Thread 214300704

Drop 'em

the prequels are ok and just ok

>>214300704 (OP)
Horror movies have no artistic value and the people who watch them should be shunned

The Dark Knight fucking sucks and Heath Ledger's performance is nowhere near as good as everyone pretends it to be

Hollywood hates on the Reagan biopic still can't explain the Sheen-Haim hookup & other 80s shenanigans.

Sorry. I only have TRVTH MEGANOVAs on me right now. Maybe ask the plebs for some lower truths.

>>214300955
this

It's our fault movies are shit

>>214300704 (OP)
Yeah, I wish I had a time machine to fuck with all the time between
'Cause time feels like an enemy
I've lost so many close to me
Yeah, two thousand and sixteen, I lost it all so carelessly
I'll have to rewrite history, 'cause fuck my reality
It's got me drinking Hennessey, I drown myself in alcohol
'Cause that's the only time I sleep
I know it doesn't help at all
I've been on my own two feet
I need to build a time machine
And take me back, but I know it can't happen

>>214300704 (OP)
Movies and TV do more damage than good because they alter people's perception of reality. Similar to porn altering sexual expectations.

Star Wars was never all that good.

Reminder that westerns > films noir

Of the two genres considered the quintessential roots of American cinema, only the western is legitimate and noble. They are not complimentary genres but opposite worldviews; it is in fact a battle to the death: you can not like both but have to choose one or the other. You cannot find beauty in My Darling Clementine, and at the same time not be repulsed by M, which casts a positive light on child killing. I can't stand seeing a clueless poser holding films with opposite ideologies in the same esteem in the name of "cinephilia". They're not "both classics of equal value". Westerns are essentially tales of virtue and honor, noir is a genre taking delight in moral corruption and nihilism. Rurality vs urbanism. Which means, with a serious analytical filter: goy vs Jew.

>>214302593
And surprise, this intuition is confirmed when you observe the behind the scenes, the personalities of both genres. The western could have only been birthed in America; whereas noir is an imported product, a result of Jewish exodus following the rise of nationalistic antisemitism in Europe. Lang, Siodmak, Preminger, the list goes on. And if they weren't Jewish, they were communist sympathizers during McCarthysm (understand that Hollywood communist was simply code word for Jew), like Welles, Huston - same with the symbolic actor of the genre: Bogart. Now look a the pro-McCarthyst, anti-communist Hollywood: Howard Hawks, John Wayne. And now it's very clear: what was then a 50/50 ideological representation system in Hollywood is now the total triumph of urban Jewish amorality and the complete disappearance of rural goy truth. When I see the westerns getting produced today and hailed as modern classics, I only see amoral, un-American, anti-goy, cynical and nihilistic filth. And I look at producers and directors resumes: Coens, Milch (Jewish), Mangold (Jewish), Weinstein/Tarantino and their BBC fantasies, Fuqua (black)... vulgar counterfeiters and glib facsimiles. Fuck Jews.