- 4 minutes ago
Enjoy the movie...you piece of human garbage.
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00:00Movies are a business above all else, and perhaps the most important rule of business is not to insult your
00:06customers,
00:06a rule that Hollywood has a pretty complicated relationship with at the best of times.
00:11Still, aside from films that accidentally show contempt for audiences through their sheer awfulness,
00:16there are occasionally films that don't care at all about placating viewers or making them feel comfortable.
00:21Every so often, a film will wear its disdain for filmgoers on its sleeve,
00:25veiled beneath either a thin layer of satire or in extreme cases literally blurted out in the audience's faces.
00:32So I'm Ellie with WhatCulture here with movies that judge you for watching.
00:36Jurassic World
00:37Jurassic World may not be a particularly good movie, but it is a surprisingly subversive one,
00:43offering up perhaps the most unexpected commentary on consumerism and Hollywood itself found in such a large Hollywood blockbuster film.
00:50Throughout the film, numerous references are made to the general public being bored with traditional dinosaurs,
00:56hence why Jurassic World's engineers created the genetically engineered Indominus Rex
01:02to reignite interest in dinosaurs and indeed the park itself.
01:06It's tough not to view this as the writer-director expressing a certain contempt, or frustration at least,
01:11towards both the blockbuster filmmaking process and insatiable audiences.
01:15After all, did the two prior Jurassic Park sequels not run the whole dino hunched dick firmly into the ground?
01:21Audiences grew wary of the series, and so Jurassic World sought to renew audience interest with a glossy new bigger,
01:27better take.
01:28The entire film basically a mockery of the relentless desire for more, more, more from audiences
01:33and the creative frustrations this presents for businesses.
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01:51I'd make that deal.
01:52Damn good deal.
01:53I, Tonya
01:54Tonya Harding biopic I, Tonya was marketed as an expose of all the dirty, dishy details behind the figure skaters'
02:02meteoric rise and dramatic fall,
02:04after her ex-husband infamously orchestrated an attack on her rival Nancy Kerrigan,
02:09resulting in Harding being banned from competitive figure skating for life.
02:13But I, Tonya has a very interesting slant to the proceedings in that she is her own narrator for the
02:18film,
02:19and at times, she's not a reliable one.
02:21The idea, clearly, is to give a more balanced view of an event largely misinterpreted by the public,
02:27and while addressing the audience directly,
02:29Margot Robbie's Harding makes little effort to hide her disdain for a general public
02:33that took the tabloid reporting at face value.
02:36When she speaks on the fallout of the event, she states,
02:38It was like being abused all over again, only this time, it was by you.
02:42All of you.
02:43You are all my attackers, too.
02:45It's a moment that holds everyone accountable.
02:47It's uncomfortable, and in many ways, brilliant.
02:50Funny games.
02:51Mikael Haneke's 1997 psychological thriller would be a one-of-a-kind movie,
02:56had he not just remade it shot for shot in 2007 with the Hollywood cast.
03:01It's a strange move, but ultimately, both movies succeed in their abrasive style and story
03:06of a family that is terrorised by two young invaders.
03:09But what makes it so unpleasant is the way in which the violence is shot.
03:13There's such a cold detachment, refusing to cater to the Hollywood gratification
03:17that comes from bloodshed in movies that makes things uncomfortably real.
03:21The films open and close with a willfully ear-assaulting grindcore track,
03:24and when one of the family tries to shoot their way to freedom mid-movie,
03:28one of the attackers grabs a remote control and literally rewinds the film,
03:32allowing him to stop the escape attempt.
03:34But one of the most scathing accusations against the bloodthirst of the audience
03:37comes in the final shot, where one of the boys stares directly into the camera,
03:41as if to uncomfortably confront the audience about their expectations for a movie like this.
03:47Naturally, mainstream audiences hated it,
03:50which is presumably exactly what the director wanted.
03:54Gladiator.
03:54Ridley Scott's Best Picture winning epic is, for the most part,
03:57a straight-up earnest entry into the sword and sandals slasher genre.
04:01However, you don't need to look that hard to see the film
04:05as a critique of audiences' lust for blood
04:07and the removal of the human element few viewership.
04:11One need only play the most famous line of the film,
04:13the are you not entertained, to see how much of a call-out this is,
04:17forcing audiences both in the arena in the film
04:19and those watching at home to actually look at what they're doing.
04:23Ridley Scott is basically asking,
04:24You wanted to see gladiatorial combat?
04:26Well, here's Russell Crowe decapitating people with fountains of gore.
04:30That's what you wanted, right?
04:31Are you not entertained?
04:33In another instance, we're told in even more blatant terms,
04:36thrust this into another man's flesh
04:38and they will applaud and love you for that.
04:40It's hard not to look at the reality shows
04:43and other forms of sanctioned violence in our own society
04:45to see exactly what aspects Scott is pointing at here.
04:49Rear Window.
04:49It's no secret that Alfred Hitchcock's masterful thriller Rear Window
04:53is wholly concerned with voyeurism,
04:55what with the wheelchair-bound photographer-protagonist L.B. Jeffreys,
04:59played by James Stewart,
05:00killing time by spying on his neighbours
05:02and eventually witnessing a murder.
05:04But what Hitchcock's film does so cleverly
05:06is make the audience complicit in Jeffreys' snooping,
05:09ultimately holding them to as much account as it does Jeffreys himself.
05:13Now, Roger Ebert's brilliant 1983 review of the film perhaps put it best,
05:17We are all asked to join Stewart in his voyeurism
05:20and we cheerfully agree.
05:21We lust after Miss Torso in one of the windows
05:24and we sympathise with Miss Lonely Hearts in another.
05:27We're aloof and superior to their plights, of course,
05:30until the chilling gaze of the killer locks eyes with ours across the courtyard.
05:35Because Hitchcock makes us accomplices in Stewart's voyeurism,
05:38we're along for the ride.
05:39When an enraged man comes bursting through the door to kill Stewart,
05:43we can't detach ourselves because we look too
05:45and so we share the guilt and, in a way, we deserve what's coming to him.
05:50In these moments, Rear Window becomes a film about humanity's instinctive desire to leer
05:55and one that punishes us equally as a reward.
05:58Basically, Hitchcock is calling you out for being a pervert,
06:01but that's okay because he was clearly one too.
06:03Star Wars The Last Jedi
06:05Star Wars The Last Jedi is one of the most polarising blockbusters of the last decade
06:09and arrived after the hardcore crowd felt that The Force Awakens overindulged in fan service
06:14or perhaps even played it a bit too safe.
06:16After the disastrous experiment that was the prequels,
06:19familiarity was seemingly the last thing this franchise had to worry about.
06:23But then enter Rian Johnson.
06:25Johnson clearly wasn't interested in following J.J. Abrams' lead
06:28and delivering a solidly competent rendition of the hits,
06:31deciding instead to throw out most of the prominent fan theories
06:34and forge his own expectation-subverting path for the series.
06:37When Snoke is killed two-thirds of the way through the film
06:40and Kylo Ren tells Rey that she was born to some random junkers,
06:44it's as though Johnson is directly criticising the audience
06:47for their excessive emotional investment in their own headcanon fan theories.
06:51While watching The Last Jedi, you can practically feel Johnson's distaste
06:56for unreasonable, over-invested fans dripping from every single frame.
07:01Vice
07:01This Dick Cheney biopic isn't simply keen to make a mockery of its focal subject
07:06and take America's balked political process to task.
07:10It also refuses to let the general public off the hook
07:12simply for participating in it, regardless of their own political beliefs.
07:17The focus group used to test the presentation of the Iraq War
07:20to the public earlier in the film reappears in Vice's mid-credits scene,
07:24but this time they're arguing about the very movie you're watching.
07:28On the right side of this spectrum,
07:29one member of the group calls out the film's apparent liberal bias,
07:33while a left-leaning participant claims it's simply displaying the facts of the case.
07:38Whoever you believe, a fight between the left and the right breaks out,
07:41all while an apathetic young woman in the middle talks to her friend
07:45about how much she's looking forward to the new Fast and the Furious movie.
07:48Now, clearly, Adam McKay is blaming the audience for much of the current political miasma.
07:54The left and the right can't have a rational interaction with one another,
07:57while those disinterested youngsters are totally blinkered to the terrible future
08:01they're going to inherit.
08:02Even though this scene boils down a lot to a bigger picture and nuance,
08:07this is a pretty brilliant take on the subject matter.
08:09Man Bites Dog
08:101992 Belgian mockumentary Man Bites Dog was a film stridently ahead of its time in many key areas.
08:19Namely, its approach to criticism of fetishistic violence in the media.
08:24The film revolves around a camera crew who follow a serial killer on his rounds,
08:28and over the course of the movie, they become increasingly involved in his killings
08:31to the extent that they begin killing and getting killed themselves.
08:34The filmmakers do a fantastic job of initially framing the movie as a kind of black comedy,
08:40and showing killer Ben as a smart and charismatic individual,
08:44therefore we sort of like him.
08:46Yet, as the film drags on, the increasingly heinous actions of both Ben and the camera crew,
08:51namely committing child murder and rape, completely change the tone,
08:56making the audience feel ill and destroying the implicit relationship between them and the central figure.
09:01The film punishes the viewer and their willingness to follow a serial killer's lead.
09:06It's still a great movie, but maybe have something light and fun to watch afterwards for the sake of your
09:10own sanity.
09:11Sucker Punch
09:12Zack Snyder's Sucker Punch is, depending on your viewpoint,
09:15either a flagrantly sexist film that gleefully objectifies women,
09:19or a self-aware action film that seeks to take misogyny to task,
09:23or some confused mishmash of both.
09:25In his own words, Snyder stated that the film was always intended to serve as a critique of sexist geek
09:31culture,
09:32which has a historic penchant for depicting women in sexualised or infantilised positions,
09:37or for the benefit of slobbering men.
09:39And these themes are very clear when you look at the film.
09:41Women escape their abuse and become sexualised warriors battling slathering beasts,
09:46and the men are pretty much across the board portrayed as being sex-obsessed leering creeps.
09:51It's a film that points the finger, but does so in a confusing manner,
09:54and what I mean by that is that Snyder definitely critiques these male power fantasies,
09:59but also gives them exactly what they want,
10:01basically fuelling the situation rather than leaving the message of change.
10:06Friday the 13th Part 6 – Jason Lives
10:08Honestly, the sixth Friday the 13th movie is probably the best entry into the series.
10:13With an unexpectedly self-aware sense of humour,
10:16it casually dispenses with the failing tropes in favour of some actually fresh ideas,
10:21including a healthy lashing of meta-commentary on the slasher genre as a whole.
10:25This is best exemplified by the scene in which gravedigger Martin passes comment on Jason Voorhees' corpse being dug up.
10:32Martin grumbles,
10:33Why'd they have to go and dig up Jason?
10:35Before turning to the audience and quipping,
10:37Some folks sure got a strange idea of entertainment.
10:40It is so utterly tongue-in-cheek,
10:42and the way it's done almost makes you feel like the movie is embarrassed of its own existence.
10:47It also plays with the concept that slasher films endure despite the quality,
10:52seeing as the fifth movie tanked massively but still made over ten times its budget.
10:57It's like the producers were saying to the audience,
10:59Hell, you'll watch it anyway.
11:00Sadly, this is the only entry into the franchise that really bothered to look inward at its own tawdryness.
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