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Why Are Liberal ‘Don’t Look Up’ Stans Attacking Film Critics?


On Wednesday, the director, writer and producer Adam McKay himself into an ongoing debate on Twitter among critics and more ardent fans of his latest Netflix movie Don’t look up, a cautionary tale about our current climate crisis. Perhaps in response to film critics who found the film unsatisfactory, he tweeted, “Love all the heated debates about our film. But if you don’t have at least a little bit of anxiety about the climate collapsing (or the US tipping over) then I’m not sure Don’t Look Up makes any sense. It’s like a robot watching a love story. “WHY should Are thEir FacEs cLoSe ToGether?”

If McKay was ever hoping to dismiss accusations that he’s one of the more snobby filmmakers right now, this statement certainly doesn’t help. Actually, the main charge against Don’t look upthe effect of a satire, as described in evaluate and on certain parts of Twitter, is the exasperated nature, in which it considers its audience to be extremely ignorant and unconcerned that our planet is rapidly becoming hotter and therefore That should be illuminated by a heavy parable. Therefore, it makes sense that McKay, along with the author and former speechwriter of Bernie Sanders David Sirota, who co-wrote the story and a series freelance doctor, is categorizing anyone – but mainly journalists – who have criticized the film as indifferent to the threat of climate change or more extreme as climate change deniers .

For those who haven’t seen it yet Don’t look up, the film follows two scientists, played by Leonardo DiCaprio and Jennifer Lawrence, on a mission to inform the public about a rapidly approaching comet that will wipe out the Earth. Their warnings are coldly dismissed as they urge self-interested politicians to take defensive measures and lousy journalists cover the impending disaster before it’s too late, only to become into viral memes on social media — in the same way that our most important institutions have failed to adequately address global warming for the sake of capitalism, and how children these days are more concerned with getting likes on Instagram than the fate of humanity. Understood?

While McKay rightly targets those in power, his two-hour analogy overlooks a global movement of science advocates, environmentalists and laypeople. who will inevitably campaign around this scenario, including journalists who will actively cover it. Instead, the media is widely portrayed as incompetent and unconcerned with public safety. DiCaprio’s character was noted for his looks while Lawrence’s character was ridiculed on social media for his television brawl. And the larger public only cares about their livelihoods when the comet appears.

According to McKay’s analysis, there are very few human species on Earth — McKay is clearly one of them — smart enough to act in their own interest or compassionate enough to care about the future of others. Meanwhile, vulnerable community people who are experiencing the dramatic effects of climate change right now — not just when it comes to a stage where it impacts everyone violently, which is what McKay seems to be primarily concerned with in the film. This is — spreading awareness, suggesting solutions, and keeping government officials on task.

Despite these complaints, I wasn’t completely turned off by the movie, perhaps because I’ve grown accustomed to McKay’s doactic tones over the past five years or have been warned on Twitter weeks ahead of time. I found it easier to digest as a lighthearted fun popcorn movie as opposed to the challenging, gritty text it wanted. The film’s main charm is its quirky but mostly successful combination of heavyweights who deliver stellar comedic performances, including — in addition to DiCaprio and Lawrence — Tyler Perry and Cate Blanchett in stars as the immensely popular cable TV hosts, Timothee Chalamet as the punk skater, Rob Morgan as the head of the Planetary Defense Coordination Office (which McKay wants us to know as the head of the Planetary Defense Coordination Office). real), Mark Rylance is a tech billionaire, and Meryl Streep is a hybrid between Hillary Clinton and Donald Trump.

I found it easier to digest as a lighthearted fun popcorn movie as opposed to the challenging, gritty text it wanted.

Although I had a good time watching Don’t look upAccording to McKay, Sirota and its bunch of stupid defenders, I simply don’t “get” the urgency of our climate crisis because I don’t think the movie is necessarily smart. (despite the fact that I only tolerate 50 degrees of Christmas in the Northeast). I can’t think of a better example of how Hollywood conceives of activism than a filmmaker judging the public’s environmental perception by their reaction to a costly Netflix movie. $75 million to make and most likely generates tons of waste in the process. More telling, this is another common occurrence of artists refusing to accept what critics do for their ego. It goes without saying again every time a lackluster film is released that a critic’s job is to judge the quality of a film and how well it conveys its ideas, not to endorse critics. make movies on the basis that the ideas they present are true.

This distinction between criticism and marketing can become blurred to outsiders as art and journalism are increasingly produced under the same roof. Likewise, a “review” belong to Don’t look up on Netflix’s editorial arm, Tudum quickly went viral following the McKay boom. The site, which includes only internal content, described the film as a “perfect satire”, demonstrating that if some of the poorly paid internet writers didn’t have McKay’s backing, then the billion dollar streaming platform funded his movie and now an Oscars campaign certainly has.

Perhaps McKay should mention the disintegration of journalism under late-stage capitalism.

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