- Ken Ilgunas
Who has less taste: us or the cineplex?
[T]he fact is that the screens in most multiplexes are crowded with franchise pictures. And if you’re going to tell me that it’s simply a matter of supply and demand and giving the people what they want, I’m going to disagree. It’s a chicken-and-egg issue. If people are given only one kind of thing and endlessly sold only one kind of thing, of course they’re going to want more of that one kind of thing. — Martin Scorsese
We've been saying forever that "they don't make movies like they used to." That's mopey nostalgic nonsense. There are tons of good movies that come out every year. The problem is that cineplexes force-feed us little other than non-nutritious superhero, animated, and franchise films (with a bad teen smartphone stalker thriller thrown in). When the Scorsese article published eleven days ago, here is what was playing at my old hometown Regal Cinema in Niagara Falls, NY:
Black and Blue
As cineplex offerings go, this list could be worse. But of these eleven films, five are part of a franchise. Seven are animated or contain loads of CGI (which doesn’t make a film bad, but there’s a strong likelihood the movie will be an emotionally-uncomplicated visual feast). The Joker is very good. Harriet looks cheesy (but it’s about an important subject). Abominable appears to be a serviceable animation film. The rest are a slightly better than average selection of unchallenging, dumbed-for-the-masses movies, the dietary equivalent of a box of Kraft Mac and Cheese.
I’m a film snob, but not a complete snob. I love popcorn blockbusters like Avatar, Gravity, and Star Wars: The Force Awakens to name a few. Who doesn’t like Kraft Mac and Cheese? But I know I also need to eat my vegetables.
The movies above could lead you to believe that movies have all been dumbed down and that film, as an art form, is dead, but movies are as good as ever. Playing elsewhere are: 1. Parasite, a Korean movie getting rave reviews; 2. The Lighthouse, an interesting-looking drama; 3. The King, a very solid period drama about palace intrigue with a nice dash of action; 4. Tell Me Who I Am, a solid documentary about child abuse; 5. The Laundromat, a well-intentioned flop that nevertheless tried to be interesting and about something important; 6, Dolemite Is my Name, a solid biopic starring Eddie Murphy. Plus Judy, By the Grace of God, Pain and Glory, Motherless Brooklyn, and probably a handful more. What if Regal showed something more like this:
Dolemite Is my Name
Tell Me Who I Am
That’s a respectable and hardly pretentious selection—a filet of salmon and a side of broccoli to go with your Mac and Cheese. We could zone out and forget our troubles with Zombieland, see a bit more of the world with Parasite, and grapple with questions of that identity and abuse in Tell Me Who I Am.
A few questions:
Why is Netflix increasingly becoming the platform for character and dialogue driven movies—movies like The Irishman, The King, and Dolemite Is my Name. Are production companies uninterested in movies like The Laundromat because they know cineplexes won’t show them, even though they get directed by renowned filmmakers like Steven Soderbergh and star legends like Meryl Streep?
And — more significantly — I wonder: Where does good taste comes from? Are cineplex selections so crappy because the movie-going public has no taste and the cineplexes, out of sheer financial viability, must give us what we want? Or is our taste so awful because the cineplex force-feeds us this crap and we’re less exposed to the good stuff? The answer to that is probably more complicated. Enhanced taste likely involves our quality of education as well as the sort of shows, music, books, and movies we’re exposed to from childhood on. It doesn’t all start and end at your local Regal.
Not to sound melodramatic, but these things really matter. For the health of our society, we could use more Amour and less Too Fast, Too Furious. This past summer, an Italian study found that children who’d been exposed to low-brow TV had significant lower math and reading scores, and that later in life they were less civically minded and less politically active than peers who grew up exposed to more enriching television programs. I feel like I’m a beneficiary of a good media education. I didn’t grow up in a house with shelves of books or overhear conversations about politics and history. But the local Video Factory and Blockbuster had all the necessary classics, and I ate them up. I had a movie theater about a five minute drive from my house — the Summit 6 — and by the time I graduated from high school, I’d seen almost all of the AFI’s Top-100 (and very nerdy) list of the best movies ever. It was my way of acquiring a bit worldliness and wisdom from a place called Wheatfield.
But the selection of movies at the Summit 6 was probably just as lousy as it is today at my local Regal, and we moviegoers were probably just as undemanding in our tastes. We can’t hope for the market to educate us: it’ll just keep feeding us as many fructose films as we can take. I suppose the only thing that can be done is to consume well, mock the bad, and give our kids good movie educations from the start. And maybe some future generation will have something better to watch than Terminator 28.