Lesson of the weekend: 'Cop Out,' 'The Crazies' prove that genre movies work (duh!)

If Peter Travers uses curse words to give himself street-cred in his reviews, then Owen seems to think that using the word “Duh!” will make him sound like he’s keeping it real. Hey Owen, aren’t ALL movies “genre movies?” Calling a thoughtful film like “Up in the Air” a romantic comedy is just fine by me. It just happens to be really good too, which is why it transcends the genre. And I’m sure that sometimes the best strategy is to play it straight, like the genre film U-571 did. It made for a better movie. But I doubt that Cop Out and The Crazies played it straight as a way to flesh out the artistic value of these films. They were poorly crafted films that thought they were better than they were. Their success at the box office was mostly luck. It just prove that sometimes audiences will eat up whatever you feed them, junk food or not. This blog strains for meaning where there is none. My 2 cents.

I gotta say that every day I hate film theory & film students & critics more & more. Where is the fun in movies?” Owen, sir, sometimes it’s important to turn off the chatter. Film fandom’s become a nasty bloodsport where cartoonishly rooting for failure gets the hit count up on the ol’ brand-new blog. And if a schmuck like me pays you some attention, score! MORE EYES, MEANS MORE ADVERT $$$. But when you pull your eye away from the microscope, you can see that s * * t you’re studying so closely is, in reality, tiny as f * * k. You wanna enjoy movies again? Stop reading about them & just go to the movies. It’s improved film/movie appreciation immensely for me. Seriously: so many critics like Owen lined-up to pull a sad & embarrassing train on CopOut like it was Jennifer Jason Leigh in LAST EXIT TO BROOKLYN. Watching them beat the s * * t out of it was sad. Like, it’s called “CopOut”; that sound like a very ambitious title to you? You REALLY wanna s * * t in the mouth of a flick that so OBVIOUSLY strived for nothing more than laughs. Was it called “Schindler’s Cop Out”? Writing a nasty eview for CopOut is akin to bullying a retarded kid who was getting a couple chuckles from the normies by singing AFTERNOON DELIGHT. Suddenly, bully-dudes are doing the bad impression of him, using the “retard” voice. The crowd shifts uncomfortably. And you may impress a couple of low IQ-ers who’re like “Yeah, man! Way to destroy that singing retard!” But, really? All you’ve done is make fun of something that wasn’t doing you any harm and wanted only to give some cats a some fun laughs. It was just ridiculous to watch. That was it for me. Realized whole system’s upside down: so we let a bunch of people see it for free & they s * * t all over it? Meanwhile, people who’d REALLY like to see the flick for free are made to pay? Bulls**t: from now on, any flick I’m ever involved with, I conduct critics screenings thusly: you wanna see it early to review it? Fine: pay like you would if you saw it next week. Like, why am I giving an arbitrary 500 people power over what I do at all, let alone for free? Next flick, I’d rather pick 500 randoms from Twitter feed & let THEM see it for free in advance, then post THEIR opinions, good AND bad. Same difference. Why’s their opinion more valid? It’s a backwards system. People are free to talk s**t about ANY of my flicks, so long as they paid to see it. F * * k this Animal Farm b u l l s h* * t.