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apocat

Member
Oct 27, 2017
10,063
Shouldn't really have been a surprise to any of us, though. His comics are just drenched in misogyny. Especially the current Meta Baron run had me do several triple-takes in the vein of "he didn't just write that, did he??"

I haven't actually read any of his current stuff, but yes, there is a lot of questionable depictions of women, usually of the whore/madonna variation, throughout his works. Truth be told, while I always liked his films, when it comes to his comics, it's probably always been more about Moebius art than anything else. It's telling that I've never read any of his comics that Moebius didn't illustrate.
 
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Alice

Banned
Nov 2, 2017
5,867
It's not an issue in and of itself, but this thread is full of people dismissing his opinions as those of as an old, unknown and irrelevant director, when he is in fact incredibly lauded with an extensive catalogue of approachable and humanist films.

It's just a somewhat lazy response, and more often than not comes across as bragging about your own ignorance.

I see them as about as lazy as the tons of responses shitting on the MCU. There aren't really many actually nuanced opinions to be had in these threads.
 

Jest

Member
Oct 28, 2017
4,565
If a gate is kept on a wall but a giant just steps over it, is there really any gatekeeping going on?

As I have previously explained: I think gatekeeping is about keeping diverse people and views out of mainstream spaces and culture, be it through direct or structural exclusion. Saying that actually no, gatekeeping is any attempt to criticise anyone else operating in a space robs the language of its meaning. You're equating criticism of the mainstream with exclusion of the minority. It's a twisted logic.

I feel like you're going out of your way to purposefully miss the point. Like your comment about whether Loach's comments are political. He's famously socialist. He enthusiastically supports Corbyn. When he makes a comment about commodification in cinema, of course he's talking from a socialist perspective. If you want to honestly understand where he's coming from, you have to at least attempt to engage with that perspective, when you haven't. In fact at one point you stated you didn't think the economics were important.

So, I'm gong to reiterate my original point. You can't discuss matters of gatekeeping without some kind of material grounding. If it's just about the ideas and language, then it becomes reactionary

I do appreciate that you don't feel gatekeeping is limited to social justice or material impacts, but I think that's where you're wrong. If you say that Loach is gatekeeping in this instance, then you're creating an equivalence between the struggles experienced by the most marginalised and fair criticism of the established mainstream. That robs gatekeeping of its meaning. It's a perverse distortion of language.

The writers, directors, and crew of superhero films are not Giants in your metaphor. I've already repeatedly reiterated how this discussion between you and I has nothing to do with any company no matter how badly you want to wield that blunt, easy to hold weapon.

And as I have previously explained, Gatekeeping is not derived from nor is it solely applicable to social justice and equality. Gatekeeping is telling anyone that they don't belong, they don't count, they are not valid unless they meet X, Y, Z, requirements that have been arbitrarily chosen by an authority. Loach, Scorsese, and Coppola (unequivocally Authorities as denoted by their reputation) saying that Superhero films are not art/are not cinema is Gatekeeping. Flat out. Your personal feelings about what the term Gatekeeping applies to do not change this. I'm also not equating criticism of the mainstream with anything because I'm not the one in this discussion that keeps trying to suggest that criticism against all Superhero films (which is what Loach specifically did) is only criticism against Marvel. So films like Hancock, Super, Unbreakable/Split/Glass, Chronicle, Brightburn, and The Watchmen are all included in this criticism. And not all of those films are great but they are all films that tried to do something different. They're all films where the creators were trying something new, pushing boundaries of what was expected. And we don't get those films without Donner's Superman and Burton's Batman. And who knows what future filmakers will do with the Superhero framework after seeing the last 10 years of Superhero films. People wielding the weight of their reputation to cut down entire genres stifles creativity. It poison's the well for the next group of creatives.

I'm not going out of my way to miss any points here. What I'm doing is taking the comments of Loach at face value rather than making the assumption that because he has particular political views that those political views are the core of every single statement or opinion he expresses. I also don't feel I need to take pains to understand where he's coming from because his statement is wrong regardless of where he's coming from. And that seems to be something that you're failing to recognize. His experiences, logic, beliefs, and emotions may inform why he feels the way he feels but that doesn't make his conclusion that Superhero films aren't art, correct. We're not talking the value of those films as art. We're not talking the impact of those films as art. We're talking about whether they are art at all. And they absolutely are art.

I'm absolutely not equating the struggles experienced by the most marginalized with fair criticism of established mainstream at all. Just because Gatekeeping is used as a weapon against the marginalized doesn't mean that it's only used as a weapon against the marginalized and it sure as hell isn't the only weapon used against the marginalized. My calling out Loach's Gatekeeping for what it is, is a far, far cry from what you're suggesting and while you may mean well overall, you're off base on this assertion.

The issue of contention that I have with his comment is that he has asserted that Superhero films are not art. No matter how hard you want to try to contort this discussion, that statement is not a statement of social issue.
 

apocat

Member
Oct 27, 2017
10,063
I see them as about as lazy as the tons of responses shitting on the MCU. There aren't really many actually nuanced opinions to be had in these threads.

I don't think it's unnuanced to be of the opinion that the marvel movies generally are massproduced commodities that imposes huge restrictions on the creativity of its creators in order to toe the company line, market the rest of the marvel franchise and help sell merchandise. I also doubt any of Disneys stock owners would disagree with that statement.

I've seen all the marvel movies, liked a few of them, and is still of the opinion that they are mass produced and for the most part lacking in deeper meaning. Some, like the GOTGs, Ragnarok and Black Panther somewhat transcends this, as they occasionally let their respective directors joy of making movies shine through. But even those movies are creatively compromised by the very fact that they are marvel movies, and need to integrate with the brand as a whole.

In the end, I agree with the criticism that paints them as the closest thing to fast food you can get in todays movie climate. That doesn't mean that I think they can't be enjoyable, as evident by the fact that I do enjoy some of them. I just don't want to elevate them beyond what they are.
 

Alice

Banned
Nov 2, 2017
5,867
I don't think it's unnuanced to be of the opinion that the marvel movies generally are massproduced commodities that imposes huge restrictions on the creativity of its creators in order to toe the company line, market the rest of the marvel franchise and help sell merchandise. I also doubt any of Disneys stock owners would disagree with that statement.

I've seen all the marvel movies, liked a few of them, and is still of the opinion that they are mass produced and for the most part lacking in deeper meaning. Some, like the GOTGs, Ragnarok and Black Panther somewhat transcends this, as they occasionally let their respective directors joy of making movies shine through. But even those movies are creatively compromised by the very fact that they are marvel movies, and need to integrate with the brand as a whole.

In the end, I agree with the criticism that paints them as the closest thing to fast food you can get in todays movie climate. That doesn't mean that I think they can't be enjoyable, as evident by the fact that I do enjoy some of them. I just don't want to elevate them beyond what they are.

How do you know about those restrictions, when Gunn, Coogler and Waititi pretty much had free reign on those films? I feel like these "directors can't do their own thing!!" takes are largely coloured by what happenedduring the original Ant Man, and it's safe to say those were Perlmutter shenanigans.

I'm more talking about those comments, though, that paint people who watch MCU films, and find it shitty that films they like were labeled as "despicable", by someone who worships the ground Polanski walks on, no less, as comparable to the Alt-Right, or bumbling Idiocracy level morons. There's so much toxic hyperbole going around over what essentially boils down to movie tastes that I can't really blame anyone anymore for low effort posts.
 

meowdi gras

Member
Feb 24, 2018
12,661
Another observation on the discourse in these threads: the average quality of it seems to increase during the early AM hours, Eastern Daylight time--a period of time when most Americans are asleep. Trying my best to consider this mere coincidence...

Tarkovsky was a weird dude who hated loads of critically acclaimed films that currently considered to be the height of cinema, including the most famous works by Kubrick and Coppola. Weirdly, he thought that Terminator was an ok movie aside from the shite acting and violence (iirc bleak portrayal of the future resonated with him). So, who knows what he would say? (of course he would hated it, lol)
No doubt The Terminator struck a chord with Tarkovsky because it was right around the time he had made The Sacrifice, another movie dealing with post-apocalyptic themes. (Not to mention the similar timing of the Chernobyl accident.) Although as you observe, to say he had a low opinion of the acting and violence in Cameron's film is putting it mildly.

As for Tarkovsky hating whole bunches of critically-revered titles and filmographies, this was because he cherished a very well-developed and clearly-defined point of view in creating art which was a mere extension of how he approached life in general. Which is something I cannot say for the overwhelming majority of filmmakers, critics, and fans, based on what I've been able to observe from them. Few people are as emotionally and intellectually connected to the world around them as Tarkovsky, as evidenced by his incredibly-profound, compassionate films, which submit immensely more searching questions about our existence than all but a handful of other serious film artists (Dreyer and Tarr are two "conventional" picks which immediately come to mind). Such a level of insight and empathy is only achievable through intense introspection, cultivating a sensitive outlook to life, and study of various disciplines for exploring the human condition. (I personally endeavor to pursue an ever "enlarging of consciousness" in my own life.)

As it stands, these seem to be ideals very much out of fashion in our instant-gratification culture, as reflected in the banalities of popular art.

I also don't feel I need to take pains to understand where he's coming from because his statement is wrong regardless of where he's coming from
Honest question: how do you expect anyone to take your perspective seriously when you outright admit that understanding is not among your goals in engaging with the issues here (indeed, you almost seem to deem yourself "above" such mundane aims)? If not understanding, what are you hoping to achieve by so-vocally entering into the conversation? I ask because it's damn hard not to suspect that your motivation here is of a bullying nature, attempting to force your perspective on the dissenting.
 

SturokBGD

Banned
Oct 25, 2017
2,414
Ontario
I don't know why these discussions get so heated when Sparks put out an album that says everything that needs to be said about it and is really jolly good in the bargain.

 

jett

Community Resettler
Member
Oct 25, 2017
44,660
This is great. Deserving of its own thread even.

What does Scorsese, whose work has been relegated to a few weeks in an arthouse theatre and an unceremonious release on Netflix, just slightly better treatment than the movie The Tall Girl received, owe comic book movies? What does Coppola, who had to finance his last three movies with money he made selling wine because Hollywood won't give him the time of day despite directing The Godfather trilogy, owe comic book movies and their overly sensitive purveyors?

The deeply offensive thing here is that guys like Gunn and Philips owe their entire playbook to people like Scorsese. Without Mean Streets, there's no Guardians of the Galaxy, without Taxi Driver, no Joker. And yet it isn't enough for them. It's never enough. We must only talk about these movies — and positively. We must all spend money to see them so they can continue being made. We must never, ever review them negatively, for that might crack their utterly meaningless Rotten Tomatoes score.

It's not enough that there's one in theaters every three weeks, with kajillion dollar ad campaigns online and on billboards. It's not enough that everywhere you go, someone will ask if you if you watched whatever the newest insufferable thing is. It's not enough that critics have to review these movies anew as if they aren't written, lit, directed, costumed, production designed, art directed, and sanitized in exactly the same fashion.

It truly is never enough for the comic book fanboys.

Critics today? Plenty of them also like The Searchers or Day of the Outlaw or whatever old movie you want to throw down as having been similarly misunderstood in its time. Are Marvel fans watching these movies, too? Have they done anything to examine the cinematic history that laid the groundwork for their new favorite movies? Because Scorsese has. He's financed restorations of obscure arthouse and classic Hollywood alike. He re-introduced the world to landmarks of Polish cinema because he wanted to. And he's spent more time talking about Westerns than anyone currently using them as a cudgel against Scorsese's attitude.

I could really endlessly quote this article.
 

Violet

Alt account
Banned
Feb 7, 2019
3,263
dc
The quote about financing really struck me. It's not ONLY MCU/Disney fare, but in general Hollywood has murdered AA/prestige drama stuff in favor of AAA tentpole franchise movies. And it is detrimental to the film landscape as a whole
 

Jest

Member
Oct 28, 2017
4,565
Honest question: how do you expect anyone to take your perspective seriously when you outright admit that understanding is not among your goals in engaging with the issues here (indeed, you almost seem to deem yourself "above" such mundane aims)? If not understanding, what are you hoping to achieve by so-vocally entering into the conversation? I ask because it's damn hard not to suspect that your motivation here is of a bullying nature, attempting to force your perspective on the dissenting.

This isn't a discussion of philosophy nor is it a discussion of Loach himself or his films. It's a discussion of his statement that Superhero films are not art. I'm not saying or implying that I'm above the discussion of philosophy, social issues, or the goals and topics of any film or filmmakers work. I'm saying that any such discussion bears no relevance to the validity of the claim that Superhero films are not art.

The reason I'm not willing to engage on these topics is because they are an attempt to excuse a declaration that is patently false by framing it as a perspective. It's a longer form "imo" tacked on at the end of a statement, as if stating "imo" means that the statement is beyond reproach. It doesn't mean that and it isn't beyond reproach. Loach's feelings are just as valid as anyone else's feelings are but having feelings does not make zero sum statements true. So examining those feelings does nothing to service the point of contention. That he thinks Superhero films are not art.

This entire discussion would be completely different if his statement was primarily about the value or even the impact of Superhero films as art. That would then enter into the subjective, which would necessitate consideration and understanding of ones personal experiences, feelings, beliefs, etc... However, that's not what his statement is. Too often people couch objective declarations in the defensive blanket of opinion and that just doesn't fly. It's perfectly fine to find less value in one thing over another or to find no personal value in a thing at all. It's not perfectly fine to state that a thing objectively has no value when value is subjective to begin with. A billionaire may think of a single dollar bill as worthless but that does not mean the dollar bill is actually worthless. I do not need to understand the perspective of the billionaire in order to point out that the dollar bill does indeed have a factual worth.
 

TDLink

Banned
Oct 25, 2017
8,411
I guess I just don't see it that way, as it's not like Hollywood has always been the most open marketplace.
It doesn't feel any less varied to me, and I don't even agree that there is THAT much overlap in styles even within Marvel thanks to movies like Ragnarok, Black Panther, and Captain Marvel.

We are seeing directors like Jordan Peele and Jon M. Chu get mad love from both audiences and critics, which is a lot more interesting than Scorsese making another gangster movie IMHO.

The 2000s were the same thing with CBMs dominating the top of the charts.
There were just more high fantasy franchises there to balance out the modern comic book movies.
Lord of The Rings and Harry Potter dominated the charts back then...
Ragnarok, Black Panther, and Captain Marvel (or any MCU movie) don't feel very varied. They are all enjoyable, don't get me wrong, but they're much more similar than I think a lot of people here want to admit. They slightly change the paint over them, that's it.

Yes, we're still getting some lower budget movies that are being made from an original place like Peele's work. Blumhouse in general has been a big proponent of this... but, they also heavily franchise and deal specifically with low budgets and horror/thriller genre pictures.

Lord of the Rings was a different situation from the MCU in a lot of ways, I wouldn't compare it. Harry Potter may have been a closer precursor, sure. With both of these franchises though (and others) you still had them broken up with plenty of other big budget fare.

Compared to the 2000's theater visits, like TV ratings have gone down overall across the board. Even when we see mega blockbuster box office success, those numbers are often boosted considerably by the fact that China has been available where previously it wasn't.

The market has changed. Technology has leapt forward. Socially, people on average are feeling stretched economically and ticket prices to see a film have gone up substantially. To ignore those factors to simply blame Superhero movies isn't sound logic.
The market is always changing, but I really don't think those factors are as much as impact as you want to say they are.

People haven't stopped going to the theatre, they're just only going to these movies. It's pretty obvious when people show up 5+ times a year for every superhero film release that they're not shirking the theatres. We're talking about the year where one of these just became the highest grossing film ever, and Disney in on track to cross 10 billion in a single year. There are also programs now like the AMC A-list which people are utilizing to see more and more movies at a cheaper cost.
 

Jest

Member
Oct 28, 2017
4,565
The market is always changing, but I really don't think those factors are as much as impact as you want to say they are.

People haven't stopped going to the theatre, they're just only going to these movies. It's pretty obvious when people show up 5+ times a year for every superhero film release that they're not shirking the theatres. We're talking about the year where one of these just became the highest grossing film ever, and Disney in on track to cross 10 billion in a single year. There are also programs now like the AMC A-list which people are utilizing to see more and more movies at a cheaper cost.

People seeing the same movie multiple times has always happened. Arguably more so in the past when films would spend considerably more time in theaters (which is why nothing is ever going to touch Gone with the Wind's adjusted Gross). People enjoying these films enough to justify the cost to themselves doesn't mean that they view every film with the same cost to value ratio. It's extremely common to see people comment on the expense of a night at the theater. While Endgame became the highest grossing film ever, it did so with an additional release and a relatively new, massive, market in the equation. A market that's not going to apply to smaller films in general, let alone arthouse films designed to be thought provoking. The theater membership programs are an interesting experiment but I don't know that there's evidence that they're effective in getting the people who are no longer avid movie goers to start seeing more films. Outside looking in, they seem to primarily see more success among people who already attended theaters regularly, as those are the types that see the most bang for their buck.

The segment of the market that's missing is the casual viewer. Not the mega fan. Not the cinephile. The segment of the market that used to make Applebees/Cocos/Bennigans/etc... a regular dinner destination. Average families that used to make up what was Middle Class. With so much changing in the social landscape that group of people eats out less, goes to movies less, and goes on big vacations less while utilizing Netflix/Amazon Prime Video/Hulu/Redbox and ordering in. The kids watch broadcast tv and more Youtube/Twitch/Mixer. The adults also watch less broadcast TV and binge more series while surfing social media. Theaters have become less of a regular occurrence and more of an event for this group. It's part of the reason why we're seeing more theater chains incorporating alcohol and real food, better quality seating, reserved seating, and more technological bells and whistles.
 

TDLink

Banned
Oct 25, 2017
8,411
People seeing the same movie multiple times has always happened. Arguably more so in the past when films would spend considerably more time in theaters (which is why nothing is ever going to touch Gone with the Wind's adjusted Gross). People enjoying these films enough to justify the cost to themselves doesn't mean that they view every film with the same cost to value ratio. It's extremely common to see people comment on the expense of a night at the theater. While Endgame became the highest grossing film ever, it did so with an additional release and a relatively new, massive, market in the equation. A market that's not going to apply to smaller films in general, let alone arthouse films designed to be thought provoking. The theater membership programs are an interesting experiment but I don't know that there's evidence that they're effective in getting the people who are no longer avid movie goers to start seeing more films. Outside looking in, they seem to primarily see more success among people who already attended theaters regularly, as those are the types that see the most bang for their buck.

The segment of the market that's missing is the casual viewer. Not the mega fan. Not the cinephile. The segment of the market that used to make Applebees/Cocos/Bennigans/etc... a regular dinner destination. Average families that used to make up what was Middle Class. With so much changing in the social landscape that group of people eats out less, goes to movies less, and goes on big vacations less while utilizing Netflix/Amazon Prime Video/Hulu/Redbox and ordering in. The kids watch broadcast tv and more Youtube/Twitch/Mixer. The adults also watch less broadcast TV and binge more series while surfing social media. Theaters have become less of a regular occurrence and more of an event for this group. It's part of the reason why we're seeing more theater chains incorporating alcohol and real food, better quality seating, reserved seating, and more technological bells and whistles.

Even if you only look at the domestic market (cutting out China and others), the Marvel films routinely do well and Endgame is still the second highest ever. The "re-release"/extension barely added to it, it was just done to push it over the top of #1 worldwide. It's irrelevant -- especially so when we're talking about the top 10 all time adjusted for inflation. Nothing is ever going to beat those movies in the modern era because those movies all played much much longer. Movies only get 3ish months now before they're rushed out for home/digital/streaming release.

I agree streamers are cutting into theatres in a big way, but this "middle class" is still going to see these movies, if they weren't they wouldn't be making as much as they are. People don't need to see a movie every week (although if they are, those membership programs really are worth it as they cost less than the price of two movies/month and give you like up to 3 a week). But even if you're only seeing 6-8 movies a year, people are going, they're just going to these studio-run big franchise movies.
 

Jest

Member
Oct 28, 2017
4,565
Even if you only look at the domestic market (cutting out China and others), the Marvel films routinely do well and Endgame is still the second highest ever. The "re-release"/extension barely added to it, it was just done to push it over the top of #1 worldwide. It's irrelevant -- especially so when we're talking about the top 10 all time adjusted for inflation. Nothing is ever going to beat those movies in the modern era because those movies all played much much longer. Movies only get 3ish months now before they're rushed out for home/digital/streaming release.

I agree streamers are cutting into theatres in a big way, but this "middle class" is still going to see these movies, if they weren't they wouldn't be making as much as they are. People don't need to see a movie every week (although if they are, those membership programs really are worth it as they cost less than the price of two movies/month and give you like up to 3 a week). But even if you're only seeing 6-8 movies a year, people are going, they're just going to these studio-run big franchise movies.

I have to disagree. The middle class family is not seeing 6-8 movies a year in the theater. Where you're seeing the gross made up for is in the 18-35 Single/dating crowd. Particularly the fanatic segment of that market. They have relatively less financial burden and are more willing and able to spend on luxuries for themselves. Married, full time job, kids and a mortgage types aren't hitting the theaters 6-8 times a year on average and haven't in a long while. That latter market is the one that I belong to and collectively there are few that see the cost:value to theater viewings being positive enough to warrant going that often. It's much easier to wait for interesting films that aren't events in an of themselves to come to redbox or a streaming service and watch it in the comfort of your home.
 

MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
Ragnarok, Black Panther, and Captain Marvel (or any MCU movie) don't feel very varied. They are all enjoyable, don't get me wrong, but they're much more similar than I think a lot of people here want to admit. They slightly change the paint over them, that's it.

Yes, we're still getting some lower budget movies that are being made from an original place like Peele's work. Blumhouse in general has been a big proponent of this... but, they also heavily franchise and deal specifically with low budgets and horror/thriller genre pictures.

Lord of the Rings was a different situation from the MCU in a lot of ways, I wouldn't compare it. Harry Potter may have been a closer precursor, sure. With both of these franchises though (and others) you still had them broken up with plenty of other big budget fare.


The market is always changing, but I really don't think those factors are as much as impact as you want to say they are.

Anyone who says something like 'they are just the same thing with another coat of paint' is being 100% disingenuous and bordering on the cinema equivalent of lazy devs rhetoric. That is underselling how much work it actually takes to make a movie that involves thousands of people in the production line.

I just don't think there is so much of a difference between the 2000s and now. We still get crazy high budget war movies. We still get fast and the furious movies. We still get mission impossible movies and other high budget spy thrillers. We still get Star Wars flicks. Even the Harry Potter IP is still kicking! We still get a trilogy of Keanu kicking ass with kung fu and guns (+doggie). What exactly are we missing from the 2000s in the blockbuster space, in actual concrete examples?
 

TDLink

Banned
Oct 25, 2017
8,411
I have to disagree. The middle class family is not seeing 6-8 movies a year in the theater. Where you're seeing the gross made up for is in the 18-35 Single/dating crowd. Particularly the fanatic segment of that market. They have relatively less financial burden and are more willing and able to spend on luxuries for themselves. Married, full time job, kids and a mortgage types aren't hitting the theaters 6-8 times a year on average and haven't in a long while. That latter market is the one that I belong to and collectively there are few that see the cost:value to theater viewings being positive enough to warrant going that often. It's much easier to wait for interesting films that aren't events in an of themselves to come to redbox or a streaming service and watch it in the comfort of your home.
Maybe I'm misunderstanding you, but the people who see these movies definitely are not just the 18-35 single/dating crowd -- or just fanatics. Families with children are absolutely going to these.
Anyone who says something like 'they are just the same thing with another coat of paint' is being 100% disingenuous and bordering on the cinema equivalent of lazy devs rhetoric. That is underselling how much work it actually takes to make a movie that involves thousands of people in the production line.
Don't do this. You're literally saying what I'm saying is something completely different from what I'm saying in order to then argue against that, when it's not something I was saying at all.

I am very aware that hundreds of people are involved with this project and do good work. I'm not speaking in any sense about the level of their craft, be it lighting techs, grips, camera operators, directors of photography, audio engineers, editors, or any other position. I am purely speaking about the narrative structure, ie story, of these movies. It's near-identical in the vast majority of the films. I've gone into this in more detail in another one of these threads. Feel free to search the post out, I have no desire to go into all of it again as these threads just turn into a cycle of repetition.

I just don't think there is so much of a difference between the 2000s and now. We still get crazy high budget war movies. We still get fast and the furious movies. We still get mission impossible movies and other high budget spy thrillers. We still get Star Wars flicks. Even the Harry Potter IP is still kicking! We still get a trilogy of Keanu kicking ass with kung fu and guns (+doggie). What exactly are we missing from the 2000s in the blockbuster space, in actual concrete examples?
Ignoring the fact that THE FAST AND FURIOUS movies (and others) have now also just become superhero movies -- The difference was new original ideas. You basically just exemplified my point. In the 2000s we were still getting either brand new things or at least new takes on very old things. Not absolutely everything was adapted from something either, though there was still plenty. Honestly this has been a problem that has been getting progressively worse since since the 80s. The reason I use the 2000s specifically as a reference though is because it was the period of time right before the MCU kicked off and both became what it did and influenced its imitators and trend chasers to follow suit with similar types of movies. The only thing you mentioned that is actually new and clearly wasn't just from a studio cookie-press is JOHN WICK.

Even something like THE DARK KNIGHT was utilizing well-trodden IP in a new and interesting way and clearly came from a creator with a vision rather than a studio with a long-term plan spanning multiple movies.

Some other clear examples that stand out from the decade (roughly 1999 - 2008) before the MCU though would be:
  • THE DEPARTED
  • CATCH ME IF YOU CAN
  • MINORITY REPORT
  • GLADIATOR
  • COLLATERAL
  • SWORDFISH
  • MUNICH
  • MULHOLLAND DRIVE
  • PIRATES OF THE CARIBBEAN
  • THE LORD OF THE RINGS
  • 300
  • SUPERBAD
  • WEDDING CRASHERS
  • A.I.
  • V FOR VENDETTA
  • OCEAN'S ELEVEN
  • DONNIE DARKO
  • THE HANGOVER
  • TRAINING DAY
  • BLACK HAWK DOWN
  • DODGEBALL
  • ZOOLANDER
  • ANCHORMAN
  • TALLADEGA NIGHTS
  • SPEED RACER
  • THE PRESTIGE
  • THE MEXICAN
  • SYRIANA
  • MEMOIRS OF A GEISHA
  • KINGDOM OF HEAVEN
  • THE BOURNE IDENTITY
  • WANTED
  • MR. AND MRS. SMITH
  • THE ISLAND
  • THE DAY AFTER TOMORROW
  • AMERICAN PSYCHO
  • KING KONG (2005)
  • TROY
  • GANGS OF NEW YORK
  • SIN CITY
  • ZODIAC
  • I AM LEGEND
  • FORGETTING SARAH MARSHALL
  • NO COUNTRY FOR OLD MEN
  • MASTER AND COMMANDER
  • THERE WILL BE BLOOD
  • DAWN OF THE DEAD (2004)
  • SHAUN OF THE DEAD
  • ALMOST FAMOUS
  • THE LAST SAMURAI
  • NATIONAL TREASURE
  • DISTRICT 9
  • ELF
  • THE 40 YEAR OLD VIRGIN
  • CHILDREN OF MEN
  • HANCOCK
  • LETTERS FROM IWO JIMA
  • MOULIN ROUGE
  • THE MATRIX
  • FIGHT CLUB
  • GALAXY QUEST
  • THE INSIDER
  • THE SIXTH SENSE
  • AMERICAN BEAUTY
  • OFFICE SPACE
  • THREE KINGS
  • THE MUMMY
This list is in no particular order, with the exception of listing any 1999 films at the end since I know some semantics-police people would otherwise call that out. In the case of a series with multiple entries, I'm only listing the first entry -- as that is really the point.

This list is also not meant to be comprehensive in any way and is just a smattering of Hollywood-produced titles from many different genres that were mid-to-high budget films of the decade or so before the MCU. Some of them are wholly original things that never got another entry. All of them were brand new film franchises or reboots of stuff much older (as is the case with Ocean's and Dawn of the Dead for example). Some of these franchises are still going to this day -- but all of them really came from specific filmmakers who more or less got to make the movie they wanted. This is different from the current model of studios saying "We have a roadmap of these next 10 movies in this series" and then going to find a director to do them, essentially plugging them in to an already well-oiled machine.

It is not to say that no movies like any particular one listed exist these days, simply that the sheer amount of movies outside of the "superhero" studio factory system has clearly diminished. The mid-budget movie especially has basically completely fallen away, so the only other types of movies we're really getting in abundance are low budget (sub-$20 mil) like what Blumhouse is consistently producing.
 

Jest

Member
Oct 28, 2017
4,565
Maybe I'm misunderstanding you, but the people who see these movies definitely are not just the 18-35 single/dating crowd -- or just fanatics. Families with children are absolutely going to these.

I'm saying families with children are not going to the theater 6-8 times a year. And in the vast majority of cases, they're not going to repeat viewings of blockbuster films either. They will go to see the biggest films only. The ones that are events. Whereas in previous decades they would've felt the financial freedom to see films in theaters far more often and had more reason to see films in theaters more often as well.


Some other clear examples that stand out from the decade (roughly 1999 - 2008) before the MCU though would be:
  • THE DEPARTED
  • CATCH ME IF YOU CAN
  • MINORITY REPORT
  • GLADIATOR
  • COLLATERAL
  • SWORDFISH
  • MUNICH
  • MULHOLLAND DRIVE
  • PIRATES OF THE CARIBBEAN
  • THE LORD OF THE RINGS
  • 300
  • SUPERBAD
  • WEDDING CRASHERS
  • A.I.
  • V FOR VENDETTA
  • OCEAN'S ELEVEN
  • DONNIE DARKO
  • THE HANGOVER
  • TRAINING DAY
  • BLACK HAWK DOWN
  • DODGEBALL
  • ZOOLANDER
  • ANCHORMAN
  • TALLADEGA NIGHTS
  • SPEED RACER
  • THE PRESTIGE
  • THE MEXICAN
  • SYRIANA
  • MEMOIRS OF A GEISHA
  • KINGDOM OF HEAVEN
  • THE BOURNE IDENTITY
  • WANTED
  • MR. AND MRS. SMITH
  • THE ISLAND
  • THE DAY AFTER TOMORROW
  • AMERICAN PSYCHO
  • KING KONG (2005)
  • TROY
  • GANGS OF NEW YORK
  • SIN CITY
  • ZODIAC
  • I AM LEGEND
  • FORGETTING SARAH MARSHALL
  • NO COUNTRY FOR OLD MEN
  • MASTER AND COMMANDER
  • THERE WILL BE BLOOD
  • DAWN OF THE DEAD (2004)
  • SHAUN OF THE DEAD
  • ALMOST FAMOUS
  • THE LAST SAMURAI
  • NATIONAL TREASURE
  • DISTRICT 9
  • ELF
  • THE 40 YEAR OLD VIRGIN
  • CHILDREN OF MEN
  • HANCOCK
  • LETTERS FROM IWO JIMA
  • MOULIN ROUGE
  • THE MATRIX
  • FIGHT CLUB
  • GALAXY QUEST
  • THE INSIDER
  • THE SIXTH SENSE
  • AMERICAN BEAUTY
  • OFFICE SPACE
  • THREE KINGS
  • THE MUMMY
This list is in no particular order, with the exception of listing any 1999 films at the end since I know some semantics-police people would otherwise call that out. In the case of a series with multiple entries, I'm only listing the first entry -- as that is really the point.

This list is also not meant to be comprehensive in any way and is just a smattering of Hollywood-produced titles from many different genres that were mid-to-high budget films of the decade or so before the MCU. Some of them are wholly original things that never got another entry. All of them were brand new film franchises or reboots of stuff much older (as is the case with Ocean's and Dawn of the Dead for example). Some of these franchises are still going to this day -- but all of them really came from specific filmmakers who more or less got to make the movie they wanted. This is different from the current model of studios saying "We have a roadmap of these next 10 movies in this series" and then going to find a director to do them, essentially plugging them in to an already well-oiled machine.

It is not to say that no movies like any particular one listed exist these days, simply that the sheer amount of movies outside of the "superhero" studio factory system has clearly diminished. The mid-budget movie especially has basically completely fallen away, so the only other types of movies we're really getting in abundance are low budget (sub-$20 mil) like what Blumhouse is consistently producing.

I have no particular dog in this fight but that list has several Judd Apatow films that use the same comedic formula as well as films that are heavily cribbed from Apatow's style at the time. I feel like if we really dug through it, we'd find other instances where several of the films listed are from the same creators and thusly have the same basic DNA. If the point is to differentiate them from Marvel, the biggest difference really is the cross-over nature of Marvel. But just the same as people know roughly what to expect from a Marvel film, they know what to expect from an Apatow film, a Cruise-led film, or a Stiller led comedy.

It doesn't invalidate your list or your point of course. But it's worth noting if only because Hollywood sticking with the hot hands is par for the course, whether the films are as closely related plot/character wise as Marvel films are or not.
 

TDLink

Banned
Oct 25, 2017
8,411
I'm saying families with children are not going to the theater 6-8 times a year. And in the vast majority of cases, they're not going to repeat viewings of blockbuster films either. They will go to see the biggest films only. The ones that are events. Whereas in previous decades they would've felt the financial freedom to see films in theaters far more often and had more reason to see films in theaters more often as well.
Okay, sure. But my point, largely, is that in the past there were more kinds of films that were considered "events" beyond just superhero and superhero-like movies.

I have no particular dog in this fight but that list has several Judd Apatow films that use the same comedic formula as well as films that are heavily cribbed from Apatow's style at the time. I feel like if we really dug through it, we'd find other instances where several of the films listed are from the same creators and thusly have the same basic DNA. If the point is to differentiate them from Marvel, the biggest difference really is the cross-over nature of Marvel. But just the same as people know roughly what to expect from a Marvel film, they know what to expect from an Apatow film, a Cruise-led film, or a Stiller led comedy.

It doesn't invalidate your list or your point of course. But it's worth noting if only because Hollywood sticking with the hot hands is par for the course, whether the films are as closely related plot/character wise as Marvel films are or not.
Sure, Hollywood of course likes to repeat what is tried and true, but I think Apatow movies or Ferrell/Stiller movies (or whatever) are still different enough from each other to be counted separately. Each one was a brand new concept even if there are some similarities. They were being made by creators who had a new idea and specifically wanted to execute that idea. Nowadays we're lucky if we get even one movie sort of in that type of vein, and certainly not at the budget levels they were getting. GAME NIGHT is literally the only one that stands out in my mind from the last few years.
 

Mona

Banned
Oct 30, 2017
26,151
Add Alejandro Jodorowsky to the list:


hqdefault.jpg


EDIT:

Dunno if we should throw a misogynist and admitted rapist on a list with these other directors.


WTF, that makes my post completely fucked

this dude is obsessed with rape
 
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MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
Maybe I'm misunderstanding you, but the people who see these movies definitely are not just the 18-35 single/dating crowd -- or just fanatics. Families with children are absolutely going to these.

Don't do this. You're literally saying what I'm saying is something completely different from what I'm saying in order to then argue against that, when it's not something I was saying at all.

I am very aware that hundreds of people are involved with this project and do good work. I'm not speaking in any sense about the level of their craft, be it lighting techs, grips, camera operators, directors of photography, audio engineers, editors, or any other position. I am purely speaking about the narrative structure, ie story, of these movies. It's near-identical in the vast majority of the films. I've gone into this in more detail in another one of these threads. Feel free to search the post out, I have no desire to go into all of it again as these threads just turn into a cycle of repetition.


Ignoring the fact that THE FAST AND FURIOUS movies (and others) have now also just become superhero movies -- The difference was new original ideas. You basically just exemplified my point. In the 2000s we were still getting either brand new things or at least new takes on very old things. Not absolutely everything was adapted from something either, though there was still plenty. Honestly this has been a problem that has been getting progressively worse since since the 80s. The reason I use the 2000s specifically as a reference though is because it was the period of time right before the MCU kicked off and both became what it did and influenced its imitators and trend chasers to follow suit with similar types of movies. The only thing you mentioned that is actually new and clearly wasn't just from a studio cookie-press is JOHN WICK.

/snip

It's not my job to archive every person's opinion on this website. This is your exact quote to me:

Ragnarok, Black Panther, and Captain Marvel (or any MCU movie) don't feel very varied. They are all enjoyable, don't get me wrong, but they're much more similar than I think a lot of people here want to admit. They slightly change the paint over them, that's it.

There was no nuance here like in your above quote. You generalized the entirety of the MCU as just having a slight paint job change, and do not even mention the word narrative. If you want to have a nuanced discussion, please avoid hyperbole or prepare to get called out.

Are most of those movies which you listed really that different when it comes to narrative structure and or original ideas?
You think 300, Talledega Nights, and Hancock are examples of blockbuster movies with unique narrative structure and originality? Really?
I just don't see it at all, and would see something like Thor 1 as a true Shakespearean tragedy to be more unique than a smattering of Will Ferrell and Judd Apatow movies....

Just to go even further, you take issue with my claim that Black Panther is different from the other MCU movies.
So let's go with the narrative structure/plot aspect that you are using as your baseline.

Would you agree that one of the central themes of the movie is African Diaspora?
Can you point out a single movie on your list that covers that topic, which I think you would agree is new thematic ground for hollywood movies, no?
 
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Jest

Member
Oct 28, 2017
4,565
Okay, sure. But my point, largely, is that in the past there were more kinds of films that were considered "events" beyond just superhero and superhero-like movies.

Eh.. not really. It was always either a straight up family film (Family Comedies, Animated Children's films, etc..) or PG 13 and lower Action-Adventure (Star Wars, Indy, Goonies, TMNT, Jurrassic Park, National Treasure). Those were the only "event" films. Blockbusters. But in previous decades, families would also see the non-blockbuster's that fit those requirements. Stuff like Babe, Wallace & Gromit, The Princess Bride, Elf, Big, Homeward Bound, My Girl, etc.. Essentially the Mid-Budget films that were aimed directly at them.

Sure, Hollywood of course likes to repeat what is tried and true, but I think Apatow movies or Ferrell/Stiller movies (or whatever) are still different enough from each other to be counted separately. Each one was a brand new concept even if there are some similarities. They were being made by creators who had a new idea and specifically wanted to execute that idea. Nowadays we're lucky if we get even one movie sort of in that type of vein, and certainly not at the budget levels they were getting. GAME NIGHT is literally the only one that stands out in my mind from the last few years.

Eh.. Apatow films were largely done in the same way and Ferrell films are all concept frameworks where the heavy lifting is done through improv. It doesn't make them bad but they're not really individual visions in execution. If we're talking comedies I'd say Game Night, the horribly named Blockers, Baywatch, Bridesmaids, Trainwreck, and the Jump Street remakes off the top of my head. But comedies tend to be Low to Mid-Budget so most of that has shifted to streaming services precisely because they don't tend to sell gangbusters in theaters. Picking randomly from your list, Talladega Nights was a 72.5 million budget (without marketing) with a 163 million B.O. return. Zoolander a low 28 million budget with a 60.8 million BO return. Comedies just haven't tended to burn up the B.O.

I absolutely love comedies and haven't had an issue with them going to Netflix or Amazon or Hulu. Always Be My Maybe came out earlier this year and it was great.
 

Darknight

"I'd buy that for a dollar!"
Member
Oct 25, 2017
22,842
It's not my job to archive every person's opinion on this website. This is your exact quote to me:



There was no nuance here like in your above quote. You generalized the entirety of the MCU as just having a slight paint job change, and do not even mention the word narrative. If you want to have a nuanced discussion, please avoid hyperbole or prepare to get called out.

Nothing about that quote dismisses the number of people that it takes to create these movies though. You compared it to games where know that games these days take a lot of work and people to create for a big budget title but some of these big budget titles are iterative in nature. That doesn't change the fact that a ton of people worked on it but the goals and targets can be clearly different for what they're aiming for.
 

TDLink

Banned
Oct 25, 2017
8,411
It's not my job to archive every person's opinion on this website. This is your exact quote to me:



There was no nuance here like in your above quote. You generalized the entirety of the MCU as just having a slight paint job change, and do not even mention the word narrative. If you want to have a nuanced discussion, please avoid hyperbole or prepare to get called out.
I know it's not your job to do that, and I wasn't seriously asking you to. Been a long work day, but that's neither here nor there. Similarly it gets really tiring to go in circles in these threads. There's been like 4 (at least) of them in the last week. And I've given some pretty in depth responses detailing my points. I don't have them on hand, but suffice to say I don't really have a desire to go hunting through these threads, which are each dozens of pages long, either.

I realize this is largely my fault for continuing to engage in these topics (which are rather pointless) when it's the same thing over and over.
Are most of those movies really which you listed really that different when it comes to narrative structure? You think 300, Talledega Nights, and Hancock are examples of blockbuster movies with unique narrative structure? Really?
I just don't see it at all, and would see something like Thor 1 as a true Shakespearean tragedy to be more unique than a smattering of Will Ferrell and Judd Apatow movies....
The difference, and really the core of my point (which is also the core of Scorsese's point) comes down to two specific points:
  1. Mid and high budget movies are no longer really creative-driven; they're studio driven.
  2. It's not about those movies having unique narrative structures. There is nothing wrong with any given narrative structure. The problem comes when one specific narrative structure is used ad nauseam to the exclusion of all others.
That is the issue pure and simple. When people are talking about every MCU movie feeling the same, this is what they mean. It isn't to say every single one has every single beat all the rest do, but they each have a majority of them and basically follow the same track. Again, I'm not going to go into all the similarities here again, but a very simple one is that nearly every single one involves the hero starting as selfish and learning he has to be selfless. Seriously, almost every one. Captain America and Marvel are just about the only ones that defy that specific beat.

Just to go even further, you take issue with my claim that Black Panther is different from the other MCU movies.
So let's go with the narrative structure/plot aspect that you are using as your baseline.

Would you agree that one of the central themes of the movie is African Diaspora?
Can you point out a single movie on your list that covers that topic, which I think you would agree is new thematic ground for hollywood movies, no?
Yes, yes, Black Panther. And I mean that in the least condescending way possible --

I think it's well documented that everyone is aware that BLACK PANTHER is a slight step above most of these because it DOES have something a bit more to say. It is also highly commendable and important that it was allowed to have a predominantly black cast and helmed by a black filmmaker. This is great and hopefully a sign of much more to come rather than just a somewhat singular incident.

HOWEVER, even though it does actually attempt to really be about something, it still so barely touches on those themes. Barely attempts to have real character development and introspection (like all of them). And yes, it too falls victim to the exact same repeated structure beat I brought up earlier (T'Challa realizes that he can't be selfish and horde Wakanda's knowledge and technology/continue to be isolationist, and instead must be selfless; sharing it with the black community around the globe). That all being said, I also find the film's messaging on Black Diaspora a bit weird to begin with given that in real life there is no real analogous country to Wakanda. There isn't some secret super advanced society that simply allowed their brothers and sisters to be ripped from their homes and transported across the world to be slaves. So in that sense, while I really enjoy BLACK PANTHER and its attempt to explore a real theme, it still rings a bit hollow as it is only barely grazing the surface of something.

Additionally, and a significant problem with all of the MCU films after the first couple, the movie is very planned out beforehand and beholden to what comes before and after. By this I mean, Black Panther the character in the MCU was already created for the universe and appeared in it earlier (CIVIL WAR) without Coogler (though I am aware due to when he came on for BLACK PANTHER he was able to contribute a few lines in reshoots). This meant that his story for his own movie was already somewhat dictated. It also meant there were essentially lines that Coogler could not color outside of lest it interrupt the rest of the ongoing universe and any particular plans that may or may not be had for other films either currently in production or down the line. Another clear example of this is the Klaw character, set up for the BP movie all they way back in AGE OF ULTRON, which Coogler had to somehow integrate into the movie and pay that off.

So, at the end of the day Coogler got to "make the film he wanted to make" within very specific guidelines set forth for him by Marvel Studios and everything that had come before that film in the universe, including the character.

Eh.. not really. It was always either a straight up family film (Family Comedies, Animated Children's films, etc..) or PG 13 and lower Action-Adventure (Star Wars, Indy, Goonies, TMNT, Jurrassic Park, National Treasure). Those were the only "event" films. Blockbusters. But in previous decades, families would also see the non-blockbuster's that fit those requirements. Stuff like Babe, Wallace & Gromit, The Princess Bride, Elf, Big, Homeward Bound, My Girl, etc.. Essentially the Mid-Budget films that were aimed directly at them.
Sure, I don't mean to say that families were ever going to movies like GLADIATOR, SWORDFISH or THE DEPARTED, but even those PG-13 films offered a lot more variation and originality than what you're seeing these days. Those more adult type of big budget films are now all but pushed out of the box office as well though, which is an additional issue stemming from the superhero film craze.

Eh.. Apatow films were largely done in the same way and Ferrell films are all concept frameworks where the heavy lifting is done through improv. It doesn't make them bad but they're not really individual visions in execution. If we're talking comedies I'd say Game Night, the horribly named Blockers, Baywatch, Bridesmaids, Trainwreck, and the Jump Street remakes off the top of my head. But comedies tend to be Low to Mid-Budget so most of that has shifted to streaming services precisely because they don't tend to sell gangbusters in theaters. Picking randomly from your list, Talladega Nights was a 72.5 million budget (without marketing) with a 163 million B.O. return. Zoolander a low 28 million budget with a 60.8 million BO return. Comedies just haven't tended to burn up the B.O.

I absolutely love comedies and haven't had an issue with them going to Netflix or Amazon or Hulu. Always Be My Maybe came out earlier this year and it was great.
Don't get me wrong, I think comedies are still sort of thriving on streamers and television, but as you say, there is not really equivalents these days to something like TALLADEGA NIGHTS. That era of big comedies that could last in the theatre and everyone was seeing and quoting are largely gone. And a significant contributing factor to it are the studios' desire to only chase these repetitious superhero films. That was the only purpose of including a few of them in that genre-diverse list.
 

Stiler

Avenger
Oct 29, 2017
6,659
He isn't wrong. You have to be naive to think the corporations who fund these movies don't hold the reins in terms of the story and what they'll allow/not allow. Plus the fact that most comic book movies generally follow the same framework as each other, some big bad villain shows up, does bad things, the hero finds out and stops them. Throw in some humor here and there and wrap.

Then you throw in the stranglehold that Disney has over theaters and consumers as fast as they pop them out and people just eat them up like fast food.
 

MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
I know it's not your job to do that, and I wasn't seriously asking you to. Been a long work day, but that's neither here nor there. Similarly it gets really tiring to go in circles in these threads. There's been like 4 (at least) of them in the last week. And I've given some pretty in depth responses detailing my points. I don't have them on hand, but suffice to say I don't really have a desire to go hunting through these threads, which are each dozens of pages long, either.

I realize this is largely my fault for continuing to engage in these topics (which are rather pointless) when it's the same thing over and over.

The difference, and really the core of my point (which is also the core of Scorsese's point) comes down to two specific points:
  1. Mid and high budget movies are no longer really creative-driven; they're studio driven.
  2. It's not about those movies having unique narrative structures. There is nothing wrong with any given narrative structure. The problem comes when one specific narrative structure is used ad nauseam to the exclusion of all others.
That is the issue pure and simple. When people are talking about every MCU movie feeling the same, this is what they mean. It isn't to say every single one has every single beat all the rest do, but they each have a majority of them and basically follow the same track. Again, I'm not going to go into all the similarities here again, but a very simple one is that nearly every single one involves the hero starting as selfish and learning he has to be selfless. Seriously, almost every one. Captain America and Marvel are just about the only ones that defy that specific beat.

I just think you have a slightly rose tinted view of the 2000s especially. That era seems to have been just as Studio driven in the high budget / top grossing lists as now, except that it was a more even mix of various studios, such as WB and Sony with Dark Knight and the Spider-man series respectively.
I also think trying to lay the blame on the lack of creative mid-budget films at MCU's feet to be completely off base, as that feels like a result of streaming services gaining popularity.


Yes, yes, Black Panther. And I mean that in the least condescending way possible --

I think it's well documented that everyone is aware that BLACK PANTHER is a slight step above most of these because it DOES have something a bit more to say. It is also highly commendable and important that it was allowed to have a predominantly black cast and helmed by a black filmmaker. This is great and hopefully a sign of much more to come rather than just a somewhat singular incident.

HOWEVER, even though it does actually attempt to really be about something, it still so barely touches on those themes. Barely attempts to have real character development and introspection (like all of them). And yes, it too falls victim to the exact same repeated structure beat I brought up earlier (T'Challa realizes that he can't be selfish and horde Wakanda's knowledge and technology/continue to be isolationist, and instead must be selfless; sharing it with the black community around the globe). That all being said, I also find the film's messaging on Black Diaspora a bit weird to begin with given that in real life there is no real analogous country to Wakanda. There isn't some secret super advanced society that simply allowed their brothers and sisters to be ripped from their homes and transported across the world to be slaves. So in that sense, while I really enjoy BLACK PANTHER and its attempt to explore a real theme, it still rings a bit hollow as it is only barely grazing the surface of something.

Additionally, and a significant problem with all of the MCU films after the first couple, the movie is very planned out beforehand and beholden to what comes before and after. By this I mean, Black Panther the character in the MCU was already created for the universe and appeared in it earlier (CIVIL WAR) without Coogler (though I am aware due to when he came on for BLACK PANTHER he was able to contribute a few lines in reshoots). This meant that his story for his own movie was already somewhat dictated. It also meant there were essentially lines that Coogler could not color outside of lest it interrupt the rest of the ongoing universe and any particular plans that may or may not be had for other films either currently in production or down the line. Another clear example of this is the Klaw character, set up for the BP movie all they way back in AGE OF ULTRON, which Coogler had to somehow integrate into the movie and pay that off.

So, at the end of the day Coogler got to "make the film he wanted to make" within very specific guidelines set forth for him by Marvel Studios and everything that had come before that film in the universe, including the character.

I am not trying to hold up Black Panther as some perfect example of high art in cinema. It has its issues and I personally feel like it went to soft
on the overall colonialism critiques. However, I was just pointing out that I feel like it was thematically different than other Marvel movies. You tried to just hand-wave that away and say it doesn't feel varied compared to the other MCU movies. I don't agree with that take at all. I also feel like Thor 1, Iron Man 1, Ragnarok, and Winter Soldier all feel like very different productions where you can see the lead creatives touches in obvious ways.

I also don't really agree that the cohesive nature of the MCU is a negative. In fact I feel like it is an unparalleled achievement in an industry that can barely pull off a competent trilogy most of the time.

Nothing about that quote dismisses the number of people that it takes to create these movies though. You compared it to games where know that games these days take a lot of work and people to create for a big budget title but some of these big budget titles are iterative in nature. That doesn't change the fact that a ton of people worked on it but the goals and targets can be clearly different for what they're aiming for.

Nah, I absolutely don't agree with this take.

I understand that he has a more nuanced point in general, but saying "They slightly change the paint over them, that's it." is condescending and is absolutely devaluing all of the work that goes into these productions. If someone told me that the latest Samurai Shodown was nothing more than a new paint job, I would also take offense.
They might be technically right, but they are also using language that belittles all of the actual hard work that goes into the production process.
Do people really think that the stylistic differences between something like The Winter Soldier and Thor Ragnarok are that easily accomplished?

Being iterative is not in itself a negative and is not something exclusive to the MCU.
Are we really going to pretend that Scorsese is reinventing the wheel with The Irishman and not just iterating on a formula that he has worked with for decades?
 

Darknight

"I'd buy that for a dollar!"
Member
Oct 25, 2017
22,842
Nah, I absolutely don't agree with this take.

I understand that he has a more nuanced point in general, but saying "They slightly change the paint over them, that's it." is condescending and is absolutely devaluing all of the work that goes into these productions. If someone told me that the latest Samurai Shodown was nothing more than a new paint job, I would also take offense.
They might be technically right, but they are also using language that belittles all of the actual hard work that goes into the production process.
Do people really think that the stylistic differences between something like The Winter Soldier and Thor Ragnarok are that easily accomplished?

Being iterative is not in itself a negative and is not something exclusive to the MCU.
Are we really going to pretend that Scorsese is reinventing the wheel with The Irishman and not just iterating on a formula that he has worked with for decades?

This seems weird to me that you can say it's technically right but yet wrong. You're almost putting it to a point where you can't critique or complain about a product because a lot of people worked hard on it. Is it bad to complain about a specific iPhone revision despite not much being new? After all, a ton of people worked to bring that product out.

I never said or implied being iterative in itself is bad or something exclusive to the MCU either. I'm saying that different products have different target result and audience even though despite the goals and targets, those things took a lot of people to create.

Plus, I can't and won't critique The Irishman at this point until I've seen it. It wouldn't be fair to say what it is or isn't without having seeing it yet. We don't know how similar or different it will be at this point in time compared to his other work. If it's a retread and it impacts the end result, it should be criticized as such. I've got no problem if that takes place but until that happens, I don't think we should be prejudging what it is or isn't at this point. This last point is especially ironic since so many people complained how the people complaining haven't watched them.
 

MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
This seems weird to me that you can say it's technically right but yet wrong. You're almost putting it to a point where you can't critique or complain about a product because a lot of people worked hard on it. Is it bad to complain about a specific iPhone revision despite not much being new? After all, a ton of people worked to bring that product out.

I never said or implied being iterative in itself is bad or something exclusive to the MCU either. I'm saying that different products have different target result and audience even though despite the goals and targets, those things took a lot of people to create.

Plus, I can't and won't critique The Irishman at this point until I've seen it. It wouldn't be fair to say what it is or isn't without having seeing it yet. We don't know how similar or different it will be at this point in time compared to his other work. If it's a retread and it impacts the end result, it should be criticized as such. I've got no problem if that takes place but until that happens, I don't think we should be prejudging what it is or isn't at this point. This last point is especially ironic since so many people complained how the people complaining haven't watched them.

I have no problem with actual critique. I just take issue with trying to simplify things to the point where you handwave the work by calling it a different paint job.
Movies don't have paint jobs. They have concept artists, cinematographers, costume designers, choreographers, screenwriters, editors, actors, stunt doubles, producers, directors, musicians, composers, etc. etc. etc.

No one can actually give a solid argument on which fronts the MCU movies are somehow a lesser endeavor and 'not cinema' and just fall back on hyperbolic comments about it being 'manufactured', an 'assembly line', 'just a paint job', etc. Those are not valid complaints and are just nebulous and vapid comments that shed no actual knowledge about the production process and what specific issues they may or may not have with them.
 

Darknight

"I'd buy that for a dollar!"
Member
Oct 25, 2017
22,842
I have no problem with actual critique. I just take issue with trying to simplify things to the point where you handwave the work by calling it a different paint job.
Movies don't have paint jobs. They have concept artists, cinematographers, costume designers, choreographers, screenwriters, editors, actors, stunt doubles, producers, directors, musicians, composers, etc. etc. etc.

No one can actually give a solid argument on which fronts the MCU movies are somehow a lesser endeavor and 'not cinema' and just fall back on hyperbolic comments about it being 'manufactured', an 'assembly line', 'just a paint job', etc. Those are not valid complaints and are just nebulous and vapid comments that shed no actual knowledge about the production process and what specific issues they may or may not have with them.

Most critiques on a forum like this are going to be simplified because most people aren't going to read the long dissection it takes to do a critique justice. I think you're throwing out a lot of ways to describe issues with a movie because you want to state they're simplified if you're going to throw out the comment of it being just a new coat of paint. People understand what that phrase means and it by no means a dismissal on the number of people that it took to make the movie happen. You're pretty much saying you can't say this movie is like some other movie or a movie is a copy because lots of people worked on it. Any critique that isn't in depth can be countered with claiming a dismissal of the number of people who worked on it.

I don't fall on the side of stating that the MCU movies aren't cinema in the sense that they are movies, but I do understand the criticism that they aren't high art either. These movies don't push any boundaries and play it rather safe but that's okay. There's nothing wrong with that and they certainly please and entertain their target audience. Hell, I enjoy these movies a lot to the point that not only did I buy all of them at least once, but on 15 of them I double dipped and bought them again to get them in 4K. So I'm definitely not a hater or wants to see the MCU taken down. I just also accept what they are and what they aren't.
 

MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
Most critiques on a forum like this are going to be simplified because most people aren't going to read the long dissection it takes to do a critique justice. I think you're throwing out a lot of ways to describe issues with a movie because you want to state they're simplified if you're going to throw out the comment of it being just a new coat of paint. People understand what that phrase means and it by no means a dismissal on the number of people that it took to make the movie happen. You're pretty much saying you can't say this movie is like some other movie or a movie is a copy because lots of people worked on it. Any critique that isn't in depth can be countered with claiming a dismissal of the number of people who worked on it.

I don't fall on the side of stating that the MCU movies aren't cinema in the sense that they are movies, but I do understand the criticism that they aren't high art either. These movies don't push any boundaries and play it rather safe but that's okay. There's nothing wrong with that and they certainly please and entertain their target audience. Hell, I enjoy these movies a lot to the point that not only did I buy all of them at least once, but on 15 of them I double dipped and bought them again to get them in 4K. So I'm definitely not a hater or wants to see the MCU taken down. I just also accept what they are and what they aren't.

We will just have to agree to disagree. Basically everything you say would be comparable to using 'lazy devs' to critique a game's quality, and that is banned on this forum for a reason because it does not lead to any sort of meaningful discussion and comes from a place of ignorance on how much work goes into every step of the production process.

Also, the original comment as especially condescending because it was "They slightly change the paint over them, that's it."
No, that is absolutely not it. Does Thor:Ragnarok reuse the exact same set design from a previous movie with nothing but a new filter put on top?
Because that would be the equivalent of "just slightly changing the paint job and that's it."

It's just a wrong statement that lacks any sort of nuance worth discussing.
 

meowdi gras

Member
Feb 24, 2018
12,661
He isn't wrong. You have to be naive to think the corporations who fund these movies don't hold the reins in terms of the story and what they'll allow/not allow. Plus the fact that most comic book movies generally follow the same framework as each other, some big bad villain shows up, does bad things, the hero finds out and stops them. Throw in some humor here and there and wrap.

Then you throw in the stranglehold that Disney has over theaters and consumers as fast as they pop them out and people just eat them up like fast food.
Let people who like their corporate boardroom fantasy films have their fantasy about corporate boardroom filmmaking.
 

Darknight

"I'd buy that for a dollar!"
Member
Oct 25, 2017
22,842
We will just have to agree to disagree. Basically everything you say would be comparable to using 'lazy devs' to critique a game's quality, and that is banned on this forum for a reason because it does not lead to any sort of meaningful discussion and comes from a place of ignorance on how much work goes into every step of the production process.

Also, the original comment as especially condescending because it was "They slightly change the paint over them, that's it."
No, that is absolutely not it. Does Thor:Ragnarok reuse the exact same set design from a previous movie with nothing but a new filter put on top?
Because that would be the equivalent of "just slightly changing the paint job and that's it."

It's just a wrong statement that lacks any sort of nuance worth discussing.

I don't agree that it's the same or comparable to the "lazy dev" argument and I hate that complaint. Lazy devs is a direct critique of the people making it where as saying it's the same with a different coat of paint is critiquing the product. The comparable complaint to lazy devs in movies would be a lazy director, or lazy writer, they did it for the paycheck, or they phoned it in. People can work hard on something and the end result ends up not being good or very similar to something else. Complaining that something is awfully similar is not a direct knock at the effort of the many people who worked on it. Complaining something is iterative by your definition could be seen as complaining they were lazy or put little effort into it too if you want to make it that simple to dismiss the work involved to create it.

I think most people understand that saying something having a different coat of paint doesn't literally mean they took the same thing and changed the paint. People have commonly used that term to describe something that while it may look different on the surface, when you dive into it, there's a lot of similarities. It's not meant to be taken literally and it's absolutely the right statement if someone is complaining how similar the movies are.
 

TDLink

Banned
Oct 25, 2017
8,411
I just think you have a slightly rose tinted view of the 2000s especially. That era seems to have been just as Studio driven in the high budget / top grossing lists as now, except that it was a more even mix of various studios, such as WB and Sony with Dark Knight and the Spider-man series respectively.
I also think trying to lay the blame on the lack of creative mid-budget films at MCU's feet to be completely off base, as that feels like a result of streaming services gaining popularity.
It wasn't about holding up the 2000s specifically over any other decade/viewing them with rose tinted goggles (I really wasn't), I just used that era specifically because it came right before the current era, to demonstrate how things changed so fast and recently. I could put together similar lists for the 80s and 90s to about the same effect.

Again, you don't seem to be really wanting to hear my point. It's not about whether there are studio driven movies or not. It's about movies being created specifically because a creator wants to do them versus movies being created specifically because a studio wants to do them.

The push out of mid-budget films is endemic of a few things, including streaming, sure, but also because of the studios focus only only these ultra big budget pictures. Disney has made statements to exactly that effect in recent years.

There is nothing wrong with these movies existing, the problem is these movies becoming almost all that exists outside of the low-budget tier.

I am not trying to hold up Black Panther as some perfect example of high art in cinema. It has its issues and I personally feel like it went to soft
on the overall colonialism critiques. However, I was just pointing out that I feel like it was thematically different than other Marvel movies. You tried to just hand-wave that away and say it doesn't feel varied compared to the other MCU movies. I don't agree with that take at all. I also feel like Thor 1, Iron Man 1, Ragnarok, and Winter Soldier all feel like very different productions where you can see the lead creatives touches in obvious ways.

I also don't really agree that the cohesive nature of the MCU is a negative. In fact I feel like it is an unparalleled achievement in an industry that can barely pull off a competent trilogy most of the time.
I didn't bring up BLACK PANTHER, you did, in an attempt at "gotcha" hence my "yes, yes" response -- because it's like a go to with people defending the MCU. As I acknowledged, BP was striving for something slightly deeper than the average one of these, but despite that it still does fall into a very large amount of the same beats as all the rest. When I say "paint", this is what I meant. It is not to diminish the quality or work that goes into that "paint", it is that the SKELETON is very much the same. The creative vision is what is not differing much. The craftsmanship on display in all the various other fields is not in question (barring, perhaps, some very rough CG in spots in this particular case).

Long story short, most of these MCU movies (my original statement) are very much basically the same thing. There is very little difference once you really look at them structurally between the movies (major exception being ENDGAME... to an extent).

Again, using my paint analogy, which is not meant to be derogatory to the different craftsmen working on the movie, yes they do a great job of making each movie look and feel a bit different on the surface. I'm not talking about that, I'm talking about going deeper and really looking at what happens in each movie. How the films are resolved. What the characters are like in each movie. How in-depth they're explored. How much time they're even allowed to have moments to themselves. Real statements the movies are trying to definitively make past the generic shallow stuff. Most of these are identical in these regards.

Thor 1 may feel unique in that Branagh got to insert his dutch angles, maybe it feels slightly more "Shakespearean" due to the way they talk and the villain being a sibling, but... at the end of the day Thor is still another selfish hero who has to learn that he shouldn't be so selfish, and instead should be more selfless. Again, I want to reiterate, this isn't a bad arc in isolation, but it is repeated with literally just about all of them. And it's never really explored deeper than that. So what you get is a ton of characters that are all basically the same thing and are instead defined by their personality quirks instead of actual character differences.

At the end of all of it, the truth is the Marvel movies simply aren't interested in telling deeper stories. And that's okay. These movies are fun popcorn thrill rides. That's why Scorsese used the term "theme park". It's fun. A lot of fun. It's not meant to be derogatory. It is just meant to describe the experience.

The problem is in a world where most big movies are that, we lose out on films that ARE striving to tell deeper stories. Every single one of these Marvel movies could be better than they are. Every single one. But the studio is happy to hold them back at the level they are because it's good enough, and because it allows them complete control over the process.

Being iterative is not in itself a negative and is not something exclusive to the MCU.
Are we really going to pretend that Scorsese is reinventing the wheel with The Irishman and not just iterating on a formula that he has worked with for decades?
Again, iteration isn't a problem in isolation. It's when it's all that is happening that it becomes an issue. We don't know what The Irishman is yet, but Scorsese hasn't done a gangster movie in nearly 15 years anyways -- and that one (THE DEPARTED) was quite different from his previous ones. Scorsese's body of work is a lot more varied and interesting than simply doing "gangster movies". He isn't pumping them out 3 times a year, or even one time a year, and he also isn't influencing the entire industry to try to copy him and make their own. It's not a comparable situation.
No one can actually give a solid argument on which fronts the MCU movies are somehow a lesser endeavor and 'not cinema' and just fall back on hyperbolic comments about it being 'manufactured', an 'assembly line', 'just a paint job', etc. Those are not valid complaints and are just nebulous and vapid comments that shed no actual knowledge about the production process and what specific issues they may or may not have with them.
They're manufactured/an assembly line because they literally are. Marvel plans these out over 5 years in advance, often announcing several years of that to the public. People move off one project directly onto the next. Scripts are written in many cases before directors are found, and always to the confines of the grand plan, utilizing the tired and true formula. Action sequence begin pre-vis work before principal photography even begins, etc.

We will just have to agree to disagree. Basically everything you say would be comparable to using 'lazy devs' to critique a game's quality, and that is banned on this forum for a reason because it does not lead to any sort of meaningful discussion and comes from a place of ignorance on how much work goes into every step of the production process.

Also, the original comment as especially condescending because it was "They slightly change the paint over them, that's it."
No, that is absolutely not it. Does Thor:Ragnarok reuse the exact same set design from a previous movie with nothing but a new filter put on top?
Because that would be the equivalent of "just slightly changing the paint job and that's it."

It's just a wrong statement that lacks any sort of nuance worth discussing.
I see that you're in the games industry, so maybe that is where this sentiment is coming from. I get that. For the record, I'm in the film industry, so I am sort of speaking from an informed position when I say this as well:

The games industry is not the film industry. Honestly, what we're all trying to prevent is the film industry becoming the games industry. There are still creative leads/directors in games, but the entire industry is already essentially studio controlled. It's decided what the next project will be.

With film history shows us it doesn't have to be that way. To simplify it (perhaps too much), The Director and Writers of any given project are meant to completely create and then guide the vision that then all of the craftsmen go to make reality. It is no indictment of the level of craft of these people, they are going to do their job to their fullest whether the movie is studio controlled or creative controlled. That is why the "lazy devs" comparison is not applicable at all.

A lot of the people on these Marvel films DO just rotate to a next one. Thor: Ragnarok doesn't use exactly the same sets, but it does use a lot of the same set builders. And the design is replicated or iterated upon from work that came before (be it previous Thor films or Guardians of the Galaxy). Obviously there's lots of teams working simultaneously since there's so many coming out -- again, not so different from AAA game development. And it's actually great for those people as they get to consistently have work. What we're talking about here really has nothing to do with that.


I don't agree that it's the same or comparable to the "lazy dev" argument and I hate that complaint. Lazy devs is a direct critique of the people making it where as saying it's the same with a different coat of paint is critiquing the product. The comparable complaint to lazy devs in movies would be a lazy director, or lazy writer, they did it for the paycheck, or they phoned it in. People can work hard on something and the end result ends up not being good or very similar to something else. Complaining that something is awfully similar is not a direct knock at the effort of the many people who worked on it. Complaining something is iterative by your definition could be seen as complaining they were lazy or put little effort into it too if you want to make it that simple to dismiss the work involved to create it.

I think most people understand that saying something having a different coat of paint doesn't literally mean they took the same thing and changed the paint. People have commonly used that term to describe something that while it may look different on the surface, when you dive into it, there's a lot of similarities. It's not meant to be taken literally and it's absolutely the right statement if someone is complaining how similar the movies are.
Thank you. Perfectly stated.
 

More_Badass

Member
Oct 25, 2017
23,623
There is nothing wrong with these movies existing, the problem is these movies becoming almost all that exists outside of the low-budget tier.
What do you consider "low budget"? Are you saying that superhero/comic book/blockbusters are becoming almost the only movies that exist outside of low-budget release?
 

Keldroc

Member
Oct 27, 2017
11,987
It is not to say that no movies like any particular one listed exist these days, simply that the sheer amount of movies outside of the "superhero" studio factory system has clearly diminished.

Absolute horseshit. The total number of superhero movies released per year is tiny. In 2018 there were 6. This year there were 7, 8 if you count Glass for some reason. In 2020 there are also 7 scheduled. Over 130 films are released each year in theaters in the US. Superhero films are 5% of feature film releases yearly. The notion that they've somehow "taken over" or that there aren't other films coming out is laughable.

Lol yep

Also imagine the salt when The Irishman is nominated for Best Picture and not Endgame

I can't imagine anyone but the most hopelessly deluded Marvel fanboy would expect Endgame to get a Best Picture nomination.

Joker fans, on the other hand...
 

More_Badass

Member
Oct 25, 2017
23,623
Absolute horseshit. The total number of superhero movies released per year is tiny. In 2018 there were 6. This year there were 7, 8 if you count Glass for some reason. In 2020 there are also 7 scheduled. Over 130 films are released each year in theaters in the US. Superhero films are 5% of feature film releases yearly. The notion that they've somehow "taken over" or that there aren't other films coming out is laughable.
Seriously...even if we're counting all big studio films, everything else absolutely dwarfs big-budget releases in terms of quantity
 

Blade24070

Member
Oct 26, 2017
7,003
Couldn't you switch his statement to say "all "art" movies are nothing but try hard attempts to win oscars?"

I'm not a marvel Stan so I don't care about these statements, but his statement basically reads like "they're popular, so bad."
 

MistaTwo

SNK Gaming Division Studio 1
Verified
Oct 24, 2017
2,456
I don't agree that it's the same or comparable to the "lazy dev" argument and I hate that complaint. Lazy devs is a direct critique of the people making it where as saying it's the same with a different coat of paint is critiquing the product. The comparable complaint to lazy devs in movies would be a lazy director, or lazy writer, they did it for the paycheck, or they phoned it in. People can work hard on something and the end result ends up not being good or very similar to something else. Complaining that something is awfully similar is not a direct knock at the effort of the many people who worked on it. Complaining something is iterative by your definition could be seen as complaining they were lazy or put little effort into it too if you want to make it that simple to dismiss the work involved to create it.

I think most people understand that saying something having a different coat of paint doesn't literally mean they took the same thing and changed the paint. People have commonly used that term to describe something that while it may look different on the surface, when you dive into it, there's a lot of similarities. It's not meant to be taken literally and it's absolutely the right statement if someone is complaining how similar the movies are.

That comment was in response to me saying that I felt like Black Panther, Captain Marvel, and Ragnarok felt varied to me within the MCU.
Saying that those are just the same thing, but with a different coat of paint is absolutely being reductionist to the point of lazy devs complaints.

And you are completely off-base on what the equivalent would be. We are talking about dev(s) not a single game producer, or a single scenario writer which is what you are now trying to equate it to in the movie industry. It is a comment that is used to bunch every creative together into an over simplified critique.

Complaining about 'studio' movies having no variation without any real concrete examples and just based on the fact that they use a common narrative structure (which is absolutely not unique to MCU movies) feels exactly the same as calling GameFreak lazy devs because they re-use assets in their games.

It wasn't about holding up the 2000s specifically over any other decade/viewing them with rose tinted goggles (I really wasn't), I just used that era specifically because it came right before the current era, to demonstrate how things changed so fast and recently. I could put together similar lists for the 80s and 90s to about the same effect.

Again, you don't seem to be really wanting to hear my point. It's not about whether there are studio driven movies or not. It's about movies being created specifically because a creator wants to do them versus movies being created specifically because a studio wants to do them.

The push out of mid-budget films is endemic of a few things, including streaming, sure, but also because of the studios focus only only these ultra big budget pictures. Disney has made statements to exactly that effect in recent years.

There is nothing wrong with these movies existing, the problem is these movies becoming almost all that exists outside of the low-budget tier.

The problem is you have not done a very good job proving this point, especially in relation to the 2000s.
Do you really feel like movies such as Hancock, I am Legend, 300, and Talledega Nights are somehow different from MCU titles when it comes to narrative structure and the production process? In what ways exactly?

And why do you have such an issue with the fact that the MCU aims to have a studio driven, cohesive vision?
Do you not feel like executive producers such as Kevin Feige are pushing forward their own creative vision, albeit maybe in a way different than how Coppola or Scorsese did in previous decades?

I didn't bring up BLACK PANTHER, you did, in an attempt at "gotcha" hence my "yes, yes" response -- because it's like a go to with people defending the MCU. As I acknowledged, BP was striving for something slightly deeper than the average one of these, but despite that it still does fall into a very large amount of the same beats as all the rest. When I say "paint", this is what I meant. It is not to diminish the quality or work that goes into that "paint", it is that the SKELETON is very much the same. The creative vision is what is not differing much. The craftsmanship on display in all the various other fields is not in question (barring, perhaps, some very rough CG in spots in this particular case).
Okay, let's just back this up a bit.
I brought up Black Panther in an earlier post actually, as an example of what I felt was a varied experience inside the MCU.
You disagreed with that and claimed it was just the same movie, with a different coat of paint.
So, I went on to explain that using your own reasoning about thematic concepts and narrative structure I felt like Black Panther was treading new ground thanks to the diaspora angle.
You then started moving goal posts about how "Well, yes but it didn't do a good enough job" which was never my original point.

Honestly, for someone who complains about this conversation going in circles I kind of wish you would have just said
"Ah yes, I don't agree with Captain Marvel and Ragnarok, but Black Panther is very different from the other Marvel movies."
 
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Darknight

"I'd buy that for a dollar!"
Member
Oct 25, 2017
22,842
That comment was in response to me saying that I felt like Black Panther, Captain Marvel, and Ragnarok felt varied to me within the MCU.
Saying that those are just the same thing, but with a different coat of paint is absolutely being reductionist to the point of lazy devs complaints.

And you are completely off-base on what the equivalent would be. We are talking about dev(s) not a single game producer, or a single scenario writer which is what you are now trying to equate it to in the movie industry. It is a comment that is used to bunch every creative together into a over simplified critique.

Complaining about 'studio' movies having no variation without any real concrete examples and just based on the fact that they use a common narrative structure (which is absolutely not unique to MCU movies) feels exactly the same as calling GameFreak lazy devs because they re-use assets in their games.

Nah, I'm not off base at all. You can use "lazy dev" or "lazy devs" for single or multiple people. The point is you're blaming the person who worked on it for not putting effort into it and being "lazy" as to the reason for something happening or not existing which doesn't factor in everything involved that created that result. But hey, if you want to argue over semantics of a single or multiple people, then fine, lazy visual effects team, lazy set designers, lazy costume designers, etc. It's easy to apply but you're missing the point. The point is where you're laying the blame and how you're doing it. Complaining about it being fundamentally the same even though it looks different is critiquing the end product and not the effort involved. You use GameFreak as an example and complaining about reused assets can be a valid criticism depending on how and why they were used but complaining about the reuse of assets isn't the same as calling developers lazy. It's critiquing the end product and not the effort. Now if you said the reason they reused assets is because the devs are lazy, that's a completely different critique and narrative.

People complain all the time how The Force Awakens was pretty much a retread of past films. Complaining about that isn't shitting on the effort and the people that worked on creating that film; it's complaining about the end product and would be a perfectly reasonable for someone to use the figure of speech calling it the same as before with a new coat of paint.