Matthew Young35 said:I feel like I’m being targeted here, likely because I’m probably the biggest *Odyssey* nerd on this entire forum. So, fine. Let’s address it.
Age is an irrelevant metric when judging cinema. I’m old enough to claim I was at the premiere back in 2010 for *2001: A Space Odyssey* at the AMC Lincoln Square. That film holds up just as well today as it did when it first hit the screen decades ago. I remember catching Lynch’s *Dune* when it was brand new—the kind of film he famously didn't even want his name attached to because he thought it was a disaster. That one is harder to pin down. At times, it feels like pure genius; at others, it’s a total facepalm. Personally, I lean toward the former. Perhaps it's just the influence of all those classic novels I've read. Who knows?
On the other hand, you’ve got Star Wars. To me, that's pure trash, regardless of its legacy status. It’s more of a space western than actual science fiction, isn't it?
Now, tell me this: where on earth are you getting the idea that good movies aren't being made today? I specifically said that great sci-fi isn't being made—not that good cinema, in general, is dead. If you look at other genres, there is far more substance and quality being produced than what we see in science fiction. And honestly, this isn't just a modern grievance; it’s always been this way. Throughout the entire history of American filmmaking, truly intelligent, high-quality sci-fi has always been a remarkably rare breed.
It’s actually quite bizarre when you step back and look at the state of things, both in literature and in the world of graphic novels.
That is exactly my point. Once you spot a snob, they are incredibly easy to identify. graniteheron132 and Noah Roberts46 are textbook examples of that breed. They refuse to form an opinion unless it aligns with some arbitrary internet consensus. It’s always the same tired rhetoric: "You only praise classics like The Godfather because they're old." 🤣
Does that mean you two snobs won't be praising the movies you love today thirty years from now? Because if you intend to laud current cinema decades down the line, you are nothing more than hypocrites. You aren't just elitists; you are frauds. What’s truly hilarious about people like you is that you lack the self-awareness to realize you're being pretentious. People like graniteheron132 have existed in every era. I remember back in 2005, browsing old internet message boards and file-sharing sites; you could find the exact same brand of arrogance there. In my experience, these "connoisseurs" have actually seen very few films, genres, or directors. They don't want a debate; they simply want to belittle anyone who disagrees. Go ahead and claim I'm insulting you, but the reality remains: I am merely pointing out how weak your arguments are.
I’ll say it again: some people praise *The Godfather* simply because it’s considered a masterpiece, likely out of pure insecurity rather than genuine appreciation. It’s the same pattern with *The Odyssey* or *12 Angry Men*; while critics and audiences generally align, I refuse to believe these classics built their reputations on a foundation of fake enthusiasts. There is simply no chance that.
I am utterly exhausted by snobs like graniteheron132 and Noah Roberts46, who hide behind internet consensus and recycled talking points just to praise older films simply because of their age. Let’s be clear: there are "recognized classics" that I personally cannot stand. For instance, I have zero interest in the New Hollywood era, which everyone seems to agree was the pinnacle of American cinema. I don't care for films like *Dog Day Afternoon*, *Nashville*, or *The Exorcist*; they just don't resonate with me. That said, I can acknowledge when an older film is a genuine masterpiece, such as *The Odyssey* or *Vertigo*.
Matthew Young35 said:I feel like I’m being targeted here, likely because I’m probably the biggest *Odyssey* nerd on this entire forum. So, fine. Let’s address it.
Age is an irrelevant metric when judging cinema. I’m old enough to claim I was at the premiere back in 2010 for *2001: A Space Odyssey* at the AMC Lincoln Square. That film holds up just as well today as it did when it first hit the screen decades ago. I remember catching Lynch’s *Dune* when it was brand new—the kind of film he famously didn't even want his name attached to because he thought it was a disaster. That one is harder to pin down. At times, it feels like pure genius; at others, it’s a total facepalm. Personally, I lean toward the former. Perhaps it's just the influence of all those classic novels I've read. Who knows?
On the other hand, you’ve got Star Wars. To me, that's pure trash, regardless of its legacy status. It’s more of a space western than actual science fiction, isn't it?
Now, tell me this: where on earth are you getting the idea that good movies aren't being made today? I specifically said that great sci-fi isn't being made—not that good cinema, in general, is dead. If you look at other genres, there is far more substance and quality being produced than what we see in science fiction. And honestly, this isn't just a modern grievance; it’s always been this way. Throughout the entire history of American filmmaking, truly intelligent, high-quality sci-fi has always been a remarkably rare breed.
It’s actually quite bizarre when you step back and look at the state of things, both in literature and in the world of graphic novels.
What’s your take on Andromeda Strain?
Paul Martinez73 said:First off, I'm siding with Ryan Hall4, who showed up acting totally unhinged, so there you have it...
Modern movies are just tailored for today's mindless crowds and the aggressive marketing machine that keeps sucking people in because they get all their news from Facebook and Instagram, where paid ads are hitting them from every single angle.
You see the exact same thing happening with soccer—the actual quality of play is worse than it used to be, and the obsession with viewership numbers is killing the sport. It’s perfectly normal that someone who hasn't seen *12 Angry Men* wouldn't know what a real movie is, or someone thinks *Casablanca* is stupid just because it's in black and white and lacks the sci-fi special effects of something like *The Avengers*... much like how people are suddenly obsessed with modern soccer and massive transfer fees when they didn't give a damn about the game before.
The *Avengers* kind of reminds me of that one movie—maybe it was *New Year's Eve*—where they just threw twenty A-list stars into a blender and called it a movie, and everyone rushed to the theaters to see it.
Nowadays, they churn out films that don't make any sense at all. People are losing their minds over *Dunkirk*, yet there isn't really a plot to speak of; there are five better movies about Normandy out there, but somehow this is considered a masterpiece. It's the same deal with the *Avengers* smashing box office records.
But hey, to each their own...
Well put. You provided a perfect example with Casablanca. I was just as naive as a kid, listening to people rave about what a "great film" it was; naturally, when you hear nothing but praise for something you haven't seen, you end up resenting it. Eventually, I watched it. While it might not be my absolute favorite, it is undeniably an excellent piece of work. Bergman and Bogart famously clashed off-set, but that is the essence of great acting. It is packed with legendary lines and iconic shots. Bogart was a powerhouse.
That is precisely why we have lost our cinematic foundation. Did we grow up on blockbusters? Sure, but compare those classics to the hollow spectacles produced today. It wasn't just blockbusters, though. We grew up with whatever the networks broadcasted, and I know for a fact they regularly aired classics that allowed us to build a genuine appreciation for real filmmaking. Today, those classics aren't on TV nearly as much—I see it myself. Furthermore, it is nearly impossible for a kid today to sit in front of a TV without being distracted by a computer or Facebook; they are raised almost exclusively on modern blockbusters. When they finally try to pivot to an older film, they lack the fundamental appreciation we developed during our childhood. Even video rental stores played a massive role—I'd argue, the most significant role of all.
