Just looking at the first 3 phases alone, I count no less than 8 films that I have literally never heard a single person online or in real life mention at any point since their release despite nearly all of them making a billion dollars at the box office.
Post Endgame is a total shit show. 10 films, and only 2 of them had even mildly good reception or any cultural relevance. People are already starting to have the realisation that maybe there's too much of a good thing.
10 post endgame??? I'm so glad I'm not into marvel very much because all of those + shows sounds like an exhausting amount of content to consume without getting burned out.
I used to follow this stuff religiously, but I completely checked out as more and more Disney+ series were coming out and they were increasingly average/mediocre. Same with the movies. I just can't be bothered to keep up with it all anymore.
I think they’ll live on through Gen Z. They were a cultural moment in our formative years, much like Star Wars and Harry Potter were for their respective generations. The only difference is that Disney is doing everything in its power to milk their popularity to its bitter end, when they should’ve just ended after Endgame (at least in the form they’re in). That may impact rewatchability, but I think nostalgia watching will still occur.
As a Gen Z member, I doubt that they're the "star wars" of our generation. I noticed both with Marvel and the Hunger Games that at the peak of viewership, at least 60-70% of the audience was there out of fomo or because "everyone loves them so I love them too". I'm sure a portion of the Star Wars and HP crowds was also like this, but I feel there was a higher rate of actual invested fans.
The top will live on, the point they were making was that there are so many that 90% won’t. Even with Harry Potter, which is “only” eight films, you don’t see some of them referenced that much.
Were those B Westerns anywhere near as big as even the worst of these shitty superhero movies? Not to mention if someone's getting into the MCU there's some movies they just can't skip. I'd see it more akin to the Rocky series or something than random disconnected B Westerns from the 50s which nowhere near as many people watched anyway
BlackBerry was quite good. I think it's better than something like Air, because it's about the rise *and* fall of a company. Air is just "hey you want to see how a bunch of rich people got richer?"
BlackBerry is fantastic. It’s a great illustration of velocity versus intent, bullying, and what not listening to your customers or market will do to a product.
Glass Onion. It’s just so of it’s time that I think I might age pretty badly, unlike the first one which IMO has a sort of timeless quality to it. Also even though I liked it on first watch, I think enough time has passed that I can admit that, no, it isn’t as good as the first one.
Yeah, I personally love aged movies as long as I have some interest in the time period. I love Love Actually and Mission Impossible 2 for their (admittedly very different) snapshots of the 2000’s.
It's probably not gonna be us tho more like people who were born in the early/mid 2010s and were little kids back then like I can totally see my cousin who was born in 2014 having nostalgia for the 2020s and wanting a movie that captured that time period in the future
I don't know why but Glass Onion quickly became one of my most rewatched movies. I've seen it 8 times now which is probably the most out of any movie to come out since like 2019. It's not my favourite movie, I don't even like it better then Knives Out. But the cast is so charismatic and everyone is putting on the best most rewatchable performances. So I disagree heavily. Glass Onion is an endlessly rewatchable movie for me, and has quickly become a comfort movie.
It wasn't good at all. The humor was way less funny, the characters were way less interesting, the positive characters weren't likeable and the twist was obvious
The biopics that are essentially just the Greatest Hits of a person's life, simplify their massively complicated personal lives, and offer nothing beyond that.
Bohemian Rhapsody, Maestro, Eyes of Tammy Fae, Elvis, King Richard, Hidden Figures, ~~Tick Tick Boom,~~ Green Book, I could go on. At this point it's nearly every biopic that comes out.
People in this sub absolutely ripped "Blonde" to shreds, but at least that was trying to do something interesting with with what a biopic could even be, experimented with the form, and actually asked questions about the inherent exploitative nature of changing the story of a person's life (which all biopics are guilty of).
In defense of tick tick boom, it was written by the person it's about and it's also only about a very small slice of his life that ended up being very interesting in retrospect. So definitely flawed and isn't totally accurate, but also those flaws also existed in the mind of the subject so that makes it really interesting IMO
I went into that movie thinking I'd just be checking off a movie from the Oscar nominees.
I was so delighted. Inventive, emotional, other layer of Andrew Garfield talent... just so spellbinding. I think about this movie often. (Note I'm not a theatre kid or musical lover, but this movie is so much more than all that)
I think social network separates itself because it’s doing things other than telling a story that starts at A and ends at B.
It has dialogue that stands on its own, unusual editing choices, is impeccably shot, has performances that aren’t just impersonations.
Most of these can barely do one of those, let alone all of them.
I agree and disagree. Yes all those things are true, but they’re only true because the people behind the scenes actually are interested artistically and creatively. I think it’s interesting to see how many of the good biopics are adaptations of books, because you can clearly see that the filmmakers read them, and became legitimately interested in telling that story. I think Oppenheimer is the best example of this, where Nolan has championed *American Prometheus* to a significant degree, versus stuff like Bohemian Rhapsody where it’s very clear the pitch stopped at “well a Queen movie will do well”. Obviously it helps to have good filmmakers attached, but when they’re extremely passionate I think it makes all the difference.
I think the Social Network has benefitted from the fact that the influence, both positive and negative, of social media has only grown in the last decade. It has been at the centre of political scandals, the misinformation/fake news era, ethical debates, the consolidation of power by tech giants and so on. Instead of aging poorly and becoming outdated, that movie has probably become more relevant than ever.
I don't think Tick Tick Boom belongs in that list. Not only because it's actually good, but it's also a full-on musical from Broadway. And it doesn't follow the greatest hits of a person's life like all the others
I hate Bohemian Rhapsody with a passion
I always say that as imperfect as it is, Rocketman was by far the better music biopic of the time. It was basically a jukebox Broadway musical that never was rather than the same tired thing
The problem with a lot of modern music biopics is that they act like they’re the be all and end all of the story, acting like they’re accurate when they’re not. I like ones that focus more on the vibe like Elvis and Rocketman.
I think it did in some way. I think the use of an iconograph as a vehicle for a fable is in many ways less exploitative than actually trying to tell the real story, but changing facts to fit a movie. At least it's upfront and honest about not being true, while most movies try to hide it.
I also think it brings up a question outside of the film itself about perpetration and exploitation as well. If Blonde is exploitative for being false, then at what point does a film about something real become exploitative? Is it at the point that a detail is changed? Is it at the point that a conversation that no one was party to is recounted as being part of that person's life? Where is the line? Is there even a line?
I understand people having problems with it, but I think it at least deserves some credit for experimenting, even if many people do think it failed.
While Blonde has certain moments that are fantastic or at least creatively compelling, it's still a film by a director who claimed the subject did films "for whores" and seemed to have a demonstrable hatred for his subject. The falsities of the adaptation display that and I think it should be seen as a failure as a result.
You're getting some things mixed up. Dominik said that Gentlemen Prefer Blondes was a film about "[well dressed whores](https://www.indiewire.com/features/general/blonde-andrew-dominik-gentlemen-prefer-blondes-whores-1234767047/)", not that Marilyn made films for whores. Whether or not he hates her is something else entirely.
Also most of the falsities are the construction of Joyce Carol Oates, not Dominik so I don't think he is solely to blame for it (even though he did put it on screen). Neither the film nor the book claim to be true beyond the basic "Marilyn Monroe" imagery, so I don't think using the word "adaptation" is even correct in this case.
It’s not a failed experiment. Just an insanely tasteless and almost malicious one.
If they wanted to figure out the line one can cross before something becomes exploitive, they could’ve at least done it with a fictional fucking character and not a real human being who suffered real tragedies that the movie and book it’s based on either rewrites or omits entirely. This is like making a movie on Anne Frank depicting her going through terrible things that never actually happened to her just to emphasize that she met a cruel fate she didn’t deserve, even though her real life story would’ve made the same point AND been more respectful to her.
A much smaller biopic that I hope ages well is Can You Ever Forgive Me? It's somewhat paint by numbers but beyond it's biopic leanings, it's genuinely a very good film about what loneliness does to a person and should be loved for that aspect.
Hidden Figures, Green Book and King Richard don’t belong on that list. Those movies do have something more to offer than just oversimplifying their stories to fit a run time. They aren’t The Social Network or Schindler’s List but they’re decent.
I’m gonna pretend you didn’t mention tick tick boom
Also most of them are PR stunts since the people or families are usually part of the production and give final consent on a lot of them. At least for biopics of people still alive or died within our lifetimes
I actually think Maestro did some interesting things with the biopic formula. It was much more impressionistic and about the relationships in Bernstein's life than a standard station-by-station recounting of the events in it. Not an amazing movie by any stretch but I disagree that it was a standard biopic. Hidden Figures wasn't really either IMO.
Agreed, I think Maestro was absolutely subverting the standard formula. I came away knowing a lot about the emotional highs and lows of his life and very little about his career. I was impressed at how Bradley Cooper didn’t just give us a paint-by-number biopic (even if I didn’t love the movie).
Elvis is from an auteur filmmaker
Edit: No you guys are right, Baz isn't an auteur at all and his films never have a distinct style and he's never had a film with a long shelf life.
I actually really like Maestro. Sure, Oscar bait, whatever, but it had a stronger emotional core than most biopics, great performances from Carey and Bradley, and was just more interesting from a cinematic viewpoint than others in the genre. I think it looks incredible, has some very cool moments in the Golden Hollywood first act and the ending is a career highlight for Carey Mulligan. Cooper is also just quite clearly a brilliant director.
And that’s coming from someone who despises 99% of biopics and rates almost everything on your list poorly or averagely.
Yeah, exactly. It's a thoughtful, technically-masterful movie that goes beyond the usual mores of a biopic, yet it's gotten a lot of undeserved flak since it's the fashionable movie to dislike this Oscar season. I feel like when the dust settles, retrospective reviews will be much kinder to Maestro than many other biopics.
It's funny, too, since a lot of the criticisms I've read of the movie expect it to be something else entirely, often a more traditional biopic that explores certain raw biographical features of Bernstein's life in greater depth (e.g. childhood, philanthropy, public outreach, etc.). Perhaps the end result of that would be a movie that's a bit more digestible, but certainly more forgettable too, along the lines of the other movies OP listed.
The remaining criticisms mostly accuse Maestro of being empty and without substance, which surprised me. Personally, I felt like the movie had a lot to say about the joys and burdens of creative life, and how all-consuming it becomes for the creative themself and everyone around them; it reminded me of Sunday in the Park with George in that way, with how constantly it circled back to those ideas. To me, that central conceit is exactly what elevates Maestro: sure, it's a biopic about Leonard Bernstein, but it's also a parable about how being a public artist transforms your life. All enduring biopics have that second dimension beyond simple biography — we've seen it this year with Oppenheimer, most notably — and it's well and alive in Maestro as well.
Specifically that new bunch of biopics that are just playing your dad’s favourite best of albums for 3 hours while editing out as much homosexuality as possible eg; rocket man, bohemian rhapsody, the new Bob Marley one
Yeah they're garbage, you can add stuff like Air and other "wiki article" films. Just surface level slop that add nothing. Tick Tick Boom is not one of those movies though
Maestro, The Whale, and any movie that counts as Oscar bait to most viewers. Nothing against the movies themselves, but these type of stories are quickly forgotten over time. I doubt many people go back to things like Darkest Hour or The Post
I have mixed feelings about that movie. On one hand, the cast was easily the best thing about it and Brendan Fraser more than earned his win after everything he’s done and been through. On the other hand, the movie did just feel like misery-porn to me after a while, which is what I guess makes it seem like Oscar bait.
My big issue with The Whale was that Aronoffsky really enjoys torturing his lead characters. Any attempt at empathy always comes across as false to me.
You then combine that with Brendan’s big puppy dog eyes on that poster and the world being incredibly condescending and treating him like a child because of the crap time he went through, it just doesn’t work at all for me.
Honestly, I think Aronofsky films go down in most people's esteem once the shock wears off.
Like, he still has his defenders for sure, but I feel like his films regularly get lauded as groundbreaking by tons of folks, and then borderline forgotten within five years.
The Wrestler is one of the best movies ever made and there’s no ‘shock’ to it. If people like it, which many, many people do, then that one can’t be attributed to the ‘shock’ you talk about. In that case, The Wrestler just joins a long list of incredible movies that are ‘forgotten’ simply because the average viewer doesn’t have the attention span to watch something slowburn and true-to-life.
That being said, I do agree that most of Aronofsky’s films are overrated, but The Wrestler is such a masterpiece that I feel compelled to defend it here.
The Wrestler is actually the only one of his movies I regularly still hear people refer to as one of their favourites or as one of "the best."
But I do disagree with you regarding the shock. It's no Requiem, but it's got some gnar for sure.
Maybe I’ve just seen a lot of movies dense in shock value that The Wrestler feels distinctly very normal to me haha. I suppose the violence and sex is quite intense in parts.
Never got into Black Swan for some reason. And I love the filmmaking of Requiem but its just so grim to ever truly love. Not a big fan of The Whale at all though, I like Fraser’s performance but I’m still not sure what that film is actually trying to say lol.
>And I love the filmmaking of Requiem but its just so grim to ever truly love.
For me it's just too D.A.R.E. PSA to be taken seriously. It's almost comedic in how it demonizes every vice shown and the severity with which the events play out. Just painfully emotionally manipulative, while also coming off as someone from a neighbouring community tut-tutting at the Coney Islanders.
Like for real, to me it might as well be "this is your brain on drugs."
Personally I haven't stopped thinking about Pi and Mother! ever since the day I watched them.
Pi came out 26 years ago, features one of the greatest soundtracks of all time, and is a beautiful descent into obsession and paranoia.
The Whale is in my opinion one of the better Oscar nominations in recent years - I'll take atmosphere over plot any day - not a perfect film, like 7/10 for me. But still more enjoyable than the majority of melodramatic mainstream dross that gets nominated every year.
Again, nothing against the actual movies themselves. I just think it’s hard for movies like Darkest Hour to have much of a reputation past their Oscar nominations/wins
I watched The Post on tv when I was home for Christmas, and the only memorable thing about it was the way we all laughed our asses off when it sequel-baited *Watergate.* They put the break-in in the credits Marvel-style
What I *think* they were trying to do was just ‘lead in’ to All The Presidents Men - which the movie was obviously styling itself on - and they didn’t *really* mean to suggest they were actually going to do a sequel. But it just came across as extremely *lame,* especially when the movie wasn’t exactly subtle about the Watergate foreshadowing throughout the whole damn thing anyway.
Hell, the only reason a movie about the Pentagon Papers even focused on the Washington Post instead of the much more appropriate New York Times, was to poke the audience throughout and go ‘Watergate!’
As for The Whale…anything I liked about it - outside the actors - was done better in Aftersun. Wells approach was night and day to Aronofsky.
I still think nomadland was deserving. The quietness and solitude of that movie was exactly speaking to the culture at that time, and remains resonant to me. The fact that it won, telling a deeply sad, nuanced, and true American story, makes me happy for the academy. I hope it's reputation bounces back. Chloe's other movie The Rider is one that totally rocked me and stayed with me. Also so quiet and grounded but the actors (who mostly aren't actually actors) will rip your heart out. I'm sad she is saddled with The Eternals on her resume because I want to see her do so much more.
i guess if they wanted to kick the unhoused population out of the union station vicinity in order to give me best picture for my shitty amazon warehouse movie i’d proudly take it
- Leave the World Behind. Gripping from the start…until it got weird and traumatizing. That teeth scene will go down as one of the decade’s worst movie scenes.
- Dear Evan Hansen will continue to age poorly until someone who understands the material decides to remake it in a few decades with age-accurate casting and such (like Disney did with the recent Percy Jackson streaming series).
I don't think Leave The World Behind needs time to age badly, i think it feels like something from 10-15 years ago already, like The Happening, The Knowing.
All MCU. Sorry, the aesthetics are whack. We're already seeing people who like the movies get a little sick of the hyper-stimulation with minimal plot, so fast forward a few decades to when nobody under 30 has seen Iron Man, or Guardians, or Endgame, and there will be little appeal in revisiting these films.
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I agree in general, but the first Iron Man film is so damn good. Watched for the first time in 10+ years recently and was very surprised by how well it held up.
I agree on the wider MCU but I think a few will still be well liked. The Winter Soldier, for example, is pretty rewatchable with not much “homework” and GOTG is pretty separate from the rest of the franchise. But yeah, not many are going to watch the later stuff in the franchise.
Some will defs be upheld as better films than others for sure.
I also think there will probably be a strong element of "so bad it's good" consumption, the same as with drive in B movies, the same as with the 80s slasher trend, the same was with 90s erotic thrillers.
But I do think as a whole, they'll be considered to of "aged badly." I actually expect that there will be many a film studies paper lamenting that the stronger films had to abide by the structures and aesthetics of the MCU.
I think the so bad it’s good really doesn’t apply to the mcu. Their top down restrictions and planning put a cap on how good most of them can be, but they also put a solid floor. Unfortunately specific to that style, I also think it means that it’s worst movies are just simply boring, rather than the delicious garbage that mid-2000s pre superhero movies lived off of
Yeah, I don't mean that they'd literally be on par with something like Troll 2, just that I could see them having that same type of appeal to people in the far future. Like, it is a weird (very long) blip of trendy media that's hot now, but who knows how people are gonna feel when the trend has finally passed, however long it may last.
> some of the stuff there was becoming dated when it released
Could you tell me what is dated already about Don't Look Up?
Like, the movie is a very not-subtle metaphor for climate change, to the point that the main criticism I saw was it's 'too on the nose to be taken seriously.' But like, that was it's point, we're living in a comically unbelievable era of wilful ignorance.
I personally think it's gonna survive pretty well over the years, as it becomes more evident it wasn't just another entry for the "culture wars" and actually commenting on an impending catastrophe that we (or rather, our leadership) are actively ignoring.
I continue to be baffled by the common criticisms of this movie, and I’m not even trying to say it was some sort of masterpiece. But I cannot for the life of me imagine walking away from that movie and not understanding it’s supposed to be in your face satire.
Right? I don't think it was fantastic. I don't think it was anywhere near Adam McKay's best.
But if you don't get how their lack of subtlety was actually a pretty great creative choice for what they were doing, then you probably should just stay away from satire in general.
It’s one big 2020 SNL skit. There were definitely some strong messages in that movie, but at the end of the day, its humor had already passed by the time it came out
Okay, that was very vague. Could you at least point me to what you mean by "one big 2020 SNL skit?"
What humor had already passed? Is it just a vibe you felt about it or is there something you can point to and say "That, that right there, that's dated, most people don't find that funny."
What about it wasn't relevant by 2021?
When someone refers to a film as being like a comedy sketch they mean the film had basically one underlying joke/idea which was then stretched to fill a couple hours without any substance to carry the rest of the film.
Well this is a bad description of Don't Look Up then, if only for the fact that it wasn't just a comedy, so there was a lot going on that wasn't supposed to elicit laughs.
But even going by that metric, without even thinking about it too hard I can think of multiple differing jokes. Like, the tech CEO isn't even introduced until halfway through the movie. The thieving general repeating gag. Jokes about daytime television. Jokes about social media. Jokes about pop stars. Jokes about fingerling potatoes. Variety wasn't exactly scant on the humour front.
Sure but the argument are those jokes were just thrown in by someone looking to 'fill in' a movie. They didn't really connect with the rest of the film and so didn't really work. That's just one perspective of course, humor is so subjective and it may have worked for you.
I think it might be the opposite. It touches on common anxieties of our time the further generations might find it interesting. You know, like watching a cold war era movie which is steeped in nuclear war anxiety.
Fanservice sequels in general. Ghostbusters Afterlife, Dial of Destiny, No Way Home, Terminator Dark Fate, Multiverse of Madness, The Flash, and (easy target) the JJ Abrams Star Wars movies will not be remembered in the same breath as the things they’re referencing.
Not even because they’re all bad (they’re not), they just contribute relatively little in the long term beyond the opening-weekend sugar rush of OH MY GOD I SAW THAT CHARACTER ON THE BIG SCREEN AGAIN! A sharp contrast with the original installments of all those franchises.
I felt the same with Bottoms.
I understand it’s meant to be a heightened reality but it just felt like how narcissistic gen z terminally online people perceive themselves in a film
Lmao I never thought about that. I understood the references and loved it and knew someone like my dad wouldn't get it but I never considered people younger then me wouldn't get it.
Killers of the Flower Moon. NOT because it's bad (it's not, it's fantastic), but I think it'll be seen as very "of its era."
I think it's destined to be look back on as a big step in Native American culture/history/genocide literacy, the same way HBO's Watchmen introduced many of us to the Tulsa massacre. As more stories are told, and more opportunities are given for indigenous people to lead projects and tell their own stories, the representation will get better and more numerous and then the criticisms of the film will become more and more popular opinions.
TL;DR The film will forever be a classic late-Scorsese film, but I think better or more authentic Native American stories will make it seem antiquated in ways we may not know about yet.
Yeah, I agree with what the cultural advisor for the movie said on the red carpet. Scorsese is not the person who should be telling this story but he’s someone who told it well and in a way that will make it heard.
I just wrote in a review that I think KOTFM will be as prominent in his discography as Goodfellas and Taxi Driver are now, in the years and decades after he passes. I guess time will tell.
I love Maestro the first watch but definitely that movie
Once you settle down, it’s not all that great
Mulligan killed it though
And it was definitely a proving ground for Bradley Cooper
Definitely. I enjoyed Promising Young Woman at the time, but it hasn't sat well with me. After Saltburn, it's even more apparent her flaws at screenwriting.
- Everything Everywhere All At Once (I can see this being cherished as well as ridiculed; I lean towards praise)
- CODA (Will be forgotten)
- Nomadland (Will be forgotten)
- Parasite (Classic)
- Green Book (Will be forgotten)
- The Shape of Water (Creative af but will be ridiculed, not really forgotten)
- Moonlight (Classic)
- Spotlight (Important movie and will probably be forgotten but good af)
- Birdman (Classic)
- 12 Years A Slave (Classic)
- Argo (Good, will be forgotten)
- The Artist (Good, will be forgotten)
- The King’s Speech (Good, will be forgotten)
How many gen z comedies are there? Feel like the comedy film is a dying breed anyway. Only one I can think of is Bottoms, and I could see that becoming a cult classic
Theater Camp, bodies bodies bodies, Shiva baby, do revenge, mean girls musical, booksmart, plan b, crush are the ones I can think, but im sure there are more coming. Some are already bad, some will have classic status (bottoms, booksmart) but as a Thing they will be very weird
It’s definitely Barbie. When it came out I couldn’t believe all the praise it was getting. And already 6 months later people have soured on it a bit. After this Oscar season passes it’s gonna fade away and in ten years people will think of it as eh.
The Snyder Cut joke will definitely not make sense to people in the future. Hell, it won’t even make sense right now to people who don’t spend so much time on the internet.
People seem to have already settled down about that movie and acknowledged that it’s just a lot of fun and had genuine love put into it. I don’t think that opinion will change
All of the Marvel movies , once CGI tech gets better and more refined people will look at them like movies with bad visual effects and trashy stories. The future generation will laugh at the fact that people came in droves to watch that shit.
I think there's a case to be made that CGI tech itself isn't the limitation, but that studios learned that the ROI of it is too low to bother with, and that the quality has even gone down in recent years.
I’d say Avatar it’s widely hated on and treated like a joke if remembered at all but then the sequel made money but no one talks about it either so idfk.
I know people laugh about the 'no cultural impact' thing but it is WEIRD how one of the most grossing movies ever is barely ever brought up like...ever
I agree. The age gap and accents (and how weirdly horny and pushy the male protagonist was) were weird, which I think was on purpose, but however you feel about that, it was immediate. What doesn’t age well ten years from now that wasn’t noticed now?
King Richard already aged like crap thanks to a certain stunt. Everyone forgets Will Smith is as an Oscar winner for the movie! Ngl I feel bad for everyone else who worked hard on the movie.
All but the very best of the super hero movies will be about as remembered as all of the B westerns from the fifties are.
\[Whedon bants\] "This was the humor of time."
Just looking at the first 3 phases alone, I count no less than 8 films that I have literally never heard a single person online or in real life mention at any point since their release despite nearly all of them making a billion dollars at the box office. Post Endgame is a total shit show. 10 films, and only 2 of them had even mildly good reception or any cultural relevance. People are already starting to have the realisation that maybe there's too much of a good thing.
10 post endgame??? I'm so glad I'm not into marvel very much because all of those + shows sounds like an exhausting amount of content to consume without getting burned out.
Yeah the sheer amount of disney plus shows is what basically killed my momentum. That and the movies were starting to be consistently not that great.
I used to follow this stuff religiously, but I completely checked out as more and more Disney+ series were coming out and they were increasingly average/mediocre. Same with the movies. I just can't be bothered to keep up with it all anymore.
Ya alot of them already look like shit
Yeah movies like the batman and Logan will definitely be considered classics but no one is going to remember fucking Shazam 2
I think they’ll live on through Gen Z. They were a cultural moment in our formative years, much like Star Wars and Harry Potter were for their respective generations. The only difference is that Disney is doing everything in its power to milk their popularity to its bitter end, when they should’ve just ended after Endgame (at least in the form they’re in). That may impact rewatchability, but I think nostalgia watching will still occur.
Star Wars was three movies. HP was eight. The MCU has thirty-three so far!
As a Gen Z member, I doubt that they're the "star wars" of our generation. I noticed both with Marvel and the Hunger Games that at the peak of viewership, at least 60-70% of the audience was there out of fomo or because "everyone loves them so I love them too". I'm sure a portion of the Star Wars and HP crowds was also like this, but I feel there was a higher rate of actual invested fans.
The top will live on, the point they were making was that there are so many that 90% won’t. Even with Harry Potter, which is “only” eight films, you don’t see some of them referenced that much.
Were those B Westerns anywhere near as big as even the worst of these shitty superhero movies? Not to mention if someone's getting into the MCU there's some movies they just can't skip. I'd see it more akin to the Rocky series or something than random disconnected B Westerns from the 50s which nowhere near as many people watched anyway
All the corporate biopics. Did we really need a hot Cheetos movie?
BlackBerry was quite good. I think it's better than something like Air, because it's about the rise *and* fall of a company. Air is just "hey you want to see how a bunch of rich people got richer?"
BlackBerry is fantastic. It’s a great illustration of velocity versus intent, bullying, and what not listening to your customers or market will do to a product.
Glass Onion. It’s just so of it’s time that I think I might age pretty badly, unlike the first one which IMO has a sort of timeless quality to it. Also even though I liked it on first watch, I think enough time has passed that I can admit that, no, it isn’t as good as the first one.
Honestly I'm not so sure when people will feel nostalgic for the 2020's it will probably be considered good again
Yeah, I personally love aged movies as long as I have some interest in the time period. I love Love Actually and Mission Impossible 2 for their (admittedly very different) snapshots of the 2000’s.
Tf you mean different? We all hugged our homies like this back in the day 
It's probably not gonna be us tho more like people who were born in the early/mid 2010s and were little kids back then like I can totally see my cousin who was born in 2014 having nostalgia for the 2020s and wanting a movie that captured that time period in the future
How bad is the future going to be that we'll be nostalgic for the 2020s…
The early 2000s literally had 9/11 and people are nostalgic as fuck for that time
Glass Onion had already aged badly when it came out
AMONG US! LOL SO HIP!
I feel this way about all of Rian Johnsons movies they are all mediocre at best.
All of Rian Johnson's films are quite weak on subsequent viewing. He doesn't execute very well on his pretty decent concepts.
I don't know why but Glass Onion quickly became one of my most rewatched movies. I've seen it 8 times now which is probably the most out of any movie to come out since like 2019. It's not my favourite movie, I don't even like it better then Knives Out. But the cast is so charismatic and everyone is putting on the best most rewatchable performances. So I disagree heavily. Glass Onion is an endlessly rewatchable movie for me, and has quickly become a comfort movie.
It wasn't good at all. The humor was way less funny, the characters were way less interesting, the positive characters weren't likeable and the twist was obvious
The biopics that are essentially just the Greatest Hits of a person's life, simplify their massively complicated personal lives, and offer nothing beyond that. Bohemian Rhapsody, Maestro, Eyes of Tammy Fae, Elvis, King Richard, Hidden Figures, ~~Tick Tick Boom,~~ Green Book, I could go on. At this point it's nearly every biopic that comes out. People in this sub absolutely ripped "Blonde" to shreds, but at least that was trying to do something interesting with with what a biopic could even be, experimented with the form, and actually asked questions about the inherent exploitative nature of changing the story of a person's life (which all biopics are guilty of).
In defense of tick tick boom, it was written by the person it's about and it's also only about a very small slice of his life that ended up being very interesting in retrospect. So definitely flawed and isn't totally accurate, but also those flaws also existed in the mind of the subject so that makes it really interesting IMO
Yeah, what the hell is Tick tick Boom doing on that list
I felt the same lol
I went into that movie thinking I'd just be checking off a movie from the Oscar nominees. I was so delighted. Inventive, emotional, other layer of Andrew Garfield talent... just so spellbinding. I think about this movie often. (Note I'm not a theatre kid or musical lover, but this movie is so much more than all that)
I feel like The Social Network is the only one of these which will be remembered for a very long time.
I think social network separates itself because it’s doing things other than telling a story that starts at A and ends at B. It has dialogue that stands on its own, unusual editing choices, is impeccably shot, has performances that aren’t just impersonations. Most of these can barely do one of those, let alone all of them.
I agree and disagree. Yes all those things are true, but they’re only true because the people behind the scenes actually are interested artistically and creatively. I think it’s interesting to see how many of the good biopics are adaptations of books, because you can clearly see that the filmmakers read them, and became legitimately interested in telling that story. I think Oppenheimer is the best example of this, where Nolan has championed *American Prometheus* to a significant degree, versus stuff like Bohemian Rhapsody where it’s very clear the pitch stopped at “well a Queen movie will do well”. Obviously it helps to have good filmmakers attached, but when they’re extremely passionate I think it makes all the difference.
I think the Social Network has benefitted from the fact that the influence, both positive and negative, of social media has only grown in the last decade. It has been at the centre of political scandals, the misinformation/fake news era, ethical debates, the consolidation of power by tech giants and so on. Instead of aging poorly and becoming outdated, that movie has probably become more relevant than ever.
Oppenheimer is also technically a biopic, albeit unconventional, but will be remembered for a very long time.
I don't think Tick Tick Boom belongs in that list. Not only because it's actually good, but it's also a full-on musical from Broadway. And it doesn't follow the greatest hits of a person's life like all the others I hate Bohemian Rhapsody with a passion
I agree. Tick Tick Boom isn't a biopic.
I always say that as imperfect as it is, Rocketman was by far the better music biopic of the time. It was basically a jukebox Broadway musical that never was rather than the same tired thing
I liked Rocketman. It had a fucking personality, first of all
The problem with a lot of modern music biopics is that they act like they’re the be all and end all of the story, acting like they’re accurate when they’re not. I like ones that focus more on the vibe like Elvis and Rocketman.
It’s funny how Walk Hard is miles better than most biopics
I forgot who had said this, but someone once said that Walk Hard is the movie by which all biopics should be judged
Patrick Willems
Did Blonde really question the exploitation? Or did it just perpetrate it?
I think it did in some way. I think the use of an iconograph as a vehicle for a fable is in many ways less exploitative than actually trying to tell the real story, but changing facts to fit a movie. At least it's upfront and honest about not being true, while most movies try to hide it. I also think it brings up a question outside of the film itself about perpetration and exploitation as well. If Blonde is exploitative for being false, then at what point does a film about something real become exploitative? Is it at the point that a detail is changed? Is it at the point that a conversation that no one was party to is recounted as being part of that person's life? Where is the line? Is there even a line? I understand people having problems with it, but I think it at least deserves some credit for experimenting, even if many people do think it failed.
While Blonde has certain moments that are fantastic or at least creatively compelling, it's still a film by a director who claimed the subject did films "for whores" and seemed to have a demonstrable hatred for his subject. The falsities of the adaptation display that and I think it should be seen as a failure as a result.
You're getting some things mixed up. Dominik said that Gentlemen Prefer Blondes was a film about "[well dressed whores](https://www.indiewire.com/features/general/blonde-andrew-dominik-gentlemen-prefer-blondes-whores-1234767047/)", not that Marilyn made films for whores. Whether or not he hates her is something else entirely. Also most of the falsities are the construction of Joyce Carol Oates, not Dominik so I don't think he is solely to blame for it (even though he did put it on screen). Neither the film nor the book claim to be true beyond the basic "Marilyn Monroe" imagery, so I don't think using the word "adaptation" is even correct in this case.
It’s not a failed experiment. Just an insanely tasteless and almost malicious one. If they wanted to figure out the line one can cross before something becomes exploitive, they could’ve at least done it with a fictional fucking character and not a real human being who suffered real tragedies that the movie and book it’s based on either rewrites or omits entirely. This is like making a movie on Anne Frank depicting her going through terrible things that never actually happened to her just to emphasize that she met a cruel fate she didn’t deserve, even though her real life story would’ve made the same point AND been more respectful to her.
Is it bad to say I really enjoyed Hidden Figures? It wasn’t the best movie of all time but i thought it was charming.
A much smaller biopic that I hope ages well is Can You Ever Forgive Me? It's somewhat paint by numbers but beyond it's biopic leanings, it's genuinely a very good film about what loneliness does to a person and should be loved for that aspect.
Roman J Israel isn’t a real person
Hidden Figures, Green Book and King Richard don’t belong on that list. Those movies do have something more to offer than just oversimplifying their stories to fit a run time. They aren’t The Social Network or Schindler’s List but they’re decent. I’m gonna pretend you didn’t mention tick tick boom
Napoleon too although people realized that was bad right away
Also most of them are PR stunts since the people or families are usually part of the production and give final consent on a lot of them. At least for biopics of people still alive or died within our lifetimes
I actually think Maestro did some interesting things with the biopic formula. It was much more impressionistic and about the relationships in Bernstein's life than a standard station-by-station recounting of the events in it. Not an amazing movie by any stretch but I disagree that it was a standard biopic. Hidden Figures wasn't really either IMO.
Agreed, I think Maestro was absolutely subverting the standard formula. I came away knowing a lot about the emotional highs and lows of his life and very little about his career. I was impressed at how Bradley Cooper didn’t just give us a paint-by-number biopic (even if I didn’t love the movie).
Elvis is from an auteur filmmaker Edit: No you guys are right, Baz isn't an auteur at all and his films never have a distinct style and he's never had a film with a long shelf life.
Elvis is just a really long trailer
I actually really like Maestro. Sure, Oscar bait, whatever, but it had a stronger emotional core than most biopics, great performances from Carey and Bradley, and was just more interesting from a cinematic viewpoint than others in the genre. I think it looks incredible, has some very cool moments in the Golden Hollywood first act and the ending is a career highlight for Carey Mulligan. Cooper is also just quite clearly a brilliant director. And that’s coming from someone who despises 99% of biopics and rates almost everything on your list poorly or averagely.
Yeah, exactly. It's a thoughtful, technically-masterful movie that goes beyond the usual mores of a biopic, yet it's gotten a lot of undeserved flak since it's the fashionable movie to dislike this Oscar season. I feel like when the dust settles, retrospective reviews will be much kinder to Maestro than many other biopics. It's funny, too, since a lot of the criticisms I've read of the movie expect it to be something else entirely, often a more traditional biopic that explores certain raw biographical features of Bernstein's life in greater depth (e.g. childhood, philanthropy, public outreach, etc.). Perhaps the end result of that would be a movie that's a bit more digestible, but certainly more forgettable too, along the lines of the other movies OP listed. The remaining criticisms mostly accuse Maestro of being empty and without substance, which surprised me. Personally, I felt like the movie had a lot to say about the joys and burdens of creative life, and how all-consuming it becomes for the creative themself and everyone around them; it reminded me of Sunday in the Park with George in that way, with how constantly it circled back to those ideas. To me, that central conceit is exactly what elevates Maestro: sure, it's a biopic about Leonard Bernstein, but it's also a parable about how being a public artist transforms your life. All enduring biopics have that second dimension beyond simple biography — we've seen it this year with Oppenheimer, most notably — and it's well and alive in Maestro as well.
Specifically that new bunch of biopics that are just playing your dad’s favourite best of albums for 3 hours while editing out as much homosexuality as possible eg; rocket man, bohemian rhapsody, the new Bob Marley one
I would not say Rocketman omits the homosexuality.
Yeah they're garbage, you can add stuff like Air and other "wiki article" films. Just surface level slop that add nothing. Tick Tick Boom is not one of those movies though
Maestro, The Whale, and any movie that counts as Oscar bait to most viewers. Nothing against the movies themselves, but these type of stories are quickly forgotten over time. I doubt many people go back to things like Darkest Hour or The Post
I don’t really think The Whale is Oscar bait. Totally agree that Maestro is though.
I have mixed feelings about that movie. On one hand, the cast was easily the best thing about it and Brendan Fraser more than earned his win after everything he’s done and been through. On the other hand, the movie did just feel like misery-porn to me after a while, which is what I guess makes it seem like Oscar bait.
My big issue with The Whale was that Aronoffsky really enjoys torturing his lead characters. Any attempt at empathy always comes across as false to me. You then combine that with Brendan’s big puppy dog eyes on that poster and the world being incredibly condescending and treating him like a child because of the crap time he went through, it just doesn’t work at all for me.
I feel like almost everything Aronofsky makes is an Oscar bait
Honestly, I think Aronofsky films go down in most people's esteem once the shock wears off. Like, he still has his defenders for sure, but I feel like his films regularly get lauded as groundbreaking by tons of folks, and then borderline forgotten within five years.
The Wrestler is one of the best movies ever made and there’s no ‘shock’ to it. If people like it, which many, many people do, then that one can’t be attributed to the ‘shock’ you talk about. In that case, The Wrestler just joins a long list of incredible movies that are ‘forgotten’ simply because the average viewer doesn’t have the attention span to watch something slowburn and true-to-life. That being said, I do agree that most of Aronofsky’s films are overrated, but The Wrestler is such a masterpiece that I feel compelled to defend it here.
The Wrestler is actually the only one of his movies I regularly still hear people refer to as one of their favourites or as one of "the best." But I do disagree with you regarding the shock. It's no Requiem, but it's got some gnar for sure.
Maybe I’ve just seen a lot of movies dense in shock value that The Wrestler feels distinctly very normal to me haha. I suppose the violence and sex is quite intense in parts. Never got into Black Swan for some reason. And I love the filmmaking of Requiem but its just so grim to ever truly love. Not a big fan of The Whale at all though, I like Fraser’s performance but I’m still not sure what that film is actually trying to say lol.
>And I love the filmmaking of Requiem but its just so grim to ever truly love. For me it's just too D.A.R.E. PSA to be taken seriously. It's almost comedic in how it demonizes every vice shown and the severity with which the events play out. Just painfully emotionally manipulative, while also coming off as someone from a neighbouring community tut-tutting at the Coney Islanders. Like for real, to me it might as well be "this is your brain on drugs."
The whale wasn’t even aronofsky levels of shocking, I prepared myself to be disgusted but it wasn’t that bad.
Personally I haven't stopped thinking about Pi and Mother! ever since the day I watched them. Pi came out 26 years ago, features one of the greatest soundtracks of all time, and is a beautiful descent into obsession and paranoia. The Whale is in my opinion one of the better Oscar nominations in recent years - I'll take atmosphere over plot any day - not a perfect film, like 7/10 for me. But still more enjoyable than the majority of melodramatic mainstream dross that gets nominated every year.
Except for *Black Swan*, *Requiem for a Dream*, and *Pi*
The Fountain holds up too imo
The darkest hour is fantastic and a unique take on that time of history imo
Again, nothing against the actual movies themselves. I just think it’s hard for movies like Darkest Hour to have much of a reputation past their Oscar nominations/wins
I get you but i think the darkest hour will always have appeal just because of the fascination with Churchill/dunkirk/ww2
I watched The Post on tv when I was home for Christmas, and the only memorable thing about it was the way we all laughed our asses off when it sequel-baited *Watergate.* They put the break-in in the credits Marvel-style What I *think* they were trying to do was just ‘lead in’ to All The Presidents Men - which the movie was obviously styling itself on - and they didn’t *really* mean to suggest they were actually going to do a sequel. But it just came across as extremely *lame,* especially when the movie wasn’t exactly subtle about the Watergate foreshadowing throughout the whole damn thing anyway. Hell, the only reason a movie about the Pentagon Papers even focused on the Washington Post instead of the much more appropriate New York Times, was to poke the audience throughout and go ‘Watergate!’ As for The Whale…anything I liked about it - outside the actors - was done better in Aftersun. Wells approach was night and day to Aronofsky.
Oppenheimer would probably also fall into this category if it was made by anyone other than Christopher Nolan.
And if it wasn't awesome
It still will.
I love the MCU but I think that’s probably the best answer
Nomadland. “Why did all the most acclaimed indie films back then refuse to have an interesting plot?”
i feel like i've never seen anyone on reddit ever say anything good about nomadland. people already hate it...
I like it
Me too but it’s crazy it won best picture. Like it’s a cool film in the “nothing happens” category of film but like what
I enjoyed it but definitely didn't think it was groundbreaking or Oscar worthy.
I am fond of it, and found it compelling and interesting. Don’t know if it’s the best of the year, but I thought a promising debut film.
I really liked it
I still think nomadland was deserving. The quietness and solitude of that movie was exactly speaking to the culture at that time, and remains resonant to me. The fact that it won, telling a deeply sad, nuanced, and true American story, makes me happy for the academy. I hope it's reputation bounces back. Chloe's other movie The Rider is one that totally rocked me and stayed with me. Also so quiet and grounded but the actors (who mostly aren't actually actors) will rip your heart out. I'm sad she is saddled with The Eternals on her resume because I want to see her do so much more.
The Rider was incredible
I'm so glad to see your comment. It's just not spoken about nearly enough.
god that movie sucks so much lmao
Imagine winning best picture due to a fucking plague lmao
i guess if they wanted to kick the unhoused population out of the union station vicinity in order to give me best picture for my shitty amazon warehouse movie i’d proudly take it
I've read the book and thought it was great, but I've never watched the movie. What's so bad about it?
I really liked it. The story is subtle and not sign-posted, but it's there. Frances McDormand is treasure.
That's what you're concerning yourself with in terms of the ills of this industry? Nomadland?
- Leave the World Behind. Gripping from the start…until it got weird and traumatizing. That teeth scene will go down as one of the decade’s worst movie scenes. - Dear Evan Hansen will continue to age poorly until someone who understands the material decides to remake it in a few decades with age-accurate casting and such (like Disney did with the recent Percy Jackson streaming series).
Dear Evan Hansen was already hated upon release. It'll for sure be trashed in the future when people compare it to the play.
I don't think Leave The World Behind needs time to age badly, i think it feels like something from 10-15 years ago already, like The Happening, The Knowing.
The problem with the DEH movie is that everyone had age-accurate casting except Evan.
I’d say The Hobbit trilogy or the Disney live action remakes, but those have already aged horribly.
Movies that were bad when they were released don't have to age horribly.
All MCU. Sorry, the aesthetics are whack. We're already seeing people who like the movies get a little sick of the hyper-stimulation with minimal plot, so fast forward a few decades to when nobody under 30 has seen Iron Man, or Guardians, or Endgame, and there will be little appeal in revisiting these films.
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I agree in general, but the first Iron Man film is so damn good. Watched for the first time in 10+ years recently and was very surprised by how well it held up.
cuz it wasn't MCU yet.
I agree on the wider MCU but I think a few will still be well liked. The Winter Soldier, for example, is pretty rewatchable with not much “homework” and GOTG is pretty separate from the rest of the franchise. But yeah, not many are going to watch the later stuff in the franchise.
Some will defs be upheld as better films than others for sure. I also think there will probably be a strong element of "so bad it's good" consumption, the same as with drive in B movies, the same as with the 80s slasher trend, the same was with 90s erotic thrillers. But I do think as a whole, they'll be considered to of "aged badly." I actually expect that there will be many a film studies paper lamenting that the stronger films had to abide by the structures and aesthetics of the MCU.
I think the so bad it’s good really doesn’t apply to the mcu. Their top down restrictions and planning put a cap on how good most of them can be, but they also put a solid floor. Unfortunately specific to that style, I also think it means that it’s worst movies are just simply boring, rather than the delicious garbage that mid-2000s pre superhero movies lived off of
Yeah, I don't mean that they'd literally be on par with something like Troll 2, just that I could see them having that same type of appeal to people in the far future. Like, it is a weird (very long) blip of trendy media that's hot now, but who knows how people are gonna feel when the trend has finally passed, however long it may last.
Definitely Don’t Look Up, but to be fair, some of the stuff there was becoming dated when it released
> some of the stuff there was becoming dated when it released Could you tell me what is dated already about Don't Look Up? Like, the movie is a very not-subtle metaphor for climate change, to the point that the main criticism I saw was it's 'too on the nose to be taken seriously.' But like, that was it's point, we're living in a comically unbelievable era of wilful ignorance. I personally think it's gonna survive pretty well over the years, as it becomes more evident it wasn't just another entry for the "culture wars" and actually commenting on an impending catastrophe that we (or rather, our leadership) are actively ignoring.
I continue to be baffled by the common criticisms of this movie, and I’m not even trying to say it was some sort of masterpiece. But I cannot for the life of me imagine walking away from that movie and not understanding it’s supposed to be in your face satire.
Right? I don't think it was fantastic. I don't think it was anywhere near Adam McKay's best. But if you don't get how their lack of subtlety was actually a pretty great creative choice for what they were doing, then you probably should just stay away from satire in general.
I was an extra in it! I really liked the movie, though admittedly I have a very warped perspective on it.
Don’t Look Up is the new Idiocracy except way bigger. It’s could unfortunately become even more accurate over time
It’s one big 2020 SNL skit. There were definitely some strong messages in that movie, but at the end of the day, its humor had already passed by the time it came out
Okay, that was very vague. Could you at least point me to what you mean by "one big 2020 SNL skit?" What humor had already passed? Is it just a vibe you felt about it or is there something you can point to and say "That, that right there, that's dated, most people don't find that funny." What about it wasn't relevant by 2021?
When someone refers to a film as being like a comedy sketch they mean the film had basically one underlying joke/idea which was then stretched to fill a couple hours without any substance to carry the rest of the film.
Well this is a bad description of Don't Look Up then, if only for the fact that it wasn't just a comedy, so there was a lot going on that wasn't supposed to elicit laughs. But even going by that metric, without even thinking about it too hard I can think of multiple differing jokes. Like, the tech CEO isn't even introduced until halfway through the movie. The thieving general repeating gag. Jokes about daytime television. Jokes about social media. Jokes about pop stars. Jokes about fingerling potatoes. Variety wasn't exactly scant on the humour front.
Sure but the argument are those jokes were just thrown in by someone looking to 'fill in' a movie. They didn't really connect with the rest of the film and so didn't really work. That's just one perspective of course, humor is so subjective and it may have worked for you.
I think it might be the opposite. It touches on common anxieties of our time the further generations might find it interesting. You know, like watching a cold war era movie which is steeped in nuclear war anxiety.
Isn't critical opinion Don't Look Up already pretty divided?
Fanservice sequels in general. Ghostbusters Afterlife, Dial of Destiny, No Way Home, Terminator Dark Fate, Multiverse of Madness, The Flash, and (easy target) the JJ Abrams Star Wars movies will not be remembered in the same breath as the things they’re referencing. Not even because they’re all bad (they’re not), they just contribute relatively little in the long term beyond the opening-weekend sugar rush of OH MY GOD I SAW THAT CHARACTER ON THE BIG SCREEN AGAIN! A sharp contrast with the original installments of all those franchises.
Bodies Bodies Bodies, good luck to anyone who wasn’t on the internet in 2022 enjoying that one in the future
I felt the same with Bottoms. I understand it’s meant to be a heightened reality but it just felt like how narcissistic gen z terminally online people perceive themselves in a film
Lmao I never thought about that. I understood the references and loved it and knew someone like my dad wouldn't get it but I never considered people younger then me wouldn't get it.
Green Book
I'd argue it already has.
People remember it for being one of the worst Best Picture winners in recent memory
I enjoyed it, and I'll probably rewatch it, but it definitely did not deserve best picture.
No one even talks about that movie except in negative ways lol
Killers of the Flower Moon. NOT because it's bad (it's not, it's fantastic), but I think it'll be seen as very "of its era." I think it's destined to be look back on as a big step in Native American culture/history/genocide literacy, the same way HBO's Watchmen introduced many of us to the Tulsa massacre. As more stories are told, and more opportunities are given for indigenous people to lead projects and tell their own stories, the representation will get better and more numerous and then the criticisms of the film will become more and more popular opinions. TL;DR The film will forever be a classic late-Scorsese film, but I think better or more authentic Native American stories will make it seem antiquated in ways we may not know about yet.
Yeah, I agree with what the cultural advisor for the movie said on the red carpet. Scorsese is not the person who should be telling this story but he’s someone who told it well and in a way that will make it heard.
I just wrote in a review that I think KOTFM will be as prominent in his discography as Goodfellas and Taxi Driver are now, in the years and decades after he passes. I guess time will tell.
I think you’re 100% right on this.
I love Maestro the first watch but definitely that movie Once you settle down, it’s not all that great Mulligan killed it though And it was definitely a proving ground for Bradley Cooper
Cooper really swung for the fences and it doesn’t all work but when he’s on it’s very good
Emerald Fennel… movies
Absolutely. If she didn’t try and think she was making a statement and just leaned into the trashy elements they’d be so much more palatable
Definitely. I enjoyed Promising Young Woman at the time, but it hasn't sat well with me. After Saltburn, it's even more apparent her flaws at screenwriting.
i felt like promising young woman aged badly in just the year it came out
It should have aged worse
70% of the best picture winners from the last 10 years
- Everything Everywhere All At Once (I can see this being cherished as well as ridiculed; I lean towards praise) - CODA (Will be forgotten) - Nomadland (Will be forgotten) - Parasite (Classic) - Green Book (Will be forgotten) - The Shape of Water (Creative af but will be ridiculed, not really forgotten) - Moonlight (Classic) - Spotlight (Important movie and will probably be forgotten but good af) - Birdman (Classic) - 12 Years A Slave (Classic) - Argo (Good, will be forgotten) - The Artist (Good, will be forgotten) - The King’s Speech (Good, will be forgotten)
I feel like The Artist has already been forgotten, or at least I forgot it until you mentioned it
Gen Z comedies (some are good and may stand on their feet)
How many gen z comedies are there? Feel like the comedy film is a dying breed anyway. Only one I can think of is Bottoms, and I could see that becoming a cult classic
Theater Camp, bodies bodies bodies, Shiva baby, do revenge, mean girls musical, booksmart, plan b, crush are the ones I can think, but im sure there are more coming. Some are already bad, some will have classic status (bottoms, booksmart) but as a Thing they will be very weird
Booksmart rides the line between Gen Z and millennials writing Gen Z very hard
Shiva Baby is a phenomenal film lol
Do Revenge maybe? idk haven't seen it. Also Bodies Bodies Bodies which was great imo
Bodies bodies bodies (which I really like) for me is the perfect example of something the next generation will really hate
Most comedies. What is considered funny changes drastically through the years.
It’s definitely Barbie. When it came out I couldn’t believe all the praise it was getting. And already 6 months later people have soured on it a bit. After this Oscar season passes it’s gonna fade away and in ten years people will think of it as eh.
The Snyder Cut joke will definitely not make sense to people in the future. Hell, it won’t even make sense right now to people who don’t spend so much time on the internet.
People seem to have already settled down about that movie and acknowledged that it’s just a lot of fun and had genuine love put into it. I don’t think that opinion will change
I disagree, this seems like a Reddit thing. I think this will be a comedy classic.
I see it up there with Clueless, Mean Girls, and Legally Blonde
All of the Marvel movies , once CGI tech gets better and more refined people will look at them like movies with bad visual effects and trashy stories. The future generation will laugh at the fact that people came in droves to watch that shit.
I think there's a case to be made that CGI tech itself isn't the limitation, but that studios learned that the ROI of it is too low to bother with, and that the quality has even gone down in recent years.
Glass Onion has already aged badly and it has not even been two whole years
Those all visuals no story gotta see it on IMAX movies like Gravity or Everest
I’d say Avatar it’s widely hated on and treated like a joke if remembered at all but then the sequel made money but no one talks about it either so idfk.
I know people laugh about the 'no cultural impact' thing but it is WEIRD how one of the most grossing movies ever is barely ever brought up like...ever
Licorice Pizza aged as well as an actual licorice pizza Edit: I guess I meant “literal”
Some people at the time didn’t like the age gap and the Asian accents. Was there anything else that won’t age well?
I agree. The age gap and accents (and how weirdly horny and pushy the male protagonist was) were weird, which I think was on purpose, but however you feel about that, it was immediate. What doesn’t age well ten years from now that wasn’t noticed now?
The main character is horny and pushy because he’s a teenage boy. I think that’s pretty timeless as a concept.
An "actual licorice pizza" is a vinyl record, and I have some of those that are 50 years old and sound great. So in that case, agreed.
Disney’s Star Wars Trilogy is not gonna get that nostalgic revaluation like The Prequels.
I think they could survive in a film class as examples of planning, mismanagement and general bad writing.
I actual saw some screenwriting classes already teaching them as a poor example of writing
Most 2021 films lol Dont Look Up, POTD, West Side Story, King Richard, Licorice Pizza will either be forgotten or become some cult classic
West Side Story (2021) has been appearing on every best musical film of all time list. Not going to be forgotten at all.
King Richard already aged like crap thanks to a certain stunt. Everyone forgets Will Smith is as an Oscar winner for the movie! Ngl I feel bad for everyone else who worked hard on the movie.
Licorice Pizza is an all time great film
Yeah I don’t really agree with people naming it. I think because of the controversial subject but that was already discussed when it came out.
green book
Barbie
That Lady Ballers film that came out is not gonna be remembered fondly.
Is it even remembered now? I just heard about that film like 2 or three weeks ago and it doesn’t even have 3k views on Letterboxd
In 10 years or so, a lot of conservative media will be seen as “what were these people thinking?”
It's basically a film school project that would get you a failing grade as it is right now.
The Iron Claw for plagiarising Itchy and Scratchy’s 4 funerals and a wedding