brunostrange--disqus
brunostrange
brunostrange--disqus

I hate it that a classic film is referred to as a "property," but there we are.

That's a weird read of the video. Especially given that he makes the point early in the video that he understands bad films are part of the movie ecosystem.

So post-modernism is killing art and dulling humanity?

Simmons has been very good at identifying great talent with which to work. He assembled a great team on Grantland (though the Ringer has fallen short), and has been involved in some very good docs on the 30 for 30 series. And his podcast network is very good.

So believing "cultural appropriation" is a bullshit concept automatically makes me a Trump supporter? Nice logic there.

Without reading the article, I imagine the outrage is about bullshit "cultural appropriation"?

In terms of her work, her first three albums are still tops with me. I've found something interesting in just about all her subsequent records, but nothing that has grabbed me the way the first three albums did.

It's really not very hard to find poor white communities. Just go outside the cities, they're easy to find. But I agree that you might have a point re: context.

I love PJ Harvey (at least her early work), but I'm not surprised by the community reaction. I'm hesitant to use the word 'privilege,' but a white English tourist's take on DC housing projects is probably not as insightful as Harvey thinks it is.

I don't give two shits about the Oscars, but it's bizarre that inclusion now trumps merit when doling out awards. I guess this is what happens when the Participation Trophy generation grows up.

Can't wait for the scene where Vin Diesel realizes it's faster to take the subway.

What's with the weird cropping on the trailer? Or is the show shittily photographed?

Wait till you're in your late 30's. It'll be even more evocative then.

That's what your wife said to me too!

MAKE IT STOP FOR THE LOVE OF GOD MAKE IT STOP

But even if you count those films - Jaws, Star Wars, Raiders, etc - you're still talking about films with a degree of originality and voice. Compare that to the spectacles of today - they're incredibly well-crafted, but that's about the best you can say about them.

Fair enough re: bean counters. But even when we're talking about blockbuster cinema, there chasm between the vision and originality of earlier era blockbusters, and today's - which basically use the same story template - is huge.

What, he's wrong? Given that he's a product of the studio system, it's safe to presume he's talking about studio films. You're going to tell me that the bean counter-approved superhero franchises are somehow the apex of studio filmmaking?

Wasn't there a story not too long ago where Olive Garden's investors scolded the company for having shitty food? And they respond with breadstick sandwiches?