Ricochet is the best place on the internet to discuss the issues of the day, either through commenting on posts or writing your own for our active and dynamic community in a fully moderated environment. In addition, the Ricochet Audio Network offers over 50 original podcasts with new episodes released every day.
This was the year of Scorsese, even if only two people say so — the three-Oscar-winning writer-director-producer of the four-Oscar-winning Parasite, Bong Joon-ho — and me. Tarantino should have swept the Awards, but the Academy still desperately hopes that a sufficient number of sufficiently clever and sentimental auteurs will save cinema from the twin evils of Disney, perpetually snubbed, and Netflix, perpetually snubbed despite throwing hundreds of millions of dollars at winning a Best Picture Oscar.
Recent victorious auteurs include the insightful, but irresponsible enemy of liberalism Jordan Peele, the uninspired, sentimental Guillermo del Toro, his more insightful friend who’s absolutely clueless about the world we live in, Alejandro Inarritu — to say nothing of the other moralistic winners based on the hope that finally Hollywood will fix America’s race problems: Green Book, Moonlight, 12 years of slave…
There’s a future, I believe for cinema — for American cinema in America, but it’s not going to be the silly individualism plus metaphors that liberal Academy voters prefer. It’s not Disney either, nor Netflix. Something new in keeping with the traditions of cinema and other forms of storytelling in America before that. Maybe better to say, in keeping with their purposes.
But since this is the end of an era, let’s see the influence of the era of Scorsese, of American neo-realism plus pop music plus the perpetual conflict, ethnic histories vs. American History, tradition vs. modernization, religion vs. modern skepticism… Here are my writings on the big nominees.
- Joker. A movie about how therapeutic liberalism might create a monster. Everyone knows it’s an imitation of two Scorsese movies–nobody seems to realize, it works the other way around, too: Scorsese is revealed in his epigone, Todd Philips.
- Once Upon A Time In… Hollywood. Tarantino’s best effort of summing up America. I had a lot to say here. First, let’s understand that Tarantino is anti-woke. Effectively, right-wing at this point! Secondly, let’s look at why he’s turning reactionary politically, or at least morally. And then, a few last words along with some thoughts on the other American manliness movies of 2019 (Ford/Ferrari, Richard Jewell, Midway), which conservatives should praise and help to some success once they hit the online streaming world.
- I disliked one winner more than all others, the latest Toy Story, a depressive, deranged way to go from the basic insight of the tragedy of American parenting.