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This is a right-wing propaganda piece with no redeeming qualities. It will be highly rated here on Trakt because the only people that will watch and rate it are trying to make a political point. If you watch this as someone who isn't in the very narrow target audience, you will recognise this for what it is: dogshit. If you take a step back and analyse it based on historical fact, you will also recognise this for what it is: a lie.
Many (if not most) Hollywood movies have a right-wing bent to them. Hollywood is a beacon of capitalism and individualism. However, for many reasons (anti-semitism, sexism, racism, the lack of artistic talent among the American right, anti-Republican actors, etc), the conservative and far-right sentiment in the US is that mainstream movies are somehow leftist or liberal. Some can be interpreted that way, but most are pretty conservative stories.
Why, then, do they hate Hollywood and its movies? Ironically, it's because the studios are giant capitalist enterprises that are interested only in selling their movies. Conservative and far-right political beliefs and values are unpopular and don't sell movies. Therefore, studios are forced to pay artists to make movies that reflect the views of the people they are trying to sell to more closely, without actually upsetting the status quo too much. For example, in order to sell movies to women, you need women with actual stories in them. In order to sell movies to people who aren't white, you need non-white characters in them. In order to sell movies to people who aren't straight, you need non-straight people in them. The writers and actors of these movies might care about the social and civil rights aspects, but to the studios and the shareholders of these studios, they are merely a capitalistic means to an end.
The US has, and always has had, a powerful far-right white supremacist movement, of which Reagan himself played a crucial role. Unlike the studios, they do care about the social and civil rights aspect of these stories. They hate them. It is a threat to them and their power. They will disregard even conservative stories being told, if that story has even a handful of references to people they don't like having any sort of agency or power.
That is, in short, why Republicans and the far right in America portray Hollywood and the media as 'liberal' or 'leftist', even when it's largely on their side like any other huge corporate enterprise. What keeps this situation balanced is that it tends to benefit both sides. Hollywood gets to sell their otherwise right-wing stories to everyone, including people that disagree with them, via 'diversity' set dressing. In other words, Hollywood gets to promote it's right-wing capitalistic and individualistic messages to liberals and leftists as long as it pays people to write stories with a couple of gay people in it or something. While this social message is sometimes a threat to the far-right, it's often actually helpful. It gives Republicans something to hate and create community around. Republicans still buy tickets to go and watch the movie and they get to use it as part of their nonsense culture war stuff. It's win-win.
Ironically, that is what we learnt from Ronald Reagan them man himself. He was an actual member of the Californian 'liberal elite' who, like the rest of the 'liberal elite', actually believed some batshit crazy stuff and had a surface-level understanding of politics. This is the movie he would have made about his own life. That should say enough in and of itself.
Hollywood's dominance isn't threatened from the far right in kind. They can't make art for shit, when they do it is so weird and bad even they struggle to like it. They have to pretend to like it for the good of the cause, but they don't actually enjoy it. Just look at Sound of Freedom. When it was politically important for them to do so you could summarise their quotes on it as 'oh my god, this is the best and most important movie ever'. When it became clear they couldn't stand by the massive creep Tim Ballard any longer, suddenly it changed to 'actually, it was pretty boring and didn't make much sense'. The support of these pieces of art is not based on whether the art itself was good, but whether it was politically advantageous.
Reagan (the movie) is no different. Like Sound of Freedom, it is supposed to be based on historical fact, but bends it so much that this is almost entirely fiction. The entire point is to make a hero out of an actual real-life supervillian. Also like Sound of Freedom, that makes it incredibly boring as a movie. There is no tension, no growth, everyone feels fake, nothing feels real. Because it's not. If you threw in any actual facts about the man it would necessarily have to be a very different movie. If you have to ignore 90% of the man's life to make him look like the hero, you end up with a character that's only about 10% believable as a human being.
You will only get any sort of enjoyment out of this movie if you are already so pilled you can't watch other movies without getting so angry that it hurts. That's the only way this makes sense. Everything else hurts you so much that something so bland and tasteless seems interesting by comparison. If other movies make you so angry you can't pay attention to the story just because they have even one person of colour on the screen who isn't either the enemy or the help, then you might get some enjoyment out of this.
For literally everyone else, this will probably be the worst movie you've seen this year. It's not even cringey or so-bad-it's-funny. It's just boring and preachy. Don't bother.
i liked the rabbit. he was eating a lot of sawdust and that's what i would do if i ate sawdust. relateable
Hilariously, this is not a political film.
Coming from a background in photography and art, I appreciated the cinematography a lot. It felt like they looked right at me and said these shots are for you. Additionally, I was proud of Jessie becoming a photojournalist as the film went on. She started as enthusiast but as the movie went on you could see her learning and becoming more hardened. I also appreciated that she was shooing on film. So many moments in the film I could feel myself seeing the "right shot" and while Jessie missed some of them, she also got them too, especially at the end where she becomes actualized.
As someone with an education in psychology, I also really appreciated the film's portrayal of the artist. Both in Lee and Jessie. One dying as one, and the other becoming one. The changes in both of their mindsets and reactions to the events they encounter were interesting and I loved that there were small moments where the two of them got to reflect and contrast each other.
As a fellow viewer, I don't think this isn't for the lighthearted. I watched this not knowing anything about the film and walked out really impressed but also knowing that many people were not going to like this movie. Most of my friends were less enthusiastic about the film. Unfortunately the film was marketed to be more political, violent, and action adventure-y. It's not. It's gory, dramatic, and introspective. I warn people that this film is about war journalism and being an artist. The people behind me may have appreciated a warning like that because they were mostly bored throughout the film and gave the movie a lower score than I - and I can't blame them. It was not an action movie. But for those who seek the stories of the human condition, this was a masterpiece.
I can say I've seen it. I can say I laughed uproariously. Because holy wow is this movie awful. Front to back, start to finish. It's so bad you sometimes forget it's offensive too. On purpose.
One of the first gags is that after failing to inspire his new youth male team. He dismisses them reminding them not to steal his catalytic converter. After being called out for it by the black player. The black player drops a saw used to steal catalytic converts. In the next scene he doesn't have a catalytic converter.
There's not so much acting as there is setting up punchlines whether they're awful verbal jokes or pointless (and often too long) visual gag montages. I was going to say something about the imitation indie music and wanna be Karate Kid soundtrack but the credits were still rolling and the song section came up. All the songs are by William Boreing. I don't know if that's Jeremy's son or whatever nepotism nonsense but the music was uninteresting. It wasn't sonic garbage just... boring.
You could spend an hour debunking all the nonsense assumptions the movie makes erroneously. But for my money even from a conservative Daily Wire standpoint most of the movie is just dumb and pointless which is a problem because the movie's only saving grace is supposed to be it's messaging. It's like a Christian Faith movie in that way. Christian Faith movies are awful but they're awful because they don't care about anything other than sending the right message. The art of storytelling doesn't come into it. The only one that matters is the root story. That a team of men's washouts could dominate in women's sports. Ironically basketball is a poor choice for this because the gender differences aren't THAT big. And physical mass isn't everything like you see in the movie. Not when you're playing comparable teams. The women's teams are practiced active teams and our ladyballer are again some washouts who are hanging out just to do this. It's so casually done you never see them practice which is both a reflection of how much this isn't a sports movie and a reflection of what the movie thinks about female players. You see what it thinks at the end of the movie when it has grown bulked out basketball players playing with girl-children.
No one expects a vanity project to be perfect. But just because it's a vanity project doesn't mean you get to by pass every narrative concept. Me, You, Madness is awful. This is worse. But that one PRESENTS as a vanity project. This presents as a movie with something to tell through humor. It's not JUST lazy. It's not JUST offensive. It's not funny either. There's just scenes that you know the DW found funny. Scenes that they were dying laughing while they were writing it. But in the end on the movie are just... "ehh oh i see what they were trying to do".
This is not a good movie. It has some moments, but that's it
This is just the panderverse for conservatives. It tries so hard to push as many messages as possible that it forgets to be funny, creative or interesting.
Crab rave carried the movie
It's funny to see bad reviews for this movie, and a lot of criticism towards JJ, but it's clear that all the choices made in this movie was to correct the choices made in The Last Jedi, the movie that was hated by all the fans till yesterday, but now people are praising.
The Rise of Skywalker is a great movie, specially for fans, it's a great way to end this saga, filled with fan service. I don't think I can say more than that without spoiling the experience for everyone.
All the critcs you see here, or on twitter, are coming from people who thinks star wars, a space opera, should be a deep and complex movie with fanfics about romances.
[8.2/10] An Appa story that is essentially a one-bison version of Homeward Bound with a little Frankenstein thrown in for good measure? You can bet your behind I’m there.
What impresses me with this show is how much it conveys using just its visuals, without any dialogue. Particular kudos belong to Dee Bradley Baker, who gives the audience so much to go on as to what Appa is thinking and feeling through this ordeal with just a variety of grunts and groans.
When he’s fighting the various sandbenders, we feel his struggle and how hard he’s fighting. It’s a pretty easy bit, but when he’s captured by that jerk in the circus, we want nothing more than for him to escape such harsh and unfair environs. (And the connection to the kid who reminds him of Aang is a nice touch in that regard.)
My god though, those flashbacks to the little baby flying bisons melted my cold cold heart. Not only is a nice excuse to see some mini-bisons being cute out there, but it deepens the connection between Aang and Appa and helps explain further why Appa is so determined to get back to the Avatar.
His running into Suki is also a nice touch, if only because of how hurt and afraid he is at the time. The whole fear of fire gets overplayed a bit, but the way he’s clearly been through so much and is struggling to go on when Suki finds him creates such pathos in this poor mistreated creature. The scenes where he has spines sticking out of him, his fur looks haggard and fray, and he’s fearful of anyone coming near him create such a sense of pity for such a kind, gentle animal.
I don’t know that we really needed the run-in with Azula & Co. immediately after, but it was entertaining enough to see her and her compatriots clash with the Kyoshi Warriors. And the follow up, with Appa trying to return to familiar surroundings and ending up meeting a Guru at the Eastern Air Temple, portends all sorts of interesting things. The Guru is an appropriately weird character, but the way he bonds with Appa and sends him toward Aang, speaking in broad strokes mysticism all the while, made for an interesting denouement to all this excitement.
Of course, he has to get captured by the guy who seems to be the season’s big bad before we can go, which ends things on a bit of a down note, but still, it is, true to the Homeward Bound influence, an incredible journey that owes a great deal to the animators and design team for communicating so many emotions and so much character from a big fluffy sky buffalo. The fact that a wordless beast can inspire so much feeling is a testament to how good the A:TLA team is, even when they’re working with one hand tied behind their backs without the use of dialogue or typical story progression.
