Enjoy the movie...you piece of human garbage.
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Movies are a business above all else, and perhaps the most important rule of business is not to insult your customers
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a rule that Hollywood has a pretty complicated relationship with at the best of times
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Still, aside from films that accidentally show contempt for audiences through their sheer awfulness
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there are occasionally films that don't care at all about placating viewers or making them feel comfortable
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Every so often, a film will wear its disdain for filmgoers on its sleeve
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veiled beneath either a thin layer of satire or, in extreme cases, literally blurted out in the audience's faces
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So I'm Ellie with WhatCulture here with movies that judge you for watching
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Jurassic World Jurassic World may not be a particularly good movie, but it is a surprisingly subversive one
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offering up perhaps the most unexpected commentary on consumerism and Hollywood itself
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found in such a large Hollywood blockbuster film. Throughout the film, numerous references are made to the general public being bored with traditional dinosaurs
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hence why Jurassic World's engineers created the genetically engineered Indominus Rex to reignite interest in dinosaurs and indeed the park itself
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It's tough not to view this as the writer-director expressing a certain contempt or frustration at least
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towards both the blockbuster filmmaking process and insatiable audiences. After all, did the two prior Jurassic Park sequels not run the whole dino hunched dick firmly into the ground
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Audiences grew wary of the series, and so Jurassic World sought to renew audience interest with a glossy new bigger, better take
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The entire film basically a mockery of the relentless desire for more, more, more from audiences and the creative frustrations this presents for businesses
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Common TV is cool, but you know what else is cool? Protecting your privacy online
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Scan the QR code or click the link in the description and get up to 76% off a two-year NordVPN plan
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plus three months free if you sign up today. I'd make that deal. Damn good deal
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iTonya Tonya Harding biopic iTonya was marketed as an expose of all the dirty, dishy details
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behind the figure skater's meteoric rise and dramatic fall, after her ex-husband infamously orchestrated an attack on her rival Nancy Kerrigan
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resulting in Harding being banned from competitive figure skating for life. But I, Tonya, has a very interesting slant to the proceedings in that she is her own narrator for the film
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and at times, she's not a reliable one. The idea, clearly, is to give a more balanced view of an event largely misinterpreted by the public
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and while addressing the audience directly, Margot Robbie's Harding makes little effort to hide her disdain for a general public
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that took the tabloid reporting at face value. When she speaks on the fallout of the event, she states
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it was like being abused all over again only this time it was by you All of you You are all my attackers too It a moment that holds everyone accountable It uncomfortable and in many ways brilliant Funny games
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Mikael Haneke's 1997 psychological thriller would be a one-of-a-kind movie had he not just
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remade it shot for shot in 2007 with the Hollywood cast. It's a strange move but ultimately both
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movies succeed in their abrasive style and story of a family that is terrorised by two young
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invaders. But what makes it so unpleasant is the way in which the violence is shot. There's such a
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cold detachment, refusing to cater to the Hollywood gratification that comes from bloodshed in movies
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that makes things uncomfortably real. The films open and close with a willfully ear-assaulting
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grindcore track, and when one of the family tries to shoot their way to freedom mid-movie
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one of the attackers grabs a remote control and literally rewinds the film
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allowing him to stop the escape attempt. But one of the most scathing accusations against
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the bloodthirst of the audience comes in the final shot, where one of the boys stares directly
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into the camera as if to uncomfortably confront the audience about their expectations for a movie
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like this. Naturally, mainstream audiences hated it, which is presumably exactly what the director
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wanted. Gladiator. Ridley Scott's best picture winning epic is for the most part a straight-up
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earnest entry into the sword and sandals slasher genre. However, you don't need to look that hard
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to see the film as a critique of audiences' lust for blood
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and the removal of the human element few viewership. One need only play the most famous line of the film
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the Are You Not Entertained?, to see how much of a call-out this is, forcing audiences both in the arena in the film
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and those watching at home to actually look at what they're doing. Ridley Scott is basically asking
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You wanted to see gladiatorial combat? Well, here's Russell Crowe decapitating people
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with fountains of gore. That's what you wanted, right? Are you not entertained
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In another instance, we're told in even more blatant terms, thrust this into another man's flesh and they will applaud and love you for that
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It's hard not to look at the reality shows and other forms of sanctioned violence in our own
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society to see exactly what aspects Scott is pointing at here. Rear Window. It's no secret
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that Alfred Hitchcock's masterful thriller Rear Window is wholly concerned with voyeurism
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what with the wheelchair-bound photographer protagonist L.B. Jeffries, played by James Stewart killing time by spying on his neighbours and eventually witnessing a murder. But what
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Hitchcock's film does so cleverly is make the audience complicit in Jeffreys snooping
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ultimately holding them to as much account as it does Jeffreys himself
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Now, Roger Ebert's brilliant 1983 review of the film perhaps put it best
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We are all asked to join Stewart in his voyeurism, and we cheerfully agree
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We lust after Miss Torso in one of the windows, and we sympathise with Miss Lonely Hearts in
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another We aloof and superior to their plights of course until the chilling gaze of the killer locks eyes with ours across the courtyard Because Hitchcock makes us accomplices in Stewart voyeurism
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we're along for the ride. When an enraged man comes bursting through the door to kill Stewart
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we can't detach ourselves because we look too, and so we share the guilt and in a way
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we deserve what's coming to him. In these moments, Rear Window becomes a film about
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humanity's instinctive desire to leer, and one that punishes us equally as a reward. Basically
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Hitchcock is calling you out for being a pervert, but that's okay because he was clearly one too
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Star Wars The Last Jedi Star Wars The Last Jedi is one of the most polarizing blockbusters of the last decade
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and arrived after the hardcore crowd felt that The Force Awakens overindulged in fan service
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or perhaps even played it a bit too safe. After the disastrous experiment that was the prequels
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familiarity was seemingly the last thing this franchise had to worry about
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But then enter Rian Johnson. Johnson clearly wasn't interested in following J.J. Abrams' lead
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and delivering a solidly competent rendition of the hits, deciding instead to throw out most of
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the prominent fan theories and forge his own expectations-subverting path for the series
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When Snoke is killed two-thirds of the way through the film and Kylo Ren tells Rey that
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she was born to some random junkers, it's as though Johnson is directly criticising the audience
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for their excessive emotional investment in their own headcanon fan theories. While watching The Last Jedi, you can practically feel Johnson's distaste for unreasonable
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over-invested fans dripping from every single frame. Vice This Dick Cheney biopic isn't simply keen to make a mockery of its focal subject and
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take America's balked political process to task. It also refuses to let the general public off the hook simply for participating in it
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regardless of their own political beliefs. The focus group used to test the presentation of the Iraq war to the public earlier in the film
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reappears in Vice's mid-credits scene, but this time they're arguing about the very movie you're
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watching. On the right side of this spectrum, one member of the group calls out the film's apparent
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liberal bias, while a left-leaning participant claims it's simply displaying the facts of the
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case. Whoever you believe, a fight between the left and the right breaks out, all while an
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apathetic young woman in the middles talks to her friend about how much she's looking forward to the
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new Fast and the Furious movie. Now, clearly, Adam McKay is blaming the audience for much of the
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current political miasma. The left and the right can't have a rational interaction with one another
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while those disinterested youngsters are totally blinkered to the terrible future they're going to
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inherit. Even though this scene boils down a lot to a bigger picture and nuance, this is a pretty
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brilliant take on the subject matter. Man Bites Dog 1992 Belgian mockumentary Man Bites Dog was a film stridently ahead of its time in many key areas namely its approach to criticism of fetishistic violence in the media The film revolves around a camera crew who follow a serial killer on his
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rounds, and over the course of the movie, they become increasingly involved in his killings
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to the extent that they begin killing and getting killed themselves. The filmmakers do a fantastic
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job of initially framing the movie as a kind of black comedy and showing killer Ben as a smart
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and charismatic individual, therefore we sort of like him. Yet, as the film drags on, the increasingly
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heinous actions of both Ben and the camera crew, namely committing child murder and rape
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completely change the tone, making the audience feel ill and destroying the implicit relationship
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between them and the central figure. The film punishes the viewer and their willingness to
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follow a serial killer's lead. It's still a great movie, but maybe have something light and fun to
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watch afterwards for the sake of your own sanity. Sucker Punch. Zack Snyder's Sucker Punch is
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depending on your viewpoint, either a flagrantly sexist film that gleefully objectifies women
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or a self-aware action film that seeks to take misogyny to task, or some confused mishmash of
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both. In his own words, Snyder stated that the film was always intended to serve as a critique
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of sexist geek culture, which has a historic penchant for depicting women in sexualized or
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infantilised positions, all for the benefit of slobbering men. And these themes are very clear
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when you look at the film. Women escape their abuse and become sexualised warriors battling
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slathering beasts, and the men are pretty much across the board portrayed as being sex-obsessed
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leering creeps. It's a film that points the finger, but does so in a confusing manner
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and what I mean by that is that Snyder definitely critiques these male power fantasies
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but also gives them exactly what they want, basically fuelling the situation rather than
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leaving the message of change. Friday the 13th, Part 6, Jason Lives
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Honestly, the sixth Friday the 13th movie is probably the best entry into the series
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With an unexpectedly self-aware sense of humour, it casually dispenses with the failing tropes in favour of some actually fresh ideas
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including a healthy lashing of meta-commentary on the slasher genre as a whole
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This is best exemplified by the scene in which gravedigger Martin passes comment on Jason Voorhees' corpse being dug up
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Martin grumbles, why'd they have to go and dig up Jason? Before turning to the audience and quipping
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some folks sure got a strange idea of entertainment. It is so utterly tongue-in-cheek
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and the way it's done almost makes you feel like the movie is embarrassed of its own existence
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It also plays with the concept that Slash and Films endure, despite the quality seeing as the fifth movie tanked massively
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but still made over ten times its budget. It's like the producers were saying to the audience
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hell, you'll watch it anyway. Sadly, this is the only entry into the franchise that really bothered to look inward at its own tawdryness


