- Joined
- Apr 6, 2014
Hey man, don't you dare talk shit about Cuties. Cuties is my favorite movie.
Careercow Robert Chipman / Bob / Moviebob / "Movieblob" - Middle-Aged Consoomer, CWC with a Thesaurus, Ardent Male Feminist and Superior Futurist, the Twice-Fired, the Mario-Worshipper, publicly dismantled by Hot Dog Girl, now a diabetic
- Thread starter Enriku
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🔧 At about Midnight EST I am going to completely fuck up the site trying to fix something.
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XtrmGamr719
kiwifarms.net
- Joined
- Jun 18, 2019
Technically this is targeted harassment, isn’t this?
- Joined
- Sep 10, 2019
Do you think Bob is defending Cuties because it was directed by Black Womxn?
Raimi really missed the boat when he made Evil Dead and then didn't put a 3 minute epilogue stating that pretend violence is bad.
Raimi really missed the boat when he made Evil Dead and then didn't put a 3 minute epilogue stating that pretend violence is bad.
The Penultimate Warrior
kiwifarms.net
- Joined
- Mar 6, 2019
Did he delete the ratio'ed tweet? Quick search doesn't bring it up for me
- Joined
- Sep 10, 2019
- Joined
- Jan 3, 2017
Tactics, targets, etc.
- Joined
- Apr 14, 2018
It's disgusting how Bob's fans are agreeing with him about Cuties
- Joined
- Mar 8, 2013
Most of his diehard fans are fat tranny retards who shit in diapers for people on the internet.
Its not shocking.
- Joined
- Feb 4, 2013
Theaters are dying because there's no point in seeing anything on film because nothing uses film anymore, so the things that made film special are moot.
There is nothing a digital projector does that a TV does not do. Well, unless it's a 48 frame per second film where you get the same strange feeling as you do with fps corrected early silent films where everything just feels off somehow.
Blacklight
kiwifarms.net
- Joined
- Jan 10, 2020
Why pay 25 bucks for a movie ticket when you can torrent the damn thing for free? Why drop 10 bucks on a bucket of popcorn when you can make your own for less than a dollar? Why spend 5 dollars on a theater box of candy when most stores sell those fuckers for a dollar? COVID just did what the movie industry was doing to itself way faster.
- Joined
- Feb 28, 2018
To be fair, it’s also the lack of variety playing in theaters. Not everyone is going to watch the same MCU-style slock filling up screens.
- Joined
- Feb 4, 2013
There are things film does that can be used by great filmmakers to do cool stuff that's lost on digital. Now everything's digital. Now everyone can have great sound at home. Now everyone's got a big TV.
At least ticket prices aren't that insane around where I live, even places that will bring you a craft beer when you hit the little button.
The only cool movie experience that's left are the few drive-ins that still survive. Go have a picnic and see a double-feature if you can, they don't get enough support to afford upgrading and they are dying as the equipment fails. Mine's a Walmart now. That's nice.
TopTierHealer
kiwifarms.net
- Joined
- Aug 29, 2020
The replies to Bob aren't particularly original either:
To all the defenders out there claiming this is artistic I want to make a sockpuppet account that says, "It's actually a 5000 year old vampire, she just looks like a pre-teen girl".
Only now the non-weebs are using the same fucking retarded argument that all pedos used when talking about Komodo no Jikan (don't google it, it's a pedo show for pedos).
I'm sure some pretentious asshole will pull out of his ass that Gaspar Noé does this shit all the time (Hey Bob, if mention Noé in a future tweet, I hope your arteries explode in the near future) and to that, even in France Noés shit is getting old.
EDIT: Bang Gang wasn't Noé but it was of "a similar style". So yeah, my point stands.
That's why I hate modern european cinéma. It tries so hard to be Not-Hollywood that it's essentially edgy shit for the sake of being edgy (and kool-aid too).
- Joined
- Mar 11, 2018
I really like how Bob's first conclusion was "Only Q-GATERS could possibly see anything wrong with Cuties!" Gamergaters have been living in Bob's head rent free for so long at this point.
- Joined
- Jan 25, 2018
Even before the internet and bootleg sites became a thing, theaters were starting to become obsolete once the home video market took off. Pre-90's it took years for films to arrive on video. If you didn't see a film you really wanted to see in theaters, you weren't going to be able to for at least a couple of years.
Excluding torrents which enable you to watch it the second they get released in theaters, now and days it only takes a few months from it's initial release for a film to hit home video. I saw Deadpool 2 pretty late in theaters, mid-July. Come the beginning of August it was already on demand. If I had just waited a couple of weeks I could have seen it for a lower price.
- Joined
- Dec 17, 2019
While I do agree that the move to digital projection has removed a big reason for theaters to exist, I slightly disagree that they're obsolete (there's my Bobism for the day). A TV viewed from up close might take up the same amount of your field of view as a theater screen from far away, but your brain can still tell the difference, and there's something to be said for watching movies on the big screen. Not every movie gets the same amount of benefit necessarily, but some get quite a bit.
Bob's consoomer argument against MCU critics is basically claiming that the trends in entertainment are solely due to the Boomers, which doesn't make sense no matter how you slice it. I'm an armchair critic so I might be wrong, but the way I see it, the shift of dramatic storytelling from theatrical releases to long-form television was due to the success of shows like Breaking Bad and The Walking Dead. It showed that audiences would be willing to tune in to a dramatic series week after week and engage with longer stories. The rise of streaming services enabling binge-watching played a significant role as well (and let's face it, a lot of Boomers didn't get on that boat until years later). And since most dramas didn't really need a big screen to enjoy, and TV shows were cheaper to produce, dramatic stories trended towards TV.
This really does a disservice to people like me that enjoy a variety of content across a variety of media. I enjoy a good dramatic film and would even go to see one in theaters...if I could find one past the piles of MCU and MCU-inspired drek. I love episodic TV shows that I can sit down and enjoy a single episode of at random...but those rarely seem to come out these days, and instead I've got to commit to a long haul. But even if I have problems with the modern trends in entertainment, at least I can analyze them without going "DURR IT'S DAH BOOMERS" like this fat Masshole.
I wouldn't get your hopes up. If you've been following the Joe Biden megathread over in A&N, you'd basically find that Biden's pandemic response is exactly the same as Trump's, only weeks or even months late. He keeps calling out Trump's response saying how he'd do things differently, but if you go back and look, it turns out that everything Biden criticized Trump over, Trump already did (when it's not unconstitutional like a nationwide mask mandate). It's funny and sad at the same time.
Bobbo, in his classic "I FUCKING LOVE SCIENCE" mode, still doesn't understand how viruses work, nor does he understand why a total lockdown would have been infeasible on so many levels. And that's without getting into the various measures that pretty much objectively killed thousands of people that weren't Trump's decision at all (even if Cuomo's trying to blame his nursing home rampage on the Bad Orange Man). Bob wanted a lockdown over a virus that pretty much does nothing to you if you don't have a weakened immune system due to age or disability. Y'know, like Bob.
Put succinctly, Bob's fine with the rest of the country losing their jobs and homes if it means he gets to go consoom product again. That's really all he's ever cared about.
Brother Wind
kiwifarms.net
- Joined
- Aug 1, 2017
Once again Nintendo throwing shade at Bob.
- Joined
- Apr 8, 2018
Bob, woman respecter, child exploitation appreciator
Article text:
There’s a saying in criticism that “depiction does not equal endorsement.” Art should be able to address taboos without necessarily advocating for them, but some surface-level readings miss what the work digs into because it’s not obvious at first glance. In the wake of conservative outrage over an early poster of debut writer/director Maïmouna Doucouré’s “Cuties,” this is a sentiment that bears repeating. The film actively critiques the very thing pearl-clutchers were mad about—the sexualization of children—but Doucouré received death threats. Netflix, the movie’s distributor, issued an apology.
Controversy aside, “Cuties” is a difficult and challenging film, pushing the idea of “depiction does not equal endorsement” to its limit. It will not surprise me to read responses still accusing the movie of what it condemns. However, Doucouré uses these uncomfortable images to provoke a serious conversation about the sexualization of girls—especially regarding girls of color, the policing of a girl’s sexuality, double standards, the effect of social media on kids, and how children learn these behaviors. To do this, the director shows what it looks like for young girls to emulate what they see in music videos and grown-up dance routines. A few times in the film, we see the confused or even disgusted faces of adults watching the younger generation gyrate and twerk, biting their lips or their nail in a suggestive way. It’s likely that these girls don’t fully understand what those gestures mean, but they see it in pop culture and they imitate it, like several other generations of girls before them. Doucouré also explores some of the emotional tangles that come with wanting to fit in and to be taken seriously, as well as the repercussions that come with acting youthfully impulsive. Many of these experiences were rooted in the director’s own childhood or in the stories of girls she interviewed when working on the “Cuties” script.
“Cuties” is a coming-of-age story of a girl caught between cultures and age. 11-year-old Amy (Fathia Youssouf Abdillahi), the eldest daughter of a Senegalese family living in Paris, must help her mother, Miriam (Maïmouna Gueye), around the apartment with mundane tasks like watching her younger siblings, going out for supplies, and cleaning messes. Then, Miriam learns that her husband has taken a new wife, and Amy is reluctantly swept up in the preparation for their impending nuptials. Although her family is devoutly Muslim, Amy begins to admire a dance group at school who call themselves Cuties—Angelica (Medina El Aidi), Coumba (Esther Gohourou), Jess (Ilanah Cami-Goursolas) and Yasmine (Myriam Hamma)—and tries to join their ranks. She starts dressing more like them and doing what they dare her to do. Finally, she figures out a way to get the cool girls to accept her by learning provocative moves that will help them win a dance competition against a rival group of older girls. Amy gets caught up in the whirlwind of her emotions and runs afoul of her mother’s expectations.
Under Doucouré's direction, the film walks a fine line between its controversial imagery and taking a step back to reveal the emotional impulses that drive Amy and her friends to seek attention and affirmation. There are echos of films like “Eve’s Bayou,” “Girlhood” and “The Fits,” but given Amy’s age and the directness with which “Cuties” addresses the issue of sexualizing young girls, the film feels uniquely its own. With the help of cinematographer Yann Maritaud, Doucouré adds little surrealistic elements and uses color to make her images pop off the screen. For instance, there’s a recurring motif of Amy transfixed by the dress she’s supposed to wear for her father’s wedding, and different things happen to it that correspond to what she’s going through. It’s likely not a mistake that the turquoise color of the dress echoes some of the colors around the apartment, tying together the threads of culture and home into one. For every dance scene that may make you want to avert your eyes, there are other uncomplicated moments of childhood playtime like Amy and Angelica talking with their mouths full of gummy bears or four of the girls running with shopping bags throwing confetti, like they’re leading a parade for themselves. As if following the beat of Niko Noki’s music for the film, “Cuties” moves at a quick, riveting pace. The two parts of Amy’s world are seamlessly connected together by editors Stéphane Mazalaigue and Mathilde Van de Moortel.
The movie is so much more nuanced and bold than the first wave of outrage charged. With “Cuties,” Doucouré announces herself as a director with a keen visual style who’s unafraid to explore these cultural and social tensions. After all, these are issues facing many young girls growing up today in various corners of the world. You’d just never know it because their coming-of-age horror stories aren't always told in film.
Perhaps the most important message of “Cuties” is that no matter what Amy says or does, she’s still just an 11-year-old girl. People are quick to judge her for trying to act like an adult, but really, all she wants is to feel cool and fit in. She wants to be liked, and what person who survived middle school couldn’t identify with that? She thought the way to do that was to emulate others. Instead, she becomes a cautionary tale in the process.
Now available on Netflix.
Can we take a moment to stare in awe how Bob interjected himself into this last one, to someone he doesn't follow nor the other way around and only claim to fame seems to be that Matt writes for the same Ebert publication the thot does, by SUBTWEETING HIMSELF.
Eat shit Terry Gilliam! Who cares that you're a Python alum, has made at least one more movie that was a success than The Moviebob's zero, and has actually fathered one more child than The Moviebob's zero? Brazil is "VERY tough for" Robert now... sad face emoticon. Bob has put you on blast from his main AND retweeted son!
Twitter is not real life, I know, but it's things like this that keeps pushing this thought into my head that we have destroyed almost an entire generation in our pursuit of such hedonistic opulence.
Article text:
There’s a saying in criticism that “depiction does not equal endorsement.” Art should be able to address taboos without necessarily advocating for them, but some surface-level readings miss what the work digs into because it’s not obvious at first glance. In the wake of conservative outrage over an early poster of debut writer/director Maïmouna Doucouré’s “Cuties,” this is a sentiment that bears repeating. The film actively critiques the very thing pearl-clutchers were mad about—the sexualization of children—but Doucouré received death threats. Netflix, the movie’s distributor, issued an apology.
Controversy aside, “Cuties” is a difficult and challenging film, pushing the idea of “depiction does not equal endorsement” to its limit. It will not surprise me to read responses still accusing the movie of what it condemns. However, Doucouré uses these uncomfortable images to provoke a serious conversation about the sexualization of girls—especially regarding girls of color, the policing of a girl’s sexuality, double standards, the effect of social media on kids, and how children learn these behaviors. To do this, the director shows what it looks like for young girls to emulate what they see in music videos and grown-up dance routines. A few times in the film, we see the confused or even disgusted faces of adults watching the younger generation gyrate and twerk, biting their lips or their nail in a suggestive way. It’s likely that these girls don’t fully understand what those gestures mean, but they see it in pop culture and they imitate it, like several other generations of girls before them. Doucouré also explores some of the emotional tangles that come with wanting to fit in and to be taken seriously, as well as the repercussions that come with acting youthfully impulsive. Many of these experiences were rooted in the director’s own childhood or in the stories of girls she interviewed when working on the “Cuties” script.
“Cuties” is a coming-of-age story of a girl caught between cultures and age. 11-year-old Amy (Fathia Youssouf Abdillahi), the eldest daughter of a Senegalese family living in Paris, must help her mother, Miriam (Maïmouna Gueye), around the apartment with mundane tasks like watching her younger siblings, going out for supplies, and cleaning messes. Then, Miriam learns that her husband has taken a new wife, and Amy is reluctantly swept up in the preparation for their impending nuptials. Although her family is devoutly Muslim, Amy begins to admire a dance group at school who call themselves Cuties—Angelica (Medina El Aidi), Coumba (Esther Gohourou), Jess (Ilanah Cami-Goursolas) and Yasmine (Myriam Hamma)—and tries to join their ranks. She starts dressing more like them and doing what they dare her to do. Finally, she figures out a way to get the cool girls to accept her by learning provocative moves that will help them win a dance competition against a rival group of older girls. Amy gets caught up in the whirlwind of her emotions and runs afoul of her mother’s expectations.
Under Doucouré's direction, the film walks a fine line between its controversial imagery and taking a step back to reveal the emotional impulses that drive Amy and her friends to seek attention and affirmation. There are echos of films like “Eve’s Bayou,” “Girlhood” and “The Fits,” but given Amy’s age and the directness with which “Cuties” addresses the issue of sexualizing young girls, the film feels uniquely its own. With the help of cinematographer Yann Maritaud, Doucouré adds little surrealistic elements and uses color to make her images pop off the screen. For instance, there’s a recurring motif of Amy transfixed by the dress she’s supposed to wear for her father’s wedding, and different things happen to it that correspond to what she’s going through. It’s likely not a mistake that the turquoise color of the dress echoes some of the colors around the apartment, tying together the threads of culture and home into one. For every dance scene that may make you want to avert your eyes, there are other uncomplicated moments of childhood playtime like Amy and Angelica talking with their mouths full of gummy bears or four of the girls running with shopping bags throwing confetti, like they’re leading a parade for themselves. As if following the beat of Niko Noki’s music for the film, “Cuties” moves at a quick, riveting pace. The two parts of Amy’s world are seamlessly connected together by editors Stéphane Mazalaigue and Mathilde Van de Moortel.
The movie is so much more nuanced and bold than the first wave of outrage charged. With “Cuties,” Doucouré announces herself as a director with a keen visual style who’s unafraid to explore these cultural and social tensions. After all, these are issues facing many young girls growing up today in various corners of the world. You’d just never know it because their coming-of-age horror stories aren't always told in film.
Perhaps the most important message of “Cuties” is that no matter what Amy says or does, she’s still just an 11-year-old girl. People are quick to judge her for trying to act like an adult, but really, all she wants is to feel cool and fit in. She wants to be liked, and what person who survived middle school couldn’t identify with that? She thought the way to do that was to emulate others. Instead, she becomes a cautionary tale in the process.
Now available on Netflix.
Can we take a moment to stare in awe how Bob interjected himself into this last one, to someone he doesn't follow nor the other way around and only claim to fame seems to be that Matt writes for the same Ebert publication the thot does, by SUBTWEETING HIMSELF.
Eat shit Terry Gilliam! Who cares that you're a Python alum, has made at least one more movie that was a success than The Moviebob's zero, and has actually fathered one more child than The Moviebob's zero? Brazil is "VERY tough for" Robert now... sad face emoticon. Bob has put you on blast from his main AND retweeted son!
Rei is shit
kiwifarms.net
- Joined
- Oct 23, 2017
I'm quoting this reply: https://kiwifarms.net/attachments/67423-png.1587181/
Lets see how right this "professional" movie and pop culture critic is. Do baby boomers make up the majority of movie ticket sales?
FUCKING NO 
The majority of ticket sales go to the under 40, ie born after 1978. Bit of a far cry from what Robert claims. Oh and I also stumbled on this nugget; "Older moviegoers make up seventy-five percent (75%) of all paid ticket visits to Art House movies."
But you're right Robert, we should blame the baby boomers for LACK of variety (as in movies of wildely different genres/types/ideas made to appeal to the demographics that "matter" and not the OBSOLETE white old people who need to die (as in extreme pain and suffering) before t*ump is up for re-election) at movie theaters.
The majority of ticket sales go to the under 40, ie born after 1978. Bit of a far cry from what Robert claims. Oh and I also stumbled on this nugget; "Older moviegoers make up seventy-five percent (75%) of all paid ticket visits to Art House movies."
But you're right Robert, we should blame the baby boomers for LACK of variety (as in movies of wildely different genres/types/ideas made to appeal to the demographics that "matter" and not the OBSOLETE white old people who need to die (as in extreme pain and suffering) before t*ump is up for re-election) at movie theaters.
- Joined
- Mar 8, 2013
Film critic gets critiqued. Cries like a fat little bitch.
Oh, the irony.
Oh, the irony.
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