Wait there is a good movie about the French-Mexican war? Hell yeah I need to check that out

The only Crash I recognize is the one about people who get horny for car crashes.

God I hate that movie so much

Oh I really liked this movie when it came out. Tried to rewatch a few years ago and holy shit the rapist cop is actually a good guy doncha know

Writing essays about how woke Beauty and the Beast is. Completely normal.

i just got whiplash after reading an angry fascist nerd complaining about how The Emoji Movie is too woke to presumably the same nerd reviewing The End of Evangelion

there isn’t even an explanation for why the End of Evangelion is liberal. It just says Shinji fails his boss and masturbates

I do love Redford for this though. He had shopped his script about a widower president around for a decade. Man just wanted to see that dumb idea on screen

“In later interviews, writer Aaron Sorkin told TV Guide he wrote the screenplay while high on crack cocaine while he was living at the Four Seasons Hotel in Los Angeles, which is why it took him three years to complete it.[10]”

Judd Apatow’s work has not aged well.

🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣🗣

I didn’t like it even in the moment.

The Iron Man 1&2 movies were funded by the USDoD after all. Most Hollywood movies that have military equipment or military bases in them are funded by the USDoD. The USDoD gives studios access to military equipment and military bases in exchange for allowing the USDoD to have creative control over the film.

In this short video the role of the DOD in making Iron Man more visually spectacular is referred to by the Air Force Entertainment Liaison Project Officer Capt. Bryon McGarry, who talks of their aircraft as ‘production value’. One of the producers Jeremy Latcham spoke of how impressed he was by the sheer amount of military hardware in some shots, estimating it was worth ‘a billion and a half dollars’. These comments suggest that the DOD knows that it has the ability to add extra production value to movies that no one else can provide, and thus it places them in a position not just to influence scripts, but to influence which movies become the biggest blockbuster hits. Thus they have some control not just over individual films but over the shape of the entire Hollywood industry.

https://www.spyculture.com/pentagon-production-assistance-agreements-iron-man-12/

Wait you’re not joking?

You misinterpreted the entire meaning if you think this. The “poor” sub-basement family of conmen were fascist class traitors who betrayed the actually poor basement dwellers who worked hard and were in debt, and they got their comeuppance and a mutual destruction of the rich and poor classes instead of a successful revolution. It’s a story of class betrayal, the dangers of lacking solidarity and the futility of selfish behavior to climb the ladder. A warning and fable based in Marxist framing. The central magical macguffin, the rock, symbolized class mobility as it was given by an upper class friend to the main character at the same time he gave him a job offer and foot in the door for upward movement. That rock then was his own downfall as he tried to use it to murder a fellow proletariat to secure his position as a lackey of the rich, fumbled it, then was violently smashed by it used against him. Then he had permanent brain damage freezing him in a deluded mindset of upward mobility.

It should also be considered in it’s uniquely South Korean context, the director was not that subtle about the basement family being DPRK. There was a whole scene about it. This entire movie is a reflection on the South Korean left’s failure to fulfill reunification, and predicting an upcoming mutual destruction. The housekeeper even begs the mother as a sister, as a fellow worker, to not report her and her husband for hiding in the basement. In response, the mother turns to call the police and turn them in. This is the main moment of failure, the betrayal. The other was getting her and the driver fired and using allergens on her and gaslighting the housekeeper of course, that’s the Korean War (biological weapons and class/national treason from the South Koreans, the main characters of the film and the intended audience). This is the turning point of everything, and it also represents the missed opportunity to reunify and go socialist afterwards by uniting against the rich family to usurp them together.

If you don’t believe all this is intended, Bong Joon Ho’s other films are allegories of revolution where the back of the train kills there way to the front of the train - and The Host, a horror movie where the repugnant monster represents American occupation. Neither are nearly as subtle as Parasite, they’re much more on the nose. In South Korea it’s illegal to express any positive opinion on DPRK directly, so this sort of allegorical indirect message is the farthest one can go.

My West Wing loving ex demanded I watch this movie.

I actually did. But I don’t remember shit about it.

everyone in that movie talks as if they are reciting from a middle-school history textbook.

came here to say this one, especially when Thaddeus Stevens’ “heroic moment” in that movie is him NOT saying black people are equal with white people to roaring applause and triumphant music. Like what the fuck were they thinking? It’s literally celebrating compromising scientific fact and your personal beliefs in the name of civility.

I know that movie was a few years before Hamilton, but they definitely were part of the same ”look how great our nation’s diverse history is” Obama-era liberalism where the end goal was a ”we may disagree on some things, but we can agree on how great our nation is” statement

The first 3 transformers movies were partly funded by the USDoD.

https://www.spyculture.com/pentagon-production-assistance-agreements-transformers/

If I remember right the DoD censored a line from the first Transformers about a troop committing suicide

In the Dark of the Night goes pretty hard as well

Jokes on you, I watched small soldiers until the tape wore out and that movie’s whole message is centered around how the military industrial complex brings fascism home to roost

All the President’s Men genuinely helped create the environment of modern US journalism. And for that it can burn in hell