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But, really, no movie better captures our #MeToo moment than this one, from its moral obtuseness, to the way it tries to manipulate the public's view of the artists making the movie, to the way it represents the fundamentally icky and transactional nature of showbiz. in the New York Times, highlighting his penchant for yanking his crank in front of women who had no interest in Little Louie. They were spooked by a damning exposé of director/star Louis C.K. (Thoughts here.) A bit of a cheat, I guess, since the distributor bailed on releasing I Love You, Daddy just days before it was scheduled to hit theaters. The model pioneered by Blumhouse Productions has its drawbacks and its limits- Split ($9 million budget) and Get Out ($4.5 million budget) both occasionally look incredibly cheap think of the final transformation in Split and the set for the surgery in Get Out-but damn if the studio isn't churning out the most regularly entertaining low-budget flicks around. ( Split review here Get Out essay here.) Two low-budget indie horror films from the beginning of 2017 with more verve and nerve than just about anything else this year. In a world flooded with #content, these are the features that I recall as having truly made an impact. With that in mind, it may make more sense to think of the following not so much as a "best" list than a "most memorable" list. It wasn't all bad, of course, though much of the good-entertaining sequels like John Wick 2 and Alien: Covenant visionary misfires like Valerian-has faded from memory. There's nothing quite like carving out a month for movies and shuttling from flick to flick with no reaction more impressive than "Yeah, that was fine, I guess." Ah well. From The Last Jedi to The Shape of Water to Phantom Thread to Call Me By Your Name, much of the year-end, award-season rush simply failed to move the needle. Or, perhaps more charitably, underwhelming movies.
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This decrease in surplus population and the vile capitalistic use to which it has been put, I presume, helps explain why the unemployment rate is at a 17-year low and the stock market is at an all-time high.īad movies were, actually, my biggest problem this year. We get it, you think the United States has devolved into an authoritarian hell-scape where the weak are ground into paste and fed to the Koch Brothers' dogs.
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Of all the trends in year-end pieces this December, the most annoying is the one typified by the first sentence of the AV Club's wrap up: "Bad movies were the least of anyone’s problems in 2017." This is true literally every year-no one's most pressing problem has ever been spending $15 on The Emoji Movie-and so fatuously self-congratulatory in our current moment.