Christopher Nolan’s ambitious sci-fi space epic Interstellar has proven itself to be a very contentious topic of discussion among hardcore moviegoers (and Nolan fans). And in the three years since its release and after Nolan’s newest film Dunkirk, the debate has only gotten more divisive.
Warning: the post you are unfortunately about to read is filled with snark and sarcasm, known to many of you as Snarcasm. Please refrain from taking anything said here seriously, because as usual, none of it actually matters at all.
Those of us who put an extraordinary amount of hopes and dreams into Rotten Tomatoes had our hearts crushed recently. You see, a movie can only be good if an arbitrary percentage of arbitrarily chosen tastemakers arbitrarily place said movie on an arbitrarily designed spectrum. And so it is for Lady Bird, one of the most successful indie films of all time and until the release of Paddington 2, the best reviewed of all time according to a website that brings vegetables into a literal equation.
What soiled the 100% rating for Lady Bird on said vegetable counter platform? Well, none other than someone you’ve never heard of. Cole Smithey rated the film a gentleman’s C+, just barely putting the film under a “fresh” rating for Rotten Tomatoes.
What does this mean? Not much, except that we now have a chance to roll our eyes at someone’s alleged opinion. Surely, this is an honest review and not one designed to draw attention to an unrecognizable website few would bother to read a review from unless it was the sole contrarian in a sea of praise and released weeks and weeks after every other critic published their review. Surely.
Snark + Sarcasm = what you’re about to read. The Pixar Theory is old news, everyone. You know it. I know it. Lee Unkrich practically breathes it into the cease and desist letters he claims his lawyers send me. And then there’s Joshua Eyler, who graciously wants to speed the process
This past week, there’s been the usual discussion between Nolan nerds over how his latest film, Dunkirk, fits in with the rest of his work. I normally stay out of these ranking conversations because my rule of thumb with Nolan is that his movies take time to process and analyze, for better
From Toy Story to Finding Dory, which Pixar movies found the most financial success with audiences?
We all know that Cars, Cars 2, and Cars 3 are confusing enough when thinking about how their world works or makes sense compared to ours. But for Pixar Theory fans, we have a lot of great arguments to hang our tin-foil hats on.
Did Pixar lose its way, or did we lose our way with Pixar? There’s no real answer to the latter part of that question because it makes no sense. But the article we’re snarcasming this week actually does make a lot of sense and deserves to be approached thoughtfully. Even though it’s basically wrong for the most part.