So, is Damien Chazelle GOAT yet?

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>Rt

yeah pretty much.

As soon as he makes a good movie that isn't all about music. So for he's GOAT director of musical performances.

This man is a crypto-Ashkenazi Jew who went to Harvard and got an agent through nepotism as an undergrad. He is not the rags to riches, great new director that "critics" pretend he is. There is not one bit of truth, experience, or lesson in his work. It is just straight up privilege meant for redditors and pseudo-cinephiles. He has taken everything those Gen X auteurs built (who now seem like fucking Pasolini compared to this guy) and taken it to a new level of dishonest filmmaking.

>black capeshitter liking films where ALL the good guys are white
hello shitskin

>LA LA Land isn't playing in my country
>can't find a torrent

damn it

Why would you not want him to make movies about things he loves? The music stuff makes the movies unique. If whiplash was about a history teacher and their student it would suck. If la la land was just a typical story of a couple falling in love no one would watch it.

The screener will be out tonight or tomorrow along with Hacksaw, Arrival, Manchester and the portman movie

This. He is the very definition of dishonest cinema.

He's a dishonest filmmaker

redpill me on this meme

>dishonest
It's a meme, right?

Whiplash stinks

>Why is La La Land so charmless yet so wildly overpraised? It is the work of 31-year-old Damien Chazelle, a movie buff turned director who has no knack for the popular culture he imitates and who is temperamentally distanced from the work ethic he takes as his subject. The two lovers in La La Land, Emma Stone as struggling actress Mia and Ryan Gosling as struggling pianist Sebastian, traverse Los Angeles’s showbiz subculture as projections of Chazelle’s own ambition. Their first stumbles, then inevitable success, glorify Chazelle’s own accomplishments and increase his sense of entitlement; it’s the same cliché that Chazelle tried passing off as unstoppable ambition in his previous film, the ridiculous jazz-psychodrama Whiplash.

>TV-bred and hype-oriented journalists, who are equally remote from pop culture and working-class life, are applauding the solipsism in La La Land as new and original. But their praise reflects only the cultural illiteracy Chazelle represents, an idiocy that has contributed to the breakdown of film culture this millennium.

>Sorry to get all esoteric about a movie most people will stare back at in dumbfounded disbelief, but La La Land (like Whiplash) is a departure from the old notion that movies should be edifying (much as we’ve forgotten the idea of public service as a virtue and now see it as a reward of egotism). A certain fundamental spiritual belief is missing from La La Land’s ersatz movie-musical conceit. Chazelle’s depiction of career conflict and erotic attraction in Mia and Sebastian’s romance — the un-lyrical cheeriness and nervously paced fantasy scenes — prevents La La Land from being a satisfying movie musical. He imitates the generic form but never imbues it with feeling.

.The opening musical number (“Another Day of Sun”), in which a traffic jam on the L.A. freeway turns into a dance routine by frustrated drivers who leap out of their cars and prance about dressed in pastel colors, is an embarrassment. Off-key in several ways, the set-up makes no sense, the song’s ironic uplift is cheesy, the choreography is chaotic, and the preening multiculturalism of the dancers (soon forgotten in the whites-only love story) feels forced and insulting.

>To connect this inept endeavor to the great movie musicals is merely wishful, but reviewers congratulate themselves because it is also arcane. That freeway free-for-all is modeled after French director Jacques Demy’s The Young Girls of Rochefort (1967), a musical experiment that portrayed Demy’s spiritual ambition. (It followed Demy’s masterpieces Lola and The Umbrellas of Cherbourg, which redefined cinema by mixing genres and finding existential profundity in what was previously dismissed as frivolous.)

>Chazelle’s approach to storytelling and cinema history has no spiritual basis. He lacks Demy’s understanding of movie-musical tradition — that musicals must demonstrate feelings that can be expressed only through song and dance. Uninterested in the effable, Chazelle settles for being a show-off. Every musical number intrudes into bland, recitative scenes without transporting them into levity or passion. La La Land is all hollow gimmickry (it begins by announcing Chazelle’s use of the widescreen CinemaScope frame), which naïve Millennials find easier to comprehend than Demy’s unique, self-examining genre mash-up avant la lettre.

honestly? yes

>In this sense, La La Land continues in the inauthentic mode that Millennials inherited after the indie film movement sank under the wright of its own narcissism. This is often the hidden subject of Paul Thomas Anderson’s films — specifically his quasi-musical Punch Drunk Love. But La La Land also imitates the snarky genre pastiche of Quentin Tarantino’s neo-noirs. But Chazelle’s overture to road rage is unconvincing because it lacks profanity, violence, and aggression — the realistic urban-trash texture that, as filtered through junk movies, inspired the undeniably proficient Tarantino, the first film-buff director to idiotically repeat film history.

>Chazelle is false to his own premise; he lacks both Tarantino’s idiosyncrasy and Demy’s Franco-American sophistication. (La La Land’s attempts at matching color schemes offend the memory of Demy’s visually harmonized emotions and his high aestheticism in The Umbrellas of Cherbourg. This junk is more like the now-forgotten silent atrocity The Artist.) Plus, the charmless Stone and Gosling and the smug John Legend sing and dance without grace. How awful is all this? La La Land makes one long for a Quentin Tarantino musical.

Whiplash was good, but La La Land is very dishonest

I heard he's working on a Neil Armstrong biopic, even more dishonest

It's kind of gay to make all your movies about a single subject.

La La Lands is probably the most overrated documentary of Hollywood I've seen. Sad!

Well he only has 2 movies and they're completely different despite both being about musicians.

kill yourself you sad fuck.

he makes dishonest flicks loved by reddit

youtube.com/watch?v=Nbue2Pi2tNY

he has to make at least an 8/10 movie first

yeah

He liked:

>Grown Ups
>Jonah Hex
>G.I. Joe
>G.I. Joe 2
>Battle: Los Angeles
>The Green Hornet
>Clash of the Titans
>Indiana Jones 4
>Transformers 2
>Death Race
>Fantastic Four: Rise of Silver Surfer
>I Now Pronounce You Chuck & Larry
>Takers
>Taken
>Transporter 3
>Resident Evil: Afterlife
>Batman v Superman: Dawn of Justice

He disliked:
>The Tree of Life
>There Will Be Blood
>Black Swan
>The Social Network
>Tangled
>The Girl with the Dragon Tattoo
>The Road
>The King's Speech
>Synecdoche, New York
>Transformers
>Toy Story 3
>Eastern Promises
>Stardust
>The Assassination of Jesse James by the Coward Robert Ford
>Uncle Boonmee Who Can Recall His Past Lives
>Tales from the Golden Age
>Let Me In
>All Marvel movies
>The Dark Knight
>Mother
>The Hurt Locker
>Blue Valentine
>Up
>Hellboy 2

He also compared Hannah to Kick-Ass because they both have a young female character, thinks I Now Pronounce You Chuck & Larry is a modern classic, thinks Live Free or Die Hard is the best Die Hard, compared The Road to Resident Evil, thinks Clash of the Titans is better than the LOTR Trilogy, prefers Transformers 2 to Transformers, and thinks CJ7 is deeper and more profound than There Will Be Blood.

meme

How can he be so wrong?? Has he seen those disliked movies Rotten Tomatoes Scores? Almost all of them are Certified Fresh!

It's more about what he liked rather than disliked.

Armond as a gay man knows its an inauthentic musical. As a black man, he knows it's also a dishonest portrayal of jazz. based black gay Armond BTFO shitty jazz musical by jewish nepotist hack!!!

see

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What do the red X's mean
Some of them have 1, a couple have 4 or 5

I assume Green=Good, Orange=Okay, Red=Bad