Random thoughts about Film etc

if at first you don't drive it into the ground, try again..

the Color Purple, musical no Less.

https://www.frontpagemag.com/the-narcissism-of-the-color-purple-is-turning-off-audiences/

Never saw the original. Or read anything about it.

I see from the commentary, they put racialism on steroids. And now are losing money.

Good.

I wouldn't be the least bit aware of even half the crap being churned out by Hollywood or whatever else if people on the right weren't reporting on it. To me, it seems like they're giving this elitist, Marxist garbage more power than it deserves. I have no use for anything that passes for "modern entertainment". All the music, video games, TV shows, etc. that I enjoy have been made decades ago, years before I was even born. At some point, it all stopped being enjoyable and was now being made as a tool for social engineering. Everything these days has to have a "message" to it, and usually not a very good one. I try to stay far away from things like that, as well as the people who have been taken in by it.

hollywood is bereft of any ideas or creativity...everything is rehashed in in a less than quality sort of way. This is what woke does. It is said that what God intends to destroy he first takes away wisdom. i can believe that.

Madam Web....not doing so well.

https://www.hollywoodreporter.com/movies/movie-news/madame-web-bomb-killed-sony-franchise-1235829471/

maybe it's time to bring in those trans super heroes. Be interesting to see a trans super hero/heroine with incontinenc3 trying to fight crime...that would be probably white hetero males refusing to date trans.

The trailer buzz was worrisome, advance ticket sales anemic. Then last week, the critic reviews for Madame Web were posted, and they stung deepest of all — Sony’s Spider-Man spinoff received the lowest average Rotten Tomatoes score (13 percent) of any major superhero film in nearly a decade.

“On Wednesday night, you could actually watch advance purchase sales declining in real time as buyers were refunding their tickets,” marvels a major theatrical chain insider. “It really says something when you’d rather have Shazam! 2 numbers.”

Some of these look pretty good.  I'll avoid the first one though.



Gotta go to youboob to see it though.

THE BEST 'book report' on GWTW...Gone With The Wind....film/book.

https://www.frontpagemag.com/gone-with-the-wind-revisited/

just a small piece of the article regarding characters:

Melanie represents Christian spirituality. She’s close to a Christ figure. Her physicality is the opposite of robust Scarlett. Melanie has a “thin childish figure” and a “serious heart-shaped face that was plain almost to homeliness.” Melanie dies a martyr’s death. She knows she shouldn’t have another child, but she loves her husband and she loves babies and so she tries, and dies. But Melanie is strong. Melanie is generous, supportive, and slow to anger. With her charity and reliability, she builds a network of admirers and allies around her, from wealthy and powerful matrons to penniless and crippled war veterans. With this community, she is able to accomplish important goals, always goals that somehow make someone else’s life better.

One of the oppositions that drives the novel is the tension between weakness and strength. Scarlett is overtly strong; she arouses lust, she gives birth, she plants and harvests, she makes money, and she kills. Melanie is small and physically fragile. But while Scarlett’s selfishness and boldness alienate many, and weaken her, Melanie’s love for mankind empowers her. Scarlett’s vitality protects Melanie physically. Melanie’s Christian love protects Scarlett emotionally and socially.

GWTW does not make clear whether Melanie knew about Scarlett and Ashely’s love and lust for each other, or about their few stolen kisses. My Melanie knew. And she was so spiritually strong, that she didn’t care. She loved both her husband and her “sister” Scarlett anyway.

Scarlett represents laissez-faire capitalism. She’s a one-woman Industrial Revolution. After the war and Sherman’s destruction of Atlanta, Scarlett rebuilds the city, through her lumber mill. Her forward momentum is unstoppable. She focuses on the next job that needs doing. The past can take care of itself, and anyone who gets hurt in her wake is not her problem. In the end, they’ll thank her, because her money keeps mouths full and roofs over heads. Her beneficiaries include blood relatives, former slaves, and people she doesn’t much like and who don’t like her. They batten at her trough even while quietly cursing her. They are too intimidated to cross her.

Audiences condemn Scarlett’s selfishness. Selfish Scarlett is the greatest benefactor in the book. She makes money so she can redistribute it. “She didn’t want her children raised in … poverty and grinding hardships and insecurity. She never wanted children of hers to know” the suffering she had known. “She wanted a secure and well-ordered world in which she could look forward and know there was a safe future ahead for them, a world where her children would know only softness and warmth and good clothes and fine food.”

Scarlett loves Ashley. Ashley “moved in an inner world that was more beautiful than Georgia and came back to reality with reluctance.” Gerald repeatedly warns his daughter Scarlett that Ashley is “queer.” Scarlett is “furious at the slur of effeminacy.” Gerald asks Scarlett, “Do you understand his folderol about books and poetry and music and oil paintings and such foolishness?”

“Oh, Pa … if I married him, I’d change all that!”

Ashley is a bleeding heart liberal. Scarlett hires convict labor at her lumber mill. Her overseer is brutal. “I do not believe that happiness can come from money made from the sufferings of others,” Ashley protests.

But you owned slaves, Scarlett reminds Ashley.

I would have freed them after father died if the war had not freed them, he retorts. But Ashley, like any bleeding heart liberal, is a good relativist. He insists to Scarlett that he is not judging her. “Scarlett, don’t think I’m criticizing you! I’m not. It’s just that we look at things in different ways and what is good for you might not be good for me.” Sheesh, Ashley, take a stand.

I fell in love with Ashley on that first viewing. I thought all women would prefer Ashley, the nice guy, to Rhett, the bad boy, who threatens to crush Scarlett’s skull. Boy, was I wrong. I’ve never met another Ashley girl. I even just tried googling “I love Ashley” and I can’t find any women who share my passion. I found only women who “love Ashley” as a baby name – for a girl.

Rhett is the least realistic. He is a fantasy figure representing an impossible-to-achieve combination of women’s desires. He’s a self-made millionaire who satisfies Scarlett’s every whim. He gives her “f— you money” although in GWTW it’s “go to hell” money. He pays enough attention to Mammy to know that the perfect gift/bribe for her is a red taffeta petticoat. In real life, self-made millionaires tend to look like Bill Gates, Jeff Bezos, or Mark Zuckerberg, not Clark Gable. Rhett has the body of an athlete, in spite of his drinking, smoking, and debauchery. In real life, really gorgeous guys tend to be gay, self-absorbed and shallow, or gym rats who have time for little other than their mirrors.

In spite of his departure from real life, Rhett is larger than life. He exerts the pull that every woman has ever felt around a charismatic bad boy. Rhett the libertine represents libertarianism. He breaks rules, does what he wants, and condemns everyone, except Melanie, as a hypocrite. “I am a monster of selfishness … I always expect payment for anything I give.” Among the first things we learn about Rhett is that he was expelled from West Point for reasons too terrible to spell out. Rhett smilingly profits from the Civil War while scoffing at the ideals Southerners mouth to support it. He’s a regular customer at the whorehouse.

After our betters condemn the book’s racism, they condemn the rape scene. There are debates about why women readers find the scene erotic – see this 1995 New York Times article, “Feminists Give a Damn.”

Let me uncloak the mystery. Rhett is pure alpha male, but the entirety of his maleness, all the power, all the privilege pre-feminism Scarlett could never hope to exercise, is devoted entirely to Scarlett. Rhett hands his superpower, his maleness, to Scarlett. He notices her. He listens to her. He cares about her. He thinks about her while going years without seeing her. He knows her better than she knows herself. He explains her motivations to her. Before Rhett carries Scarlett up the staircase, even as she’s fighting him off, there are three thousand words of text – three thousand words! – mostly devoted to Rhett talking to Scarlett, revealing how besotted he is with her.

A man who’d listen to me? Rather than chiding me that I talk too much and have too many opinions? A man who’d pay attention to me? I once asked a boyfriend what color eyes I have. He didn’t know. The attention Rhett pays to Scarlett, not the rape, is the most erotic aphrodisiac any novelist ever concocted.

Watched Churchill last night. What a freaking insult to the man.
I like Brian Cox but DAYAM. Utter hogwash.

https://www.rogerebert.com/reviews/churchill-2017

The Five best Churchill movies and Churchill isn't among them.

https://winstonchurchill.org/publications/finest-hour/finest-hour-179/five-best-churchill-films/

Exodus...1960, paul newman, eva marie saint, jill hayworth, sal mineo, george maharis, peter lawford, and others whose names you'd know.

I'm thinking. Is this actually a pro israel movie?

Ghost busters...the one with all women...which stunk i might add.
https://www.breitbart.com/entertainment/2024/09/29/nolte-lady-ghostbusters-director-still-blames-trump-supporters-for-flop/

Eight years out and the female director is still blaming the film's flop on Trump supporters.

“The political climate of the time was really weird, with Hillary Clinton running for office in 2016. There were a lot of dudes looking for a fight,” the little crybaby told the Guardian. “When I was getting piled on, on Twitter, I’d go back and see who they were. So many were Trump supporters.”


“Then Trump came out against us. He was like: ‘They’re remaking Indiana Jones without Harrison Ford. You can’t do that. And now they’re making Ghostbusters with only women. What’s going on?’ and got all upset.”


That’s true. Trump said that. And it was hilarious.


Then Feig claims, “Everybody went fucking cannibal. It turned the movie into a political statement, as if to say: ‘If you’re pro-women, you’re going to go see this. If you’re not, then …’”


“I didn’t think it mattered at all that the main characters were women,” he said, “but people brought a lot of baggage.”

Let’s just go to the science, shall we?

Point one: If the box office failure of Lady Ghostbusters was caused by American sexism towards all-female reboots, why was Ocean’s 8 a hit about 18 months later?

Point two: How did Trump fans create this failure when Hillary Clinton won almost 66 million votes? You don’t even need 25 million of those voters, fewer than half, to find yourself with a box office hit. Roughly speaking, about 15 million people paid to see Lady Ghostbusters here in North America. Assuming all 15 million of those admissions were purchased by Hillary voters, that leaves 51 million Hillary voters who didn’t bother to see the movie. So…

How is it the fault of us MAGA Bros. that 51 million Hillary Clinton voters didn’t want to see an all-female remake of Ghostbusters?


Point three: Lady Ghostbusters opened pretty well with $46 million. This means that what killed it was…

Point four: The movie was just bad — sexless, uninspired, choppy, not a single memorable scene or character, and no big laughs.

Point five: Let’s not forget that the people involved in the movie chose to capitalize and lean into the online anger, rather than ignore it. Instead of rising above it to say this is a movie for everyone, the filmmakers sought to further divide the fans under the stupid belief they could score at the box office by turning out Hillary’s supporters.  How dumb was this? And this? And this?

Point six: Trump supporters have the power to kill a Hollywood project? Yeah, I wish…

All that aside, if the movie had been any good, it wouldn’t have lost tens of millions.