Stronk brown woman......no thanks. I had my fill of woke before woke was even a thing.
I like the Critical Drinker's reviews, but, to be fair, that video is based on the trailer, not the movie. He also has a video on his Critical Drinker After Hours where he's discussing it with other guys, but I think that was also before it was released.
There's a lot of off-color (off-colour?) humor and bluster in his reviews, but he really understands storytelling (fitting, as he's a published novelist) and the elements of drama. There have been a few films that I watched where there was just something about them that I disliked, but I couldn't put my finger on what it was until I watched his review. His series on why modern movies suck is also really educational (and entertaining).Lol he’s a good critic
Well, this thread got stupid quick
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Completely agree and I have had the exact same experience especially with the new Jurassic Park and Star Wars movies
From yours truly on MovieChat.org:
This is a C&P of a post I made on Facebook a while back and it still reflects what I see as a major issue in Hollywood: virtue-signaling.
I don't see virtue-signaling in quite the same way that many do, it seems. Some seem to see it, if I am not mistaken, in terms of reflecting current social trends, and I see it as being sanctimonious, proclaiming a virtue that is not really there.
In my writing, I give female and minority characters a prominent place, but it is also one that accurately portrays the times and culture in which the story takes place. If I were writing about 9th century Vikings, I see no reason to include Black characters, for example, and if the story concerns a little boy from the 1950s, it will have methods of child-rearing appropriate to that era.
In my story, The Pale Horse, set in a post-apocalyptic USA in the early 21st century, I have both Black and Jewish heroes, villains, and victims. One of the main good guys is a Hispanic cop. Another is a young guy who is disabled, with everything that that entails. Even though he has been dead for more than a century, the main villain is a German, whose poisonous ideology still infects many today. No; it's not Hitler, it is Karl Marx.
And females are given a prominent place as well, as good guys, bad guys, and victims. The USAF security forces is the prominent unit of the US military surviving in the novel and females serve admirably in that group. Two of the primary scoundrels are women, one of them a German terrorist, and the other is a Marxist fanatic, the partner of the main bad guy.
Is this virtue signaling on my part? Hardly The target audience for my book, that is the group it is most likely to appeal to, is conservative men. If I were to introduce the previously-mentioned Blacks in a story of 9th century Vikings and tell how the best warrior that they had was a female, how the men respected her prowess as a fighter, and how this was very common, all in an attempt to appeal to minorities and modern females, THAT would be virtue signaling.
My argument is not with stories reflecting us as we are, it is with the sometimes twisted means of signaling virtues that are not really there in the first place just to generate admiration that is not deserved.
Granted, I haven't seen Prey, but from what I have read about it, it sounds like a prime example of Hollywood vitrue-signaling.
This is a C&P of a post I made on Facebook a while back and it still reflects what I see as a major issue in Hollywood: virtue-signaling.
I don't see virtue-signaling in quite the same way that many do, it seems. Some seem to see it, if I am not mistaken, in terms of reflecting current social trends, and I see it as being sanctimonious, proclaiming a virtue that is not really there.
In my writing, I give female and minority characters a prominent place, but it is also one that accurately portrays the times and culture in which the story takes place. If I were writing about 9th century Vikings, I see no reason to include Black characters, for example, and if the story concerns a little boy from the 1950s, it will have methods of child-rearing appropriate to that era.
In my story, The Pale Horse, set in a post-apocalyptic USA in the early 21st century, I have both Black and Jewish heroes, villains, and victims. One of the main good guys is a Hispanic cop. Another is a young guy who is disabled, with everything that that entails. Even though he has been dead for more than a century, the main villain is a German, whose poisonous ideology still infects many today. No; it's not Hitler, it is Karl Marx.
And females are given a prominent place as well, as good guys, bad guys, and victims. The USAF security forces is the prominent unit of the US military surviving in the novel and females serve admirably in that group. Two of the primary scoundrels are women, one of them a German terrorist, and the other is a Marxist fanatic, the partner of the main bad guy.
Is this virtue signaling on my part? Hardly The target audience for my book, that is the group it is most likely to appeal to, is conservative men. If I were to introduce the previously-mentioned Blacks in a story of 9th century Vikings and tell how the best warrior that they had was a female, how the men respected her prowess as a fighter, and how this was very common, all in an attempt to appeal to minorities and modern females, THAT would be virtue signaling.
My argument is not with stories reflecting us as we are, it is with the sometimes twisted means of signaling virtues that are not really there in the first place just to generate admiration that is not deserved.
Granted, I haven't seen Prey, but from what I have read about it, it sounds like a prime example of Hollywood vitrue-signaling.
