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  1. #9251
    MadMan Lives MadMan's Avatar
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    Quote Quoting Skitch (view post)
    My god. This is one of those things you tell your grandchildren about.
    Yeah. I always wanted to visit it.
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  2. #9252
    Replacing Luck Since 1984 Dukefrukem's Avatar
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  3. #9253
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    Good on them.
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  4. #9254
    Replacing Luck Since 1984 Dukefrukem's Avatar
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  5. #9255
    It would be really something if they would stop distributing content there.
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  6. #9256
    Actions speak louder than words and this remains only a nice bit of PR until they actually leave Georgia.

    Reed Hastings, Netflix's CEO, donated large sums of money to Republican legislators in Mississippi who want to enact a similar abortion ban.

    Coca-Cola, which talks a whole lot of bullshit about diversity and female empowerment in its press, donated $40,000 to the politicians who pushed the abortion ban through.

    These companies are in the same ideological group as Chik-Fil-A, but as someone pointed out on twitter, nobody is calling for a boycott of Netflix and Coke.

  7. #9257
    Also, when Bob Iger says it will be "very difficult" to remain in Georgia and that "I think many people who work for us will not want to work there" it sounds nice but he's not talking about the rank and file production staff, who won't be in a position to quit their jobs and lose income over this.

    He's probably thinking of people like Brie Larsen and Ava DuVernay, who would never agree to show up in Georgia because doing so would do too much damage to their personal #brand.

    This may be good in the short term, in view of this abortion law, but it's a terrible precedent for obvious reasons.

  8. #9258
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    Quote Quoting Irish (view post)
    A
    These companies are in the same ideological group as Chik-Fil-A, but as someone pointed out on twitter, nobody is calling for a boycott of Netflix and Coke.
    It's a lot easier to ban Chik-Fil-A than coke and Netflix.

    For Coke, it's like, do you call every restaurant ever and tell them to stop buying it? Heh.

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  9. #9259
    Quote Quoting Dukefrukem (view post)
    For Coke, it's like, do you call every restaurant ever and tell them to stop buying it?
    Yes? You don't buy it yourself and you tell the distributor why. That's how boycotts work. It's not meant to be convenient. It's meant to send a message.

    I'm not even thinking of the practicalities though --- just the call.

    For all their posturing about gender and identity and progressive politics, I haven't seen one critic, or anyone in and around #filmtwitter, call out Hastings or Netflix. (They can't, or they're too scared, because they don't want to get blacklisted.)

    Meanwhile, Hastings is pulling the same style of bullshit as the family that owns Chik-Fil-A. That's fucked up.

  10. #9260
    Administrator Ezee E's Avatar
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    I'm pretty damn close to just deleting Twitter for the hypocrisy out of FilmTwitter. Majority of them never see movies outside of what their own film fest credentials bring to them, which means they don't see any of the films that they say people should see.

    Then this follows through to Netflix, they'll never call out them because it's one of the few things they have on their own, and they'd obviously look terrible to review anything Netflix-y afterwards.

    There's a good select few on FilmTwitter, and it is fun to get a general, quick idea of what people think of things, but it's turning into a whole different world on there versus what's actually out there.

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  11. #9261
    Quote Quoting Ezee E (view post)
    I'm pretty damn close to just deleting Twitter for the hypocrisy out of FilmTwitter. Majority of them never see movies outside of what their own film fest credentials bring to them, which means they don't see any of the films that they say people should see.
    !!!

    Couldn't agree more (and the rampant festival coverage is particularly obnoxious).

    What films were you thinking of when you say, "they don't see any of the films that they say people should see"?

  12. #9262
    the maker of my own evil Ivan Drago's Avatar
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    I'm convinced Film Twitter's knowledge of cinema doesn't go past 1988. The freaked-out reactions to the three hour runtime of Avengers: Endgame made it very clear that they've never heard of, nor would last Ben-Hur or Lawrence of Arabia.
    Last edited by Ivan Drago; 05-31-2019 at 03:37 AM.
    Last Five Films I've Seen (Out of 5)

    The Keep (Mann, 1983) 2.5
    Sonic The Hedgehog (Fowler, 2020) 3
    Zombie (Fulci, 1979) 3.5
    The House By The Cemetery (Fulci, 1981) 4
    Gretel and Hansel (Perkins, 2020) 3.5
    The Big Clock (Farrow, 1948) 4

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  13. #9263
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    If anything, I feel like Film Twitter has been dragging netflix constantly?
    Midnight Run (1988) - 9
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    Sisters (1973) - 6.5
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  14. #9264
    Administrator Ezee E's Avatar
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    Quote Quoting Irish (view post)
    !!!

    Couldn't agree more (and the rampant festival coverage is particularly obnoxious).

    What films were you thinking of when you say, "they don't see any of the films that they say people should see"?
    Films directed by women that aren't prevalent and foreign films that aren't the "top tier" of the year. Heck, High Life barely got any coverage, but it's directed by Claire Denis (a top name foreign female director), it's genre, big thinking (didn't work though)... But because it wasn't very festival-attended, it forced the critics/bloggers to shell out their own money, and they completely avoided. $1.2 million box office... and it's gone. It has themes that would certainly make the SJWs of FilmTwitter get, uh, twitterpated.

    Booksmart, seen well ahead of its release by most of its purveyors, is being deemed the biggest thing for indie films, and when audiences didn't see it, the same group just can't understand why.

    Which does kind of callback to our discussion earlier about Cannes, and the different experiences. They got to be "first ones that saw it" and with the directors/actresses doing Q&A and interaction afterwards, so I think that may have skewed their own opinion.

    Then there's a few journalist guys on there that are just simply rude if you disagree with their opinions.

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  15. #9265
    Quote Quoting Peng (view post)
    If anything, I feel like Film Twitter has been dragging netflix constantly?
    Specifically over Hastings' donations?

    I've seen people complain about Netflix's programming choices in the past, such as re-upping "Insatiable" or cancelling "One Day at a Time," but I haven't seen anyone drag the company for their tepid, self-serving position on Georgia.

  16. #9266
    Quote Quoting Ezee E (view post)
    Films directed by women that aren't prevalent and foreign films that aren't the "top tier" of the year. Heck, High Life barely got any coverage, but it's directed by Claire Denis (a top name foreign female director), it's genre, big thinking (didn't work though)... But because it wasn't very festival-attended, it forced the critics/bloggers to shell out their own money, and they completely avoided. $1.2 million box office... and it's gone. It has themes that would certainly make the SJWs of FilmTwitter get, uh, twitterpated.

    Booksmart, seen well ahead of its release by most of its purveyors, is being deemed the biggest thing for indie films, and when audiences didn't see it, the same group just can't understand why.

    Which does kind of callback to our discussion earlier about Cannes, and the different experiences. They got to be "first ones that saw it" and with the directors/actresses doing Q&A and interaction afterwards, so I think that may have skewed their own opinion.

    Then there's a few journalist guys on there that are just simply rude if you disagree with their opinions.
    Yeah, the festival atmosphere definitely skews opinions (ohhhhh the hype coming out of FantasticFest every year).

    Your post reminds me that "High Life" kinda got fucked the way a lotta indie stuff does. It played Toronto last September and NYFF last October, so I heard about it in fits and starts, and then it didn't get a U.S. release until April this year. When it showed up in theaters, all the Indiewire guys and twitteratti had long since moved on to Sundance and SXSW and Cannes.

    I've lost count of the times these dudes have hyped the shit out of something at a festival but then don't say a word about it when it actually hits theaters, DVD, or streaming.

    ETA: The reaction to "Booksmart" I just can't understand. Fun movie, good leads ... but it's not the best thing this year and it's definitely not 4 stars or 98% or whatever. My God.
    Last edited by Irish; 05-31-2019 at 05:21 AM.

  17. #9267
    the maker of my own evil Ivan Drago's Avatar
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    Quote Quoting Ezee E (view post)
    Booksmart, seen well ahead of its release by most of its purveyors, is being deemed the biggest thing for indie films, and when audiences didn't see it, the same group just can't understand why.
    I'd argue that as a raunchy comedy from the female perspective, it not only served well as sold counter-programming for that weekend against Aladdin and Brightburn, but also as the kind of indie film that could've saved Annapurna Pictures (and hell, all of indie film at this point) from bankruptcy, and/or forcing filmmakers to go to Netflix to get their passion projects made for the forseeable future.

    But trans was right when Disney bought Fox: the people want to be reminded of how great the animated Disney cartoons were in the 90s, and be invested in the same unchallenging superhero blockbusters rather than broaden their horizons.
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    Sonic The Hedgehog (Fowler, 2020) 3
    Zombie (Fulci, 1979) 3.5
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  18. #9268
    the maker of my own evil Ivan Drago's Avatar
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    Also, while I give the studios credit for taking a stand on the right side of the issue (in my opinion), I have friends that work in Georgia's film industry, and pulling their productions out of the state is going to screw them over hard. I can't not be concerned.
    Last Five Films I've Seen (Out of 5)

    The Keep (Mann, 1983) 2.5
    Sonic The Hedgehog (Fowler, 2020) 3
    Zombie (Fulci, 1979) 3.5
    The House By The Cemetery (Fulci, 1981) 4
    Gretel and Hansel (Perkins, 2020) 3.5
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  19. #9269
    Quote Quoting Irish (view post)
    I've lost count of the times these dudes have hyped the shit out of something at a festival but then don't say a word about it when it actually hits theaters, DVD, or streaming.
    Is that really their job, to keep hyping a film as it moves further downstream? Claire Denis has been a festival director her entire career; I don't see why anyone would expect High Life to be economically viable in theatrical release, the presence of Robert Pattison notwithstanding. (After all, it's not as if Cosmopolis or Good Time were massive hits either.) Ultimately it's a film that exists for festivals, retrospectives and other one-off screenings, torrents, and specialized streaming services like Mubi. Not every film has to cross over. In fact, the overwhelming majority don't.
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  20. #9270
    Administrator Ezee E's Avatar
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    Quote Quoting baby doll (view post)
    Is that really their job, to keep hyping a film as it moves further downstream? Claire Denis has been a festival director her entire career; I don't see why anyone would expect High Life to be economically viable in theatrical release, the presence of Robert Pattison notwithstanding. (After all, it's not as if Cosmopolis or Good Time were massive hits either.) Ultimately it's a film that exists for festivals, retrospectives and other one-off screenings, torrents, and specialized streaming services like Mubi. Not every film has to cross over. In fact, the overwhelming majority don't.
    They pick and choose. They saw Booksmart back at Fantastic Fest and got on their knees this weekend for people to see it.

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  21. #9271
    Quote Quoting Ezee E (view post)
    They pick and choose. They saw Booksmart back at Fantastic Fest and got on their knees this weekend for people to see it.
    I haven't read too much about that one, but from what I understand, it's a crowd-pleasing high school comedy that checks all the right SJW boxes signifying "contemporary relevance," and therefore much more likely to cross over to a non-festival audience (i.e., nuance-averse liberal hipsters who care more about a film having the right politics than the right aesthetics) than Claire Denis at her most unrelentingly dour.
    Just because...
    Our Town (Kawashima Yuzo, 1956) warm
    Tales of Ginza (Kawashima Yuzo, 1955) warm
    Photograph (Ritesh Batra, 2019) cold

    The last book I read was...
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    The (New) World

  22. #9272
    Administrator Ezee E's Avatar
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    Quote Quoting baby doll (view post)
    I haven't read too much about that one, but from what I understand, it's a crowd-pleasing high school comedy that checks all the right SJW boxes signifying "contemporary relevance," and therefore much more likely to cross over to a non-festival audience (i.e., nuance-averse liberal hipsters who care more about a film having the right politics than the right aesthetics) than Claire Denis at her most unrelentingly dour.
    You're definitely right there from just the trailers alone.

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  23. #9273
    Quote Quoting baby doll (view post)
    Is that really their job, to keep hyping a film as it moves further downstream? Claire Denis has been a festival director her entire career; I don't see why anyone would expect High Life to be economically viable in theatrical release, the presence of Robert Pattison notwithstanding. (After all, it's not as if Cosmopolis or Good Time were massive hits either.) Ultimately it's a film that exists for festivals, retrospectives and other one-off screenings, torrents, and specialized streaming services like Mubi. Not every film has to cross over. In fact, the overwhelming majority don't.
    I wasn't thinking so much about financial viability. Films such as "Shoplifters" and "Burning" had small or non-existent U.S. theatrical releases, similar to to "High Life," but still received critical attention all the way down the line.

    I think Ezee is on to something. Critics pick and choose and the choice often seems arbitrary.

    The first time I noticed this phenomenon was back in 2013 or 2014, when a buncha the fanboy press hyped the ever living shit out of Sion Sono's "Tokyo Tribe" during FantasticFest, but then never said another word about it once the festival was over.

    It's gotten so bad that I can no longer tell the difference between a serious critic and a junket whore, so I undersand Ezee's impulse to delete his twitter account and stop paying attention to this shit.

  24. #9274
    Quote Quoting baby doll (view post)
    I haven't read too much about that one, but from what I understand, it's a crowd-pleasing high school comedy that checks all the right SJW boxes signifying "contemporary relevance," and therefore much more likely to cross over to a non-festival audience (i.e., nuance-averse liberal hipsters who care more about a film having the right politics than the right aesthetics) than Claire Denis at her most unrelentingly dour.

  25. #9275
    Quote Quoting Irish (view post)
    I wasn't thinking so much about financial viability. Films such as "Shoplifters" and "Burning" had small or non-existent U.S. theatrical releases, similar to to "High Life," but still received critical attention all the way down the line.

    I think Ezee is on to something. Critics pick and choose and the choice often seems arbitrary.

    The first time I noticed this phenomenon was back in 2013 or 2014, when a buncha the fanboy press hyped the ever living shit out of Sion Sono's "Tokyo Tribe" during FantasticFest, but then never said another word about it once the festival was over.

    It's gotten so bad that I can no longer tell the difference between a serious critic and a junket whore, so I undersand Ezee's impulse to delete his twitter account and stop paying attention to this shit.
    Disparities of this sort reflect the ability of US distributors to muscle reviewers. Sony Pictures Classics, for instance, has been pretty effective in getting their releases on reviewers' top ten lists.
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    Selected Stories by Katherine Mansfield


    The (New) World

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