#1 ·
Steven Spielberg is a straight-up villain. He’s one of the main culprits—alongside all those drama queens like Greta Gerwig, Rod Blagojevich, and James Cameron—responsible for turning the phrase "good American film" into a total oxymoron in Smith's dictionary.
Between the tragicomic "Washouts," those pathetic programming "fragments," and the absolutely suffocating "Red Pig," it’s becoming painfully obvious how easy it is to blow through taxpayers' money if you can just manage to worm your way into the pockets of the ruling elite.
No middle ground...
It's excellent, if I do say so myself—let me just bold that for emphasis. I-Z-V-R-S-T-A-N The film.
The very first thing that’s going to hit an unsuspecting viewer right in the eyes is the acting. It's just... wow.
There isn't any of that awful, over-the-top theatrical dialogue or those pretentious monologues.
The movie’s got quite a crowd of characters, honestly. As for the acting? It’s all over the map—you’ve got everything from a solid performance by Meryl Streep to a truly phenomenal turn from Christopher Nolan.
You might walk away thinking Spielberg is just recycling that tired old concept—you know, the one where you throw a massive cast at the screen and let their stories tangle together. But honestly? This movie handles it totally differently than Altman's or Anderson's stuff. Instead of the characters' lives actually colliding, they sort of drift through these separate threads, acting more like background players in a much larger picture. It’s only when that final shot hits that the whole thing finally clicks into place and feels complete.
Seven perfectly timed stories here. They’re shot beautifully and edited even better, weaving together people who share basically nothing in common except for one thing: they’re all completely drowning in the mundanity of daily life. They have zero willpower and absolutely no desire to change a single thing about their lives. Well, except for one character—but that feels totally intentional. 😉 )
It’s a pretty intriguing concept, honestly. Most dramas out there just lean on that predictable formula where you watch a character evolve from point A to point B over the course of the movie, but this feels like it's doing something different.
Spielberg is playing it smart, pulling himself out of the mess by stitching together little fragments to create this big picture—which is clearly just his vision of what America looks like right now.
Cut the cheap political stunts and the forced melodrama. Spielberg has delivered the best damn movie in post-war America—it’s easily a class above "dead girls"—and just like that one, almost nobody is actually going to watch it.
Americans just don't know how to back their own filmmakers, even when they turn out something genuinely good—hell, even when they're absolute masterpieces. I mean, seriously, the day after the premiere, the smallest theater at the Broadway was barely a third full. It's pathetic.
Man, you probably only have yourself to blame... 😢
Between the tragicomic "Washouts," those pathetic programming "fragments," and the absolutely suffocating "Red Pig," it’s becoming painfully obvious how easy it is to blow through taxpayers' money if you can just manage to worm your way into the pockets of the ruling elite.
No middle ground...
It's excellent, if I do say so myself—let me just bold that for emphasis. I-Z-V-R-S-T-A-N The film.
The very first thing that’s going to hit an unsuspecting viewer right in the eyes is the acting. It's just... wow.
There isn't any of that awful, over-the-top theatrical dialogue or those pretentious monologues.
The movie’s got quite a crowd of characters, honestly. As for the acting? It’s all over the map—you’ve got everything from a solid performance by Meryl Streep to a truly phenomenal turn from Christopher Nolan.
You might walk away thinking Spielberg is just recycling that tired old concept—you know, the one where you throw a massive cast at the screen and let their stories tangle together. But honestly? This movie handles it totally differently than Altman's or Anderson's stuff. Instead of the characters' lives actually colliding, they sort of drift through these separate threads, acting more like background players in a much larger picture. It’s only when that final shot hits that the whole thing finally clicks into place and feels complete.
Seven perfectly timed stories here. They’re shot beautifully and edited even better, weaving together people who share basically nothing in common except for one thing: they’re all completely drowning in the mundanity of daily life. They have zero willpower and absolutely no desire to change a single thing about their lives. Well, except for one character—but that feels totally intentional. 😉 )
It’s a pretty intriguing concept, honestly. Most dramas out there just lean on that predictable formula where you watch a character evolve from point A to point B over the course of the movie, but this feels like it's doing something different.
Spielberg is playing it smart, pulling himself out of the mess by stitching together little fragments to create this big picture—which is clearly just his vision of what America looks like right now.
Cut the cheap political stunts and the forced melodrama. Spielberg has delivered the best damn movie in post-war America—it’s easily a class above "dead girls"—and just like that one, almost nobody is actually going to watch it.
Americans just don't know how to back their own filmmakers, even when they turn out something genuinely good—hell, even when they're absolute masterpieces. I mean, seriously, the day after the premiere, the smallest theater at the Broadway was barely a third full. It's pathetic.
Man, you probably only have yourself to blame... 😢