Z

By Other Voices voices@moviecitynews.com

If Manipulative Marketing Keeps Making Money… Why Stop Making Bad Movies?

I recently sat through over two hours of cheesy one-liners, and I’m left wondering whether the 92% favorable rating given to The Avengers by critics on Rotten Tomatoes means they’re all on the studio’s payroll or just didn’t think critically enough. I’m also beyond confused as to why Marvel didn’t hire Jon Favreau, Kenneth Branagh, Joe Johnson or Louis Leterrier – or indeed any director with the genuine talent to tell a story. Joss Whedon has no credibility for this project, and was clearly out of his depth. What a waste – of the studio’s money, and of mine as a frequent moviegoer and shareholder. To mention nothing of the minds of Americans, which this movie will help to further dumb down into thinking that hype and CGI make a “good story” despite grossing $200M opening weekend. But unlike other consumer products, smarter moviegoers can’t “return” their viewing of this movie for a refund.

Let’s begin with the script, which is appallingly low-minded. Even a fast-paced comic- book-hero action movie can and should contain thoughtful, character-revealing dialogue (dialogue meaning more than two sentences per utterance, at least now and then!).    It becomes quickly impossible to care at all about any of these once-special characters, each of whom is reduced to sheer flatness.

Nor is there any discernable armature (moral) – just a vague sense that the movie is flogging to death the platitude of how awesome America is because it’s full of rag-tag teams of really special, gifted people who are destined to save the world from some nebulous evil. The entire plot is, in fact, disconnected and rambling. On the one hand, the movie makes the sweeping assumption that every moviegoer will already know the backstory of the characters (It opens with Loki arriving and being introduced as Loki. End of introduction.) Why not set up each character (as well as the concept of S.H.I.E.L.D) in a way that ties all the prior movies together into this one? But regardless of the lack of backstory and context-setting, the plot is full of outrageously intelligence- insulting turns that are devoid of both logic and human (or superhero) authenticity. Loki plans to use the Hulk against the group – because in a convenient up-ending of logical continuity, the Hulk’s first rage in this movie will be unleashed on anyone and anything around him and be unable to distinguish his friends and enemies. The Black Widow announces that apparently, a blow to the head is sufficient to clear Loki’s magical mind- controlling energy zaps. Loki opens a hole in the sky and randomly brings in Transformers-esque aliens to help him in his feebly articulated quest to “free Earth from freedom”.

Kudos to critics like A. O. Scott for telling the truth about this movie and Whedon’s failed vision for The Avengers. Just because people spend their money on something hotly anticipated doesn’t mean it’s good. This movie is a crass manipulation of people to cough up money to cover the studio’s ill-spent investment, and you can keep doing this because moviegoers are not entitled to demand a refund for the waste of two hours of their life. Nor, can they take you to court over product misrepresentation through trailers that set a tone of quality that the feature film doesn’t even begin to reach. Clearly, it’s time for that kind of consumer protection in the movie industry, because failing that it seems unlikely that studios will actually take responsibility for the egregious waste of resources that goes into churning out mediocre movies like The Avengers, let alone the outright duplicity of packaging it as something worthwhile and meaningful.

4 Responses to “If Manipulative Marketing Keeps Making Money… Why Stop Making Bad Movies?”

  1. Dewey says:

    Somebody call the WAAAAAAHmbulance.

  2. Think says:

    Is this The Onion?

  3. Alex McCaffrey says:

    I humbly disagree with most of your critique. Here are some bullets:

    *Setting up each character would take forever. You thought it was long as is, try adding another hour of establishing scenes. People who went to see this are fans. Period.

    *Its a free country, you don’t need to “cough up” any money if you have no interest in seeing it. Also, it never insulted my intelligence. Its a comic book movie. Suspension of belief is a given. Did you come out of Superman going “I’m not sure that spinning the world backwards thing is scientifically sound”. No one is trying to insult you. We like you. Its alright.

    *Demanding a refund for something is just bad form and embarrassing. Ill spent investment? It had box office receipts of over $200 million on opening weekend plus Thursday. Sounds like they are going to get a good ROI to me.

    *Taste is a subjective thing. General acceptance does not always equate to quality, but the stats on the opening weekend are insane. 50% of the audiance was over 25, 40% were women. Best open ever by a significant margin. This is a widely appealing and entertaining two hours. Slow out of the gate, but really delivered after that.

    *The CGI was used to enhance at just the right points. It was not a crutch like in some other movies. I believe it was well executed.

    I give it a B+ overall; it was refreshingly likable. Joss Whedon is the man BTW, with great nerdcred. Louis Leterrier, for real? After what I consider a failed Hulk and the disappointing Clash of the Titans, I wouldn’t let him sit for my dog. Something to consider.

  4. Kate Erbland says:

    It appears this anonymous letter was sent to a number of sites (we received it at FSR in our editors’ box), and it actually seemed too boring and off-base to publish. Not liking a film is obviously fine, but what exactly is the point of this?

Leave a Reply

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report