Why's a 7/10 movie getting so much praise?

why's a 7/10 movie getting so much praise?

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Because it's higher than a 7/10.

>inb4 forced meme

Lie Lie Land is a live-action Disney movie. Except Disney movies have better soundtracks, characters, and the struggles faced by those characters aren't fucking retarded. Hollywood hasn't put out a movie this self-masturbatory since The Artist. It is honestly unbelievable how shallow this garbage is.

>dude just follow ur dreams no matter how delusional

The movie justifies this idiotic moral by having the characters achieve their insipid dreams through luck and happenstance rather than hard work. Mia shits out a single one-woman show and does one performance of it; of the 8 people in the crowd, one is a casting agent who falls in love with her and delivers her an A-list acting career on a silver platter. Seb's friend bumps into him, and immediately offers him a job. Following that, despite the decline of jazz in LA and having no experience running a business, Seb ends up owning a hugely successful jazz club. I am sure it is very easy to romanticize succeeding in Hollywood through dumb luck when the people making the film did just that.Many of the scenes in the film were homages, but it doesn't justify them. The overlong scenes of Seb and Mia dancing against romantic backgrounds get old very quickly, and just hammer home the fact that there is no substance to this film. It is also surprising that the relationship at the core of this film only came about due to coincidence; these two run into each other 3 times for no reason other than convenience for the writer.

Chazelle obviously has the self-awareness to realize how saccharine and empty the movie was. In order to make it seem like something other than a sugary bowl of sunshine, he attempts to give it a "bittersweet" ending, but he even fails here -- both characters get everything they wanted out of life.

>b-but they don't end up together, they were meant for each other

You have to be a teen girl to even consider this line of thinking.
3.5/10 - at least it looked good.

youtube.com/watch?v=Nbue2Pi2tNY&t=1s

6*

stop spamming

It's actually a 5/10 movie, though.

because a 7/10 is a Hollywood 9/10 yet a European 6/10

>characters achieve their insipid dreams through luck and happenstance

But that's how everyone who achieves their dreams achieves their dreams.

FPBP

Shitposters

Hollywood likes to suck its own dick
Same thing happened with Hail Caeser

Because everything else released this year is a 5/10 at the most.

someone explain the "dishonest filmmaking" meme to me

This, though I still don't get why that didn't end up together, it's not like they had any circumstances that won't let them to.

The bitch quit after one rejection on her stupid show despite claiming that she doesn't care what plebs think of her work. That is kind of pushing the luck.


Overall I don't get why they couldn't do youtube channels, patreons, streams, whatever, why did it have to be hollywood? Both of them are so horrible it's insane, but at least goose cared about his thing enough to do a shitton of practice, the only thing frog did was go out to the club to get noticed but even there she refused to snort coke of a producer's dick or pop a molly.

T. SHILL

SEE
Pleb

For newfriends
Dishonest Filmmaking:
(Lucas, Alejandro González Iñárritu, Wes Anderson, Christopher Nolan, Aronofsky, Refn, Tom Hooper, Tyler Perry, Baumbach, David Yates, Denis Vilenueve, Steve McQueen) are intellectually bankrupt moral whores and charlatans; their films appeal to the modern phenomenon of the 'Pretend Epic' or Pseudo Cinema, often tied to the criticism that "It was a movie that thought it was a film" they have no ideas of their own and are filmed purely to have fancy essays made about them. They obfuscate their lack of insight under a smug impenetrable irony and often contain scenes with disingenuous attempts at depth with characters spouting platitudes that the director takes VERY seriously.
This directly panders to the IMDb reddit sensibility of quote circlejerking since these hacks are masters of the fools wit, "Quipping" (Not to be confused with the marvel co-opting of the word) , it sounds smart, cool and worldly but in reality there's nothing of substance, the Revenant's attempt at spiritualism was cheap and laughable and whilst someone like Malick has considered his philosophy, Inaurritu wears his introspection on his sleeve to give his film a false sense of depth with pathetic sermonising.

THIS is Dishonest Filmmaking.

They leech the greater works that preceded them; like The Force Awakens being a rip off A New Hope, but they have nothing else to say.
They act under the guise of deconstruction, surface layer obvious 'social commentary' and a quirky forgettable score praised as 'innovative'. They are all inauthentic sycophants that rely on oscar buzz and post 9/11 detachment for relevance.

These directors are hacks and will be forgotten to time.

Some notably earnest filmmakers include, but are not limited to

>Mike Leigh
>The Coen Brothers
>Kanye West
>James Cameron
>Mel Gibson
>Malick
>David Lynch

Sup Forums in its autistic glory spent the entirety of 2016 meme'ing about how a SJW-story with a minority would sweep the oscars because of the liberal agenda that Sup Forums told them to be scared of. It has now become apparent that La La Land will win. It's directed by a white man and the two leads are both white too and the story has no political subtext. This does not gel well with /poltv/'s agenda. Realising that they don't know how to criticise the film (since they don't watch films very often, and certainly don't appreciate the ones that they do watch), "dishonest filmmaking" was made up as an arbitrary criticism of the film that means nothing other than "I hate it for existing".
This is very similar to the joke in Family Guy where Peter claims that The Godfather "Insists upon itself". But the people using the dishonest filmmaking criticism aren't joking, they're just upset

Wow, what a devastating counter-argument. It's indeed a terrible crime that
>Hollywood likes to suck its own dick
and therefore La La Land is shit and one of the worst films of the century.

Really, there's no problem of someone or a collective to be satisfied with themselves. It's literally a silly ''argument''

the only thing that appeals to hollywood more than political subtext is movies that glorify its own legacy. see: The Artist winning against the one of the best movies of all time

doesn't change that Sup Forums's meme-game for the last year has been all about SJW trash sweeping the awards

Too much work for a meme. If you need a walltext, its life will be fast. In this case, something like more two months at best

Drop the "Lie Lie Land" (the dishonest meme is beyond retarded) and this pasta is perfect. Was it really just posted earlier today? Where were you two weeks ago? Reddit almost convinced me to see this schlock.

None of that implies luck is the force driving success. Mia works hard on her show, so the film "rewards" her for this by getting her AN AUDITION. Not a part. it's her performance at the audition, which is informed by everything that has come before, that gets her the gig. Not luck. Also takes a lot of convincing on the part of Seb for her to take it in the first place.

Seb landing the tour wasn't plain luck either: it required Seb to be open to the possibility of taking that job, which was out of the question until Mia insists.

They both needed the lessons offered by each other in order to progress towards their goal. That's not really luck is it. It's hard graft mixed with encouragement.

Goose

It paid for the most awards

No it didn't.

1) its more like 8/10
2) in unoriginal days of rehashed crap just being in a rarely used genre of film is original enough to get loved
3) Hollywood = American Dream for many people especially those who for whatever reason think its dead - lots of people need this movie right now

>lots of people need this movie right now

Are you the film's Jew accountant?

>(9+6)/2=7.5
>rounding down
>europeen education
Next time ask Waleed or Ahmed for help, they invented arithmetic after all.

TTOL would not win in any way, not even top 3 choice after The Artist. It's two big noms were out of an allowed niche of people with bigger cinema interest and a lot of passion. Already a great conquest to have got there. But very divisive on such a big group.

back to Sup Forums, Nazi faggot.

None of you shitheads ever have proof of MUH SHILLING. You just complain a lot and do nothing.

>a Sup Forums babby

It's pure escapism and the world needs that right now.

2/10

Bad dancing, bad songs, bad music, bad characters, bad story, bad themes, mediocre cinematography.

Kys stonefag

From what?
What special event makes 'Now' a time where escapism would be in bigger demand?

Yeah, they need a movie to actually unironically make them feel good. No other movie did that. I mean any movie you can serve me up did it with some kinds of flaws but La La Land didn't have anything that would detract from the purity of the experience of feeling good about life. It was guilt-free entertainment.

The soulless person who would make a post like this of course disagrees that people actually need to watch movies to feel, I won't expect much more from you.

wtf is a stonefag

This, holy shit.

>go to cinema
>watch la la land
>it was alright and everyone loved it
>immediately realise that this means Sup Forums hated it
>com online and check
>what a surprise

nvm I'm an idiot.

>mfw I've been referring to her as a frog for so long I literally forgot her real name

>he actually craves "guilty-free entertainment" and escapism
>the other poster is the soulless one

ISIS ploughing people down in the street. Millions protesting the results of a democratic vote.

> implying

See
Its objectively souless and youre a girl or a fag

I just watched the movie and this is exactly what I feel about it.

7/10 =/= hating it
but again, why praise such innocuous work?
even moonlight is miles ahead of this movie

The predictability of it all is really something time after time

you've never watched a musical before, have you.

>Its objectively souless and youre a girl or a fag
You're too high on the meme life, child

...

that shouldn't have happened, let me try again
>no u

wait, now you're saying a hollywood movie should give screen time to it's competition?

I didn't care for it personally but it just wasn't for me though

it's oscar bait. it's hollywood jews wanking each other off: the movie.

still nicely shot etc

This x100

DUDE REFERENCES LMAO

>it was alright and everyone loved it
Was it alright or did you love it? Or did everyone else love it, but you just thought it was alright? Or did you love it, but now that you come here and see it's getting shit on, you praise the movie, condemn the board, but still can only express a lukewarm opinion because you're above it all? Have you considered you're just as much of a contrarian faggot struggling with his own cognitive dissonance as the rest of us?

This is kino

I think you're reading way too much into that
I enjoyed it, and understood why other people loved it even if I didn't love it myself. But everyone else loved it

Damien Chazelle knows how to connote exuberance, but he hasn’t figured out how to convey it. His eagerness to demonstrate an idea of technical mastery made some sense in his breakthrough feature, Whiplash, whose blend of long takes and assaultive edits were an apt but strained reflection of the try-hard demeanor of the film’s jazz-drummer protagonist. La La Land wastes no time announcing Chazelle’s intentions to bring the same aesthetic of skilled mimicry to his ambitiously mounted but strangely neutered musical: The film’s opening scene is a single-take, whip pan-laden song-and-dance number set in the midst of a traffic jam on a Los Angeles freeway.

The sequence is an appropriate opening salvo for a film that’s primarily about the idea of its own miraculous existence, an early-aughts Gap ad blown up into a grand scale as a diverse flash mob of struggling actors clad in solid colors deliver a hollow vocal performance about the glorious “Technicolor world” of the movies (this one in particular). In the thick of this bombastic traffic standstill are Mia (Emma Stone) and Sebastian (Ryan Gosling), two characters quickly defined by their automobiles. Rather muddily conceived as a pragmatic dreamer, Mia idles in her Prius while Sebastian honks impatiently behind her in his classic convertible as he futzes with his cassette deck, replaying the same few notes of a jazz track over and over again. They’ll meet angry again before they finally meet cute, a struggling actress and a struggling musician united by their vacillations about whether or not it’s worth being a dreamer in these post-nostalgic times.

You forgot bad acting. Nobody here seems to be able to detect shit acting.

Like the film’s central romance, every element of La La Land is bound up in a referentiality that largely precludes the outpourings of emotion we come to musicals for. An entire wall of Mia’s bedroom is a segment of an Ingrid Bergman poster, and the apartment’s common spaces (populated by a chorus of aspiring actresses) feature posters for Edgar G. Ulmer’s The Black Cat and Ralph Nelson’s Lilies of the Field. Despite her adulation for old Hollywood, Rebel Without a Cause is a blindspot, so Sebastian takes Mia to see it—at a scantily attended repertory screening, because no one cares about timeless classics in this world built to honor them—before they end their date at the Griffith Observatory, losing all sense of gravity and dancing into the stars.

Mia and Sebastian’s romance is marked with a hesitance that’s meant to dissipate whenever the set lighting dims and is replaced by one idle spotlight. This visual motif repeats a handful of times, but it’s only in the final act where the film’s deviations from its built reality are accompanied by a genuine sense that the characters are experiencing romance or longing with a semblance of conviction. La La Land‘s dearth of feeling pervades even its most conventionally romantic ballads, with Gosling and Stone singing delicately as they hit their dance steps, aping Astaire-Rogers numbers with dutiful fealty.

Sounds smart, but doesn't hold up. Both characters had to make major compromises in regards to their attitudes and lifestyles. Emma Stone has to learn to put herself out there, meet people and be rejected. The goose must compromise his musical principals and put in work in order to make it as a jazz artist. Neither character is the same person they were at the onset of the movie. They both had to change and work to make their dreams work out, and even then things didn't go exactly as they hoped they would.

Yea everyone loved the force awakens too you fucking asshole

Most of the film’s problems are embodied in Sebastian, a clear stand-in for Chazelle. Like any cinematic jazz fiend, Sebastian refuses to compromise for his art, but he’s aware that his preferences are arcane. He uses phrases like “rope-a-dope” and dreams of bringing the smoky jazz club back to L.A., but his lone career prospect comes with a band whose attempts to integrate the genre into a palatable pop format. Sebastian is, at once, supposed to be an embodiment of the screwball musical hero and a representation of its demise. (Gosling’s tetchy performance has the same comic tempo as his work in this summer’s The Nice Guys, but none of the self-effacing charm.)

This duality imparts an obstinate glumness on Sebastian, one that La La Land‘s ebullient sets and fetching costume design try to mask with bouts of razzle-dazzle. Worse, his puritanical belief in jazz throws the film’s conscious attempts at race-blindness—signified in the utopian opening number—into disarray. The pianist sells out in order to earn a paycheck gig with the all-black band led by singer Keith (John Legend), a capitulation that results in an uneasy series of scenes where Sebastian stands alongside the group, disdainfully plinking on synthesizers. When Mia attends a performance by the group, the camera dwells on Stone’s quicksilver facial expressions, which in this problematized instance are utterly inscrutable.

Elsewhere, it’s easy to see what Chazelle was after throughout La La Land: The film’s longing for simpler times is a conscious mirror of Singin’ in the Rain, the shifting fortunes of its stars reference A Star Is Born, and it’s all laced with the bittersweet aftertaste of Jacques Demy and capped off with an alternate-universe fantasia redolent of the finale of An American in Paris. What the director overlooks is that these are very different films with distinct ideas about technology, fame, and romance. La La Land‘s attempt to alchemize the canonical musicals into some kind of meta-modern fillip might have worked if the result ever demonstrated its own sensibility, but there’s very little to contemplate, let alone swoon over, throughout.

With the penultimate song, “Audition (The Fools Who Dream),” Stone manages to belatedly inject some stakes into the film’s minor-key romance, and Chazelle’s images are often lovely, keeping his stars low in the frame as the expense of Hollywood subsumes them. The director’s retro fetishism proves capable but inert, the guiding force of a machine ruthlessly formulated to win Oscars that ought to have spared a thought or two for winning over hearts.

La La Land - 2 out of 4 stars
Christopher Gray for Slant Magazine

yeah, but that was an enjoyable film with shit editing and appalling writing
Sup Forums just memes that it was the worst film ever made

Only ESL fuckers are on Sup Forums anymore or think anyone gives a fuck about their opinion of movies.

Not to mention the lip sync was horrid.

wtf I hate La La Land now. what a dishonest film

Good goy: the post

>enjoyable film
Questionable I didn't enjoy daisy

Wtf I love l zzz zzz land now! Kino!

ESL fuckers?

Yea the singing and lip syncing was terrible.

people r stupid

...

racist white people

>Mia works hard on her show

No she fucking doesn't. She writes a fanfic for herself, thinking of herself as above others and then gives up after one rejection. Partying to get noticed and occasional auditions don't count. if she stuck with her show for a year it would have been an entirely different matter,

Goose works on his craft, sure, but his bar's success is literaly magic. It's a shitty bar with nothing special going on in it, the jazz isn't even organic, and yet it's hip for whatever the fuck reason. Also his whole "I wanna open the bar but has no moneyz!" route loses any drama sense when we discover that his frand has a band whose interview can get 900k youtube views. Getting a loan would have been super easy.

>Emma Stone has to learn to put herself out there, meet people and be rejected.

She failed at it and still got the gig.

>The goose must compromise his musical principals

As he himself said he didn't mind the music, Emma sperged out because it wasn't that one type of music in that one place. His dream had a lot of fluff in it.

it's an 8/10. This year's movies were pretty weak overall.

>Hollywood hasn't put out a movie this self-masturbatory since The Artist
But The Artist was french...

Its literally a 4/10

>As he himself said he didn't mind the music,
Are you fucking autistic? That was a lie, he fucking hated the music which was the point of that scene in which the photographer asks him to play something and he plays that sad tune.

Because it contains an Emma Stone shoe change scene.

Bleach yourself feetscum

>which was the point of that scene in which the photographer asks him to play something and he plays that sad tune.

He didn't play sad tune, he played his and frog's tune, probably because he was thinking about her as he had a fight with her a night before and was missing her show atm.

Perform sudoku.

Except during the whole scene he's acting autistic towards the photographer and everything, making it clear that he doesn't want to be there.
The stuff about the hat, the sunglasses, the "attitude", everything is designed to contrast with his idea of jazz, and when he plays that tune the point he's making is that he doesn't know what's he doing here.
If you seriously think he really didn't mind the music when his first scene with the band was him throwing an autistic bitchfit you're just too stupid for cinema.

>not posting the webm

You're a disgrace to emmafeet fans everwhere.

I know that it's not his ideal music, but the combination of it paying well, being "sorta-jazz", being popular and celebrated and that being a new thing would have sustained him for a year which was all he needed to get a bar going.

>Black jazz musicians are the sell-outs who want to combine it with pop to make money
>White jazz musicians want it to stay traditional and true to it's origin

lol, only a cracker would write something like this.

JUST

>Nobody here seems to be able to detect shit acting.

Gee I wonder why.

Yes user, all the famous critics and people giving out acting awards are all wrong and you alone are the only person right.

>7/10 =/= hating it

He's from Sup Forums.

Yeah, in truth there wouldn't be any black jazz musicians at all.

Film is dead, user. We 30-second clips and 144 character diarrhea now. Everyone is ESL, even native speakers. May mays are the only true language left on Earth. Just embrace it.

You're implying jlaw vikander bullock etc can act. You fucking mong. Your implying the oscar winners haven't all been shit

She looks like a freak wtf