Skip to main content

Recent post about "Annihilation," at the NewYorker Movie Facebook Club


Patrick McEvoy-Halston shared a link.
Richard Brody dismissed "Annihilation" as a movie that got graded on a curve, and that it is really one where plot dictates, and characters get narrowed: a stupid master -- plot, that is -- has his way, and the potentially interesting constituents -- characterization -- suffer for it. To like the film, critics would have to be those who find way to praise a picture that is absolutely unimaginative. To empathize with the characters, female critics would have to be those who are ready to project their own situations into pretty much anyone who could be forced to serve, even those who are constructed feebly, thinly, and flimsily.
Then you flip to some of the reviews themselves, examples like this, https://theoutline.com/…/annihilation-review-body-horror-mo…, and this, http://www.vulture.com/2018/02/annihilation-review.html, and you find for example someone "left [...] breathless with its unforgiving depiction of the relentless weight of depression; the impulse to self-destruct," and another who argues that the Shimmer immediately releases possibilities; that it stimulated the characters to develop.
So what do we think? Are New Yorker critics become obtuse to the experiential reality of a new generation, unable to recognize worth in matter, realized self-reflection in matter, than a younger generation will respond to instantly and gestate on to produce their own art in the future? Are the young more traumatized, and are triggered to respond to horror more automatically, even if lacking in presentational quality, leaving their interesting delineations of their responses unreliable as a measure to grade the actual quality of the matter they responded to? Are they just desperate to enthuse OVER ANY film that registers their "existential plights"?
Are the young being furthered abandoned by reviews like this one, where they might not be able to find themselves at all, in a review which presents itself as registering a very authoritative, complete sussing out of the very complicated matrix that is any film? You don't laugh out aloud at this one -- as everyone surely has to find their most truly honest response to the film to be -- and you don't exist.
THEOUTLINE.COM
The sci-fi thriller allows women to explore life without giving literal birth to it.

Comments

Popular posts from this blog

True Detective cont'd

Recently, Rachel Syme wrote this
As the dust settles on the “True Detective” finale, and the adventures of Rust Cohle and Marty Hart fade into the television firmament like the distant stars they found so meaningful, at least one thing is clear: it didn’t quite end the way we wanted it to. There is no doubt that the writer, Nic Pizzolatto, and director, Cary Fukunaga, pulled off a midseason coup, giving us a show in the January doldrums that caused temporary mass insanity. Like one of Rust’s intoxicating philosophical koans about sentient meat, “True Detective” cast a kind of spell over its viewers, convincing them that no matter what it was they were watching it was at the very least something worth the hours of debating, clicking, parsing, and comment-section feuding. Moreover, the gorgeous cinematography depicting Louisiana in the gloaming, the delectable short-anthology format, and the movie-star bona fides made us believe that we were watching something novelistic, even approachi…

Film Reviews, Updated