Sawyer
17 and AFRAID of Sabrina Carpenter
- Joined
- Apr 4, 2004
- Messages
- 113,553
- Reaction score
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- 203
Haha, Devin Faraci. What a ****ing baby.
That's what I was referring to.
Roger Ebert was a great film writer.
Faraci is meh to me. Critic Hulk is way better than him.
I still don't understand why people hate Faraci so much anyway. Just one dude with his own opinions and such. And the hate always seems to be in relation to DC/Marvel stuff, when dude doesn't even love every thing Marvel puts out.
Anyway, the site has a lot of interesting stuff going on their outside of simple recycling info from other sites or the trades.
Does El Mayimbe contribute anything productive?
I don't care about his opinions so much as I don't like the kind of hateful attitude he propagates. Too many people that follow him think it's fine to crap all over people for liking things that aren't necessarily received perfectly, but get defensive when they admit to doing the same and act like it's ok.
I still don't understand why people hate Faraci so much anyway. Just one dude with his own opinions and such. And the hate always seems to be in relation to DC/Marvel stuff, when dude doesn't even love every thing Marvel puts out.
Anyway, the site has a lot of interesting stuff going on their outside of simple recycling info from other sites or the trades.
The problem with the overwhelming emphasis on socio-political readings of films - looking at how they echo in the zeitgeist, attaching pejorative or (laudatory) ideological labels to them, fitting them into broader categories - is that it's a fairly easy, lazy way to do criticism, and one that doesn't really get to the heart of the work at all. A detailed aesthetic critique, examining how the work functions as a unique individual entity (while obviously drawing on/referencing outside sources, be they other films or the larger social/historical milieu) is much more difficult, and also much more interesting. The emphasis on politics, either left or right, also has a dangerously conformist streak to it: it's all about pigeonholing both films and the people who watch them. There's some kind of relief to reducing everyone to demographics, whether they are defined by race, geography, or political beliefs. It streamlines and simplifies the conversation and comforts a lot of people because they don't have to feel confused about where they "belong" anymore, they can march in lockstep with a larger contingent.
I'm not dismissing the sociological angle altogether - I've done a lot of it myself, and it can certainly be illuminating and enjoyable. But leaving the conversation at the level sets the bar awfully low.
You make a lot of good points Napoleon, on Pacific Rim, on national suicide awareness day, etc. I also disliked how Faraci critiqued the Japanese film The Wind Rises as not apologizing enough for pearl Harbour, a standard he doesn't apply to American films.
I just want to point out that it's fine for Faraci to preach feminism and hire strippers. There's nothing intrinsically wrong with paying for sex-related entertainment. Strippers are paid workers.
All of that said, Faraci gas faults but I think he has strengths too. He expands discussion online. He doesn't only discuss Marvel+Batman+StarWars like the rest of the internet. Tgere are a lot of good articles on BMD.