/tv/ - Movies and Television

>>371756
Son, those eyes are blue hazel. Fix your screen.

>>371802
The white of her eyes is yellow

>>371842
>marina tits are bigger

Brutal mog.

Cas Anvar is actually an Iranian. He's not a sandnigger and neither is he a pajeet. Iranians hate Arabs and Indians almost as much as they hate Jews. The fact that he behaves like the stereotypical Arab/Indian doesn't mean he's one of them.

>>371807
Iranians hate Zionism and the artificial ethnostate known as Israel, they don't hate Jews. The 2nd largest Jewish population in western Asia resides in Iran (Israel just destroyed one of their synagogues).

>>371808
Hmm, maybe that's part of the reason why Sunni Muslims hate them so much.

>>371808
Average Iranian doesn't like Jews, government isn't dumb enough to alienate the kikes that have lived there a while because of muh 6 million. They have to tread carefully.

>>371808
Isn't Real isn't really an ethnostate. It's basically built on kike civnatism.

>>371768
You suck fucking balls at creating threads. Kill yourself.

>>371777
Have sex, incel

>>371777
walled menko.

Michael Unwraps the Smear

By Armond White

A biopic's machinations restore the charisma of a mass folk hero.

Michael Jackson haters don't get to control the narrative in Michael, an adulatory biopic by action-movie hack Antoine Fuqua, who directed Denzel Washington in his notorious Oscar-winning role as the world's worst, most evil black cop, in Training Day. The irony that a purveyor of violent trash with an ethnic spin should do a tribute to MJ is almost mind-boggling. It's the ultimate example of hackery that Fuqua should helm a project about a nonviolent musical artist, especially well known to the public and beloved for pacifistic reasons, that challenges Hollywood's standard racial stereotypes.

Fuqua's name in the credits gives Michael superficial ethnic authentication, which indicates the film's purpose as a political project, done with approval from some members of the Jackson family, to revive and redeem MJ's legend that was tarnished by scandal - part of the media-motivated take-down that has become a standard of our polarized culture's tabloid journalism. As a genre-practitioner in the Ridley Scott mode, Fuqua embarks on the biopic genre with a single-minded dedication implied by the film's title - this narrative is both an identity and an endearment.

Michael follows the fame path of a talented black American kid who emerged from a working-class family, going from bubble-gum pop to songs about romantic yearning, songs creating an innocent pop-idol image, to songs reflecting isolation after showbiz success. MJ's adult music addressed a frantic awareness of the recording industry and social problems - from being a legendary Motown artist to an independent, major-label solo creator - and then reflected his own private turmoil and disenchantment in a series of phenomenal late-career albums (a topic I explored in the "Scream" chapters of Keep Moving: The Michael Jackson Chronicles).

The biography itself reinforces what's known of Jackson's talent, his unique charisma and artistry, sufficient to satisfy fans. No mere actor can portray this drama; real-life MJ nephew Jaafar Jackson (son of Jackson Five sibling Jermaine Jackson) performs the role with moments that offer an uncanny simulacra. Michael satisfies the unvanquished admiration inherent to a pop star who must also be recognized as a mass folk hero.

Anyone who is conflicted about "separating the art from the arPost too long. Click here to view the full text.

>>371754
Can't say I agree with Armond on this one. Like it or not, the scandals of the '90s and '00s were the turning point of MJ's life, he is remembered for them just as much as his music, you don't get to leave out a huge chunk of his life and think nobody is gonna notice what you're trying to do. All that should've been included, and let the audience judge for themselves. That's life, you've gotta take the good with the bad. What you've got instead with Michael is more of a demo than the full version. I think what they were trying to do with marketing this film at this point in time was to piggyback on the success of Baz Luhrmann's Elvis, which was actually done right, and took viewers on a journey from Elvis' childhood, to his bitter end.

>>371772
The movie was censored.

>>371772
Elvis, a Disrespected Phenomenon

By Armond White

Baz Luhrmann's shameless comic-book biopic

Baz Luhrmann presents Elvis Presley like a comic-book superhero. His gaudy biopic Elvis even includes a sequence of comic-book panels: Baz-Elvis the hero transforms from a mild-mannered Mississippi truck driver who sang and played guitar into a flamboyant Elton John or Liberace-style alter ego. Inspiration from sensual black blues and raucous black gospel makes Baz-Elvis a cultural avatar in the manner of both Martin Luther nailing revolutionary theses to public consciousness and Martin Luther King Jr. upsetting racial segregationists while making women scream hysterically. Naïve Baz-Elvis is seen as a Galatea figure manipulated by a shifty Pygmalion, Colonel Tom Parker, so devious and commanding that Baz-Elvis's final incarnation recalls the pathetic, self-destructive Susan Alexander in Citizen Kane.

This shameless cultural jumble might make some kind of crazy sense for anyone who still thinks Presley the figurehead of pop vulgarity. That position has many successors, and Luhrmann is one of them. His disregard for truth, history, and taste is a mark of contemporary absurdity, and in Elvis it overwhelms his subject.

Luhrmann's latest pastiche follows the deliberate inaccuracies and anachronisms of Moulin Rouge, Romeo + Juliet, and The Great Gatsby. That those lousy films were popular hits seems to fulfill the Y2K prediction of cultural collapse. Audiences who knew nothing about the Belle Époque, Shakespeare, or Fitzgerald didn't care, and Luhrmann uncannily played to their ignorance.

Luhrmann's style jumps from one exaggeration to another, zipping through poor-white class issues, past the European-based Army stint and the legendary acquisitive status (a fuchsia Cadillac rather than a pink one). Knowing anything about Presley's life means you watch Baz-Elvis's rise to fame the way opera fans recollect a libretto during a pretentious restaging. Luhrmann's version, with Elvis played by Austin Butler, who does the alluring eyes, modest snarl, and loose-limbed jitterbug moves, is cartoonish and sentimental, unlike the good 1980 Kurt Russell-John Carpenter TV version. But it resembles parody so much that a kind of tickled bemusement is the only way to respond to its blatant inauthenticity.
Post too long. Click here to view the full text.

>>371797
What can I say but Armond btfo little old me. He cucked on the Michael review though. Any way you slice it, it only tells half the story.

Goblin slayers was kino.

>>371626
I don't believe you

>>371739
Supremely punchable face on this one. Looks like a female Beavis

>>371745
Beavis is cool though.

>>371679
she's not dead you retarded nigger tranny faggot

>>371683
She deserved better…

We didn't even get all of the files yet.

>>371729
The human centipede experience is probably real.
It's difficult to image something like that.