Monday, May 12, 2025

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Do Studios Think Antiquated Bygone Eras Are The Ticket To Oscar Gold? Or Do They Just Want To Flirt With Box-Office Death?

Seriously Hollywood, what has been upppppp with you lately.

Last year you produced multiple dark dramas that were both hard to follow, full of big words, sudden endings, and some even riddled with abstract ideas (some even told out of chronological order! how the fuck are we supposed to understand that shit). Think “There Will Be Blood,” “No Country For Old Men” and other amazing movies that made little money (OK, ‘Country’ made money).

Some critics said they were ok (although the clear underlying whiny message was, “do they have to be so dark?”), but really did anyone go to see them outside of these annoying film geeks (like us), no, and they were certainly no crown jewel of America cinema like the recently released “Ironman.” Finally after we had to sit through all that shit, you release some stuff this summer we can get into it (and understand), but now we hear that for the fall season you plan to release multiple period pieces (not quite sure what that is), but damn, who cares about what happened before 1990, did they even have iPhones back then??

The films range from Clint Eastwood’s 1920’s missing-child drama “Changeling” (will it include black characters?) and Baz Luhrmann’s massive World War II production Australia to indie flicks from searchlight which includes the sure to be sentimental Dakota Fanning vehicle “The Secret Life of Bees.” And that is just scratching the surface, there is still the 18th century Keira Knightly corset drama “The Duchess,” an adaptation of Peter Morgan’s play about political corruption in the 70’s “Frost/Nixon,” by milquetoast director Ron Howard, Leo DiCaprio’s ‘s new 1950’s Boston-based drama “Revolutionary Road,” and Spike Lee’s Miracle at St. Anna, and that is just naming a few.
“It seems like Hollywood is merging with the History Channel,” media critic Robert Thompson whined to the Hollywood Reporter in between brewskis and Monday Night Football.

We understand the draw to attract Oscar hype by going out on a limb and making a film to please the pretentious circle jerk that is the Academy, but really you might have over done it this time. With all these releases crammed into a window of 10 to 12 weeks it seems that you have a bad case of market saturation on your hands. Those film nerds might have embraced last years World War II period piece “Atonement” but only because it wasn’t competing with like twelve other movies that looked exactly the same (and look how it got totally overlooked come Oscar time).

Hollywood, you just can’t seem to figure out your own game, in your pursuit of Oscar glory you have left us with nothing but a bunch of films about shit that happened before we were born and able to send text message to one another in class. How are you supposed to understand the characters with their use of big words and archaic speech patterns. Lets just hope that Apatow has his comedic servants working on something this fall so we can avoid all that thinking-man’s shit.

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