criterionforum.org

Leah Greenblatt @ EW wrote:But in a moment when internet culture can cancel a movie as minor as The Hunt for fomenting “anger and hate”...

DarkImbecile wrote: Tue Sep 10, 2019 11:14 pm Again, you mean?

Never Cursed wrote: Tue Sep 10, 2019 10:14 pm God, the pre-release discourse surrounding this movie is going to be so embarrassing to look back at in two years/a year/immediately after the film comes out.

mfunk9786 wrote: Tue Sep 10, 2019 10:10 pm Stupidest shit I've seen yet in film criticism: Entertainment Weekly refuses to assign a letter grade to Joker, citing "the [dangerous] wider impact Joker is poised to make"

erok910 wrote: Wed Sep 11, 2019 6:36 am

Never Cursed wrote: Tue Sep 10, 2019 10:14 pm God, the pre-release discourse surrounding this movie is going to be so embarrassing to look back at in two years/a year/immediately after the film comes out.

Not a common poster here. Really dig these forums, rather exclusively if I may add. I read through very very often. But my lord- this is so on point. See ya'll in two years.

quim_font wrote: Wed Sep 11, 2019 2:20 pm Has anyone read a defense of this movie as the most deserving of the Lion? That seems to have been lost in all the shuffle, while I've seen middling-to-good reviews, I don't think I've read any that have heralded this as a major achievement,

quim_font wrote: Wed Sep 11, 2019 1:30 pm Those comments...I think it’s now it the cycle where the anti-outrage outrage becomes more insufferable than the original.

mfunk9786 wrote: Tue Sep 10, 2019 10:10 pm Stupidest shit I've seen yet in film criticism: Entertainment Weekly refuses to assign a letter grade to Joker, citing "the [dangerous] wider impact Joker is poised to make"

Jacobin wrote:The implication seems clear that what’s wrong with Phillips is he’s a bro, too bro to be able to handle such volatile subject matter as a film featuring a psychotic man activating the angry masses. We’ve seen this figure in several films in recent years — see Exhibit A: Bane in The Dark Knight Rises. It’s a reliable source of topical terror to liberals as they contemplate with absurdly equal abhorrence the political rise of Donald Trump and Bernie Sanders.

But Phillips’s youthful endeavors do a lot to contextualize the emergence of Joker as an indication of greater filmmaking ambition and the possibility of his actually having made an interesting film. So far no one seems intrigued by Phillips’s early career, which includes a few years studying at NYU’s Tisch School of the Arts where he made the documentary Hated: GG Allin and the Murder Junkies, a portrait of the scabrous punk rocker that scored a theatrical and DVD release — almost unheard of for student films. Dropping out to finish Hated, he worked at the legendary, seedy, and comprehensive Kim’s Video and Music in the East Village, a rental house specializing in rare and esoteric films which “graduated” its own illustrious bunch of notable ex-clerks turned filmmakers, musicians, and artists. He co-directed a second documentary, Frat House, which took a darkly critical view of college fraternity life and won the Grand Jury Prize at the Sundance Film Festival but foundered in release because of claims that frat members were paid to restage events. His third film, the rockumentary Bittersweet Motel, took Phillips on tour with the band Phish, which is where he met director Ivan Reitman, and the rest, as they say, is history.

Hated, he worked at the legendary, seedy, and comprehensive Kim’s Video and Music in the East Village