The New York Times’ most doctrinaire movie critics, Manohla Dargis and A.O. Scott, had another tiresome conversation hosted in Sunday’s edition injecting race, class, and feminist politics into the theatre-going experience: “When Even the Movies Can’t Unite Us.” They examined the fall and winter movie crop and found “while some of the season’s new movies will offer relief from real-world troubles (that’s entertainment!), others will invariably engage the cultural and social division, suspicion and recrimination that afflict the present moment.”
The latest conversation from the joyless liberal New York Times movie critics A. O. Scott and Manohla Dargis tacked race and class. The online headline was provocative to the point of offensiveness: “Watching While White: How Movies Tackled Race and Class in 2016.” Dargis, the more radical of the two, proclaimed herself pleased that Hollywood isn’t telling quiet as many lies about American greatness and white superiority, and asserted that "Movie critics, who are largely white and male (see the numbers!), seem stubbornly reluctant to engage with race, at least as it pertains to whiteness."
The front of Friday’s New York Times Arts section featured the paper’s politically correct movie critic Manohla Dargis, “From Shackles to Prison Bars,” a review of activist filmmaker Ava DuVernay’s documentary “13TH.” It’s no surprise that left-wing Black Lives Matter propaganda moved her to tears: Dargis is preoccupied with race, valuing racial bean-counting in movies over artistic excellence and even suggesting the federal government may have to step in to even things out.
The New York Times humorless, bean-counting movie critics Manohla Dargis and A.O. Scott surveyed the fall film season under this pair of judgmental headlines: “Hollywood, Separate and Unequal – The history of American film is the history of American racism.” Dargis and Scott have a regular tag-team movie-ruining-gig: In March they focused their judgmental Oscar coverage on racism and reveled in “Watching a White Academy Squirm.” In the summer of 2015 they indulged in joyless feminist politics. Dargis, a movie critic supposedly concerned about aesthetics over all, is even prepared to deny artistic achievement in the name of racial and gender bean-counting. The text box is ominous: “Insisting on the sanctity of art can just be another way of shutting our eyes and denying ugly systemic realities.”
New York Times movie critics Manohla Dargis, A.O. Scott, and Wesley Morris blessed readers with an even sillier than usual Oscar racism recap in Tuesday's paper: “Watching a White Academy Squirm.”
Thursday's New York Times delivered yet another summer-movie bummer from Manohla Dargis, the paper's most doctrinaire liberal movie critic. Dargis, previously stuck on counting the number of women in movies, is expanding her film interests to include counting old people, gays, and minorities. Yes, it's a non-stop thrill ride in "Report Finds Wide Diversity Gap Among 2014’s Top-Grossing Films."
They're at it again. New York Times movie critics A.O. Scott and Manohla Dargis once again drained the fun out of another slate of summer action flicks, smothering the popcorn with a heavy dose of stale feminist politics in "Heroines Triumph at Box Office, but Has Anything Changed in Hollywood?," their latest turgid annual summer movie diatribe against sexism in Hollywood. Liberal feminist male critic (Scott), who once called Michael Moore "a credit to the Republic," debated ultra-liberal feminist female film critic (Dargis), who celebrated "watching Charlize Theron lead a revolution against a decadent pasty patriarchy" in the new Mad Max movie, and "a rising activism or maybe newfound gutsiness in the industry that echoes the resurgent feminism we’ve seen on college campuses and elsewhere."
For years, New York Times movie critic Manohla Dargis has ruined the summer movie season from her self-righteous, overly liberal movie review perch at the New York Times, and her pan of the raunchy, race-saturated comedy Ted 2 solemnly, self-righteously instructs her readership on what is funny and what is not: "It all depends on context, which is why some pokes in the eye are funny and others aren’t. And maybe this movie might have been funny (or at least tolerably wince-worthy) before dead black bodies again became an emblem of our national trauma."
Stop the presses! Decadence dominated the publicity oozing out of the Cannes Film Festival in France. The festival’s highest honor, the Palme d’Or (or Golden Palm) went to “Blue Is the Warmest Color,” which drew most of its buzz from an explicit ten-minute lesbian sex scene.
This, apparently, was art, not pornography. The Cannes jury headed by Steven Spielberg took the unprecedented step of insisting that the movie’s two stars be included as Palme award recipients. New York magazine’s Vulture blog cooed these awards were the festival’s “Most Pleasant Progressive Surprise.”
In the aftermath of the Oscars, New York Times fashion reporter Eric Wilson bizarrely documented an example of "feminine repression" on the red carpet in Monday's arts section. Almost as silly was a Critics' Notebook from the painfully political movie review duo Manohla Dargis and A.O. Scott, who delivered the shocking news that Hollywood movies are less than historically reliable, while comparing Obama to President Lincoln.
New York Times movie critics A.O. Scott and Manohla Dargis team up for next Sunday's edition (posted early online) to once again pour their peculiar brand of pretentiousness over the latest crop of innocent films: "Movies in the Age of Obama."
In the summer of 2011, Dargis lamented "the symbolic phallus" present in the form of a rifle in a Western. Last July she managed to make a villain out of President Reagan, while Scott chimed in by complaining that movie superheroes were "avatars of reaction" and that the last X-Men movie was insufficiently attentive to the civil rights movement.
New York Times movie critics Manohla Dargis and A.O. Scott held their annual joyless, ridiculously political summer movie conversation on the front of Sunday's Arts & Leisure, focusing on the glut of superhero movies: "Super-Dreams Of an Alternate World Order – The Modern Comic Book Movie Has Become a Hollywood Staple. But Exactly What Is It Selling?" Dargis managed to make a villain out of President Reagan, while Scott chimed in by complaining that movie superheroes are "avatars of reaction" and that the last X-Men movie was insufficiently attentive to the civil rights movement (really).
The reliably liberal Dargis also tried to ruin the summer movie seasons of 2008 and 2011, with lectures on "separate and unequal" roles for women in movies. On Sunday she made the same points, adding a hit on "the Reagan years" that seems there only to validate the conservative joke that liberals blame everything on Ronald Reagan.