to merely over-market what is essentially unoriginal content. (Think of Brad Pitt retooling his inside-baseball movie Moneyball, that pseudo-intellectual waste of his charisma.) For race-car film buffs, F1 is no more exciting than Grand Prix, The French Connection, The Road Warrior, Rush, the first Fast and Furious movie, or the underrated The Seven-Ups. Even Jared Hess’s fantasy speed-romps in A Minecraft Movie were more delightful.
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