Word: baddings
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...they get away with that? Ultimately it [comes down to] "veggie libel." We've gotten to the point where food products have more rights than we do as individuals. Corporations are getting too much power. Their only interest is profit. That profit is leading our society to a bad place. The similarities to what happened in the financial meltdown are all too frighteningly similar...
Everyone loves a buddy-cop film. Whether it’s Jackie Chan and Chris Tucker together in “Rush Hour” or Martin Lawrence in “Blue Streak,” “National Security,” or “Bad Boys,” the normally-funny dynamics of characters and plot lend themselves to successful films. With hysterical love/hate relationships between the partners, the usually high-paced and unrealistic save-the-world plots, goofy slip-ups, and ass-kicking repartee, the genre has always offered a lot to audiences...
...advocacy documentary in its present form is fundamentally bad for the presentation of important information. One cannot navigate it as easily as one can navigate text, and this is critical if one is to have a deep understanding of an argument and be able to quickly access facts. If anyone has an understanding of contemporary advocacy documentaries, however manipulative they are, it’s Michael Moore—the facts he uses in his films aren’t meant to be verified or to support an argument, but rather to endow his movies with an air of verisimilitude?...
Although I hate to say it, bad movies have a right to exist. And even if some political documentaries have made spurious claims, the bad ones have yet to make much impact (with the exception of “Fahrenheit 9/11,” which was counterproductive and galvanized opposition). The problem is that these documentaries are assigned undue importance because they tap into the collective discomfort with distant social menaces, be they eco-unfriendly food production, global warming or (most perplexingly) the corporation. Even worse than the often-slanted presentation of information is the fact that these sensational pictures...
Fernández writes in the first of about fifty playful prologues introducing his novel, “Let the Reader take charge of my agitation and trust in my promise of a forthcoming goodbad novel, firstlast in its genre, in which the best of the bad of ‘Adriana Buenos Aires’ and the best of the good of ‘Eterna’s Novel’ will be allied, and in which I will recollect the experience gained in my efforts to convince myself that something good was bad, and vice versa, because...