Overwhelmed with mediocre movies critics subsequently went soft on popular films as

Overwhelmed with mediocre movies, critics subsequently went soft on popular films as

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It's easy to hate on critics, particularly when they're not fans of your favorite movies or shows. But if their recommendations don't actually help you pick your next Netflix binge, it raises the question: do they even matter? Let's find out in this Wisecrack Edition on Star Wars and The Witcher: Are Critics Useless? 



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Star Wars and The Witcher: Are Critics Useless? – Wisecrack Edition

Seeing themselves nearly overwhelmed they fought back with a fury they'd never expected to need And again

Seeing themselves nearly overwhelmed, they fought back with a fury they'd never expected to need. And again

Rare Earth

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The Greatest Revenge Story Never Told

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We've come a long way since Pong was state-of-the-art. Let's have a look at some of the milestones in computer graphics over the years.

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History of GPUs As Fast As Possible

Flux

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Why you’re not progressing (and how to fix it)

 Did you just say overwhelmed by the penis of it

 Did you just say, overwhelmed by the penis of it?

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Are Walmart Gaming PCs actually THAT bad?

Michael here with a question bound to encourage only the most civil and polite conversations:

Turns out, it REALLY depends who you ask.

If you’re a critic there’s a good chance you did not like it.

Just 52% of critics on Rotten Tomatoes endorsed The Rise of Skywalker.

If you’re just an everyday movie-goer, you probably loved it a full 86% of audience

members, and a VERY vocal social media army, unabashedly bought the goods that JJ Abrams

An almost identical gap in consensus came with The Witcher, which recently debuted to

a tepid 66% approval rating from critics on Rotten Tomatoes compared to an impressive

Watchmen, on the other hand, had an equal and opposite problem, snagging a whopping

96% approval rating from critics, and a mere 54% from the audience.

Now this is hardly the first time audiences and critics have vehemently disagreed, but

Rotten Tomatoes has just made it easier to quantify their bickering.

Critics are an easy target for… well, criticism.

In popular culture, they’re typically portrayed as failed wanna-be artists, cultural saboteurs,

But while we might get cranky about them not loving the latest Star War, they have exerted

an undeniably profound impact on the film industry.

Some critics and their thumbs have even become celebrities in their own right.

But, judging from recent controversies, they may not be able to reliably help you figure

out what to binge on Netflix and what you should confidently skip.

And in a world where critics and fans are regularly at odds, we thought it’d be worth

Let’s find out in this Wisecrack Edition on Film Critics: Are They Useless?

Before we can judge the usefulness of the critic, we need to figure out their purpose

In theory, film critics help us separate the cinematic cream from the Emoji Movie crop.

But ironically, in its earliest days, cinema wasn’t even considered worthy of criticism

Paying someone to review a film would be like paying someone to review this Bill Murray

gif, which, incidentally, is a job we’d gladly take.

The practice of film criticism wouldn’t begin in earnest until around 1907, when industry-specific

trade papers sprang up and started assigning general reporters to write about film.

According to the documentary For the Love of Movies, these reviews were simple, opinion-free

plot synopsis mainly published to encourage advertising from movie studios.

But, as scholar Jerry Roberts notes in his book on the history of film criticism, there

Folks like Frank E. Woods and Vachel Lindsay saw the potential of film to become a serious

They believed it could change the way we see, think and dream about the world.

In the first-ever book of film criticism, Lindsay argued that the medium wasn’t only

art, it was “painting in motion, poetry of the eye.”

Once films started talking in the late 20s, critics like Alexander Bakshy attempted to

articulate what made film a unique art like its collapse of space and time and its ability

to show the same scene from different angles.

But despite that creative potential, film was still largely seen as a cultural stepchild.

According to film scholar David Bordwell, early-to-mid-century critics like Parker Tyler,

Otis Ferguson and James Agee transformed and elevated film culture, praising everything

from life-like dialogue to deep-focus cinematography to Freudian symbolism.

Their work was essential to film becoming the defining medium of the 20th century.

This status was only augmented in the 60s and 70s, thanks to very-visible celebrity

critics like Andrew Sarris and Pauline Kael.

As the century neared a close, critics continued to elevate independent directors like Quentin

Tarintino, the Coen brothers, and John Sayles to popular attention.

In short, rather than being some parasitic institution of talentless hacks, critics have

been well, critical, to the development of cinema that does not suck.

In recent decades, it may have been, well, a little to nice and not critical enough.

Scholar Jerry Roberts dates this development back to the era of Jaws and Star Wars, which

conjured fandoms and even a subculture out of thin air.

Studios subsequently became laser-focused on replicating their success, sometimes very

You can’t make a career of shitting on everything most people love.

Unfortunately . On top of that, studios began throwing more money at marketing practically

tripling their spending between 1980 and 2007.

Increasingly, they shelled out dollars to the “Blurb Mill,” or marketing-adjacent

journalists who would regurgitate praise that looked good on a movie poster.

By the late 1980s, press junkets had become central to studio marketing.

In what sounds like a truly awesome if slightly morally compromising gig, junket reporters

are flown out to fancy hotels, fed classy meals and given sick swag bags full of gifts

That might sound like a conflict of interest, because it totally is.

Quick note: Some media organizations like the New York Times and Wall Street Journal

forbid journalists from accepting these sweet “gifts”.

And of course, plenty of critics can and do still pan movies even after glamorous junkets.

But the practice still led to a lawsuit against studios in 2001 for “perpetrating a fraud

on the movie-going public” by essentially paying for endorsements.

The suit was settled for 1.5 million dollars.

Meanwhile, film criticism was becoming increasingly superficial, focusing more and more on production

costs, box-office revenues and the ever-growing cult of celebrity.

Perhaps most importantly, film critics’ opinions have become increasingly less likely

That’s largely because of the aforementioned ginormous marketing budgets.

While a good review from the New York Times could start your career in the 1970s, all

the positive reviews in the world for today’s best art film usually can’t help it break

Conversely, even the most scathing reviews don’t mean much against a barrage of ads

for the latest Pirates of the Carribean, even if the plot doesn’t have a peg leg to stand

Still, that doesn’t mean film criticism as a WHOLE doesn’t matter.

Think of Rotten Tomatoes, whose “Tomatoemeter” still positions critical opinions first and

Scholar Mattais Frey argues that the site actually validates the practice of criticism

Test your pronunciation!

“overwhelmed”