All-Female Terminator Reboot Fails Spectacularly at Box Office, Projected to Lose $120 Million

I don’t really pay attention to Hollywood anymore because nearly every movie they’ve churned out over the past half-decade has been awful, so I don’t know much about this new “Terminator” movie other than that it’s supposed to be an all-female “reboot” of the franchise. Once I heard that was the case I was even less interested in the movie than I otherwise would’ve been for any other new Hollywood release–which is to say already very uninterested.

Apparently Ahhnuld is in the movie, but he’s not the main hero of the story. The heroes of the story are a trio of #Empowered and #Badass women.

However, in a development that anyone with a functioning brain could see coming, this all-female Terminator movie completely bombed at the box office and is now projected to lose Paramount Studios $120 million:

“Sorry for fans of the Terminator franchise, but it may not be back again for a long time. “

Okay, but this is not “the Terminator franchise” anymore. It’s just a film that happens to share the name of the once-proud franchise.

Terminator: Dark Fate opened at the U.S. box office this weekend and the results were nothing shy of abysmal for a massive budget blockbuster. The movie is guaranteed to be a big flop at this point. The only real question is, just how bad is it going to flop? Based on some new industry estimates, the sci-fi sequel could lose $120 million or more during its theatrical run.

According to a new report, Skydance Media, Paramount Pictures and 20th Century Fox stand to lose around $120 million in total, given the long-term prospects of Terminator: Dark Fate bombing at the box office. The movie, directed by Tim Miller (Deadpool) and produced by franchise creator James Cameron, made just $29 million in its domestic debut, which was far below industry estimates, which had it taking in around $40 million. Even that number wasn’t great, but it gave Sarah Connor and the gang a fighting chance.”

Now, will this financial disaster cause Hollywood to stop making all-female “reboots” of popular action franchises?

Of course not. Because the point wasn’t really to make money: the broader goal is to culturally disenfranchise men (specifically white men) by replacing them with with women wherever possible. And I’m not just talking about in movies–I’m talking about in politics, in the boardroom–in basically every high-profile position of power and every high-paying job. (They’re most certainly not trying to move men out of “dirty jobs” like garbage collecting, construction and logging. Only the well-paying white collar jobs.)

The point is to culturally appropriate all male-dominated sectors of society and shift them over to women. Hollywood is doing its part by taking popular movies that in the past starred male actors and “rebooting” them with all-female casts. The Ghostbusters movie (which also bombed), and “Oceans 8” are more examples. You’ve also got Disney shoehorning Captain Marvel in as the Most Badassest and Most Powerful Avenger.

The fact that these all-female “reboots” consistently lose money and yet Hollywood consistently keeps making them should tell you that making money is a secondary concern behind culturally disenfranchising men and re-shaping traditional gender roles in America.

Still, it’s nice to see that Americans are rejecting Hollywood’s forced cultural revolution by not going to see these terrible movies. Thankfully there remains a wide disconnect between the values of the degenerate elite and everyday Americans.

Just Because the Government Allows us to Have Fun Doesn’t Mean We’re Free

The difference between Orwellian totalitarianism and Huxleyan totalitarianism is the permission for “fun.”

In Orwell’s world, there was no fun at all. It was pure drudgery. Sex was outlawed. No pleasure at all. No sports, no entertainment, no leisure time. And so in our minds we believe that if we are allowed to have fun—watch sports, watch porn, go to music festivals, have casual sex with many partners, enjoy movies and TV shows, lose ourselves in online content and video games—then we are not oppressed. Hedonism equals freedom!

But on the contrary: the Brave New World view of tyranny is not that pleasure is outlawed, but that it is leveraged against you and used to oppress and control you. It is a distraction. Entertainment and fun are the opiates of the masses, because without them, the masses will have nothing to do but sit and think about how awful things truly are.

Modern-day tyrants don’t want to deprive you of fun. They don’t want you to live a life of constant drudgery and seriousness.

They want you overwhelmed with superficial pleasures. Do drugs, get drunk all the time, obsess over sports and TV dramas, pour countless hours into video games, watch tons of online porn, buy Nice Things from Desirable Brands—anything but think about how corrupt the government is.

They want you distracted. They want you focused on trivial pursuits. They want your life to revolve around the next big music festival.

When you’re not wasting away in a cubicle pushing paper for some Megacorporation, they want you mentally sedated by entertainment.

People whose lives revolve around entertainment of course, in the back of their minds, ultimately feel unfulfilled. They wonder if there’s more to life than obsessing over sports, entertainment and nightlife. Materialism is unfulfilling. Most people are aware of this on some level.

They may not know what, exactly, is missing in their life, but they are at least partially aware that something isn’t right. Maybe it’s visceral, but once you get a bit older you begin to realize that you will never find fulfillment and meaning in life through entertainment and materialism. For me, this first started to dawn on me around my senior year of high school.

Yet even though most people are partially aware that there is more to life than entertainment and materialism, most people still nonetheless believe that they are free because they can enjoy superficial pleasures like entertainment, drinking, partying and materialism.

They don’t really care about the fact that they don’t have a say in government, and that voting does not have any material impact in the outcomes of the political process. They don’t care that they have no way of stopping the mass immigration that is destroying their country, or dissenting political voices are silenced online, or  that they can do nothing about the fact that male pedophile drag queens are reading stories to their young children.

They have Entertainment, so that must mean they’re free!

This is the fatal flaw of Orwell’s 1984: people who read it feel like as long as their lives don’t resemble Winston Smith’s, then tyranny has not yet arrived in the real world.

This is my great concern about why “The Revolution” may never materialize: people are content to allow the Uniparty oligarchy to do as it pleases so long as they have abundant options for entertainment and pleasure. They figure things can’t be that bad if they can still drink and party and binge TV shows.

But this view is mistaken.

The government allowing you to pursue a hedonistic lifestyle does not mean the government isn’t tyrannical and corrupt.

And so this is why, while of course it sucks that the left is ruining entertainment, it might actually backfire on them, because Entertainment is the only thing most people actually care about. Invade their country with foreigners? Meh.

Ruin Star Wars and Marvel with feminist propaganda? Now that’s going to get the people riled up.

The Uniparty had better tread carefully in its quest to spread its propaganda and values: people are starting to take notice that leftwing politics are becoming pervasive in entertainment, and they don’t like it.

Perhaps the masses will finally rise up once the Uniparty ruins entertainment by making every last movie, TV show and video game blatant Uniparty Propaganda.

Perhaps this is what it takes.

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Game of Thrones is Back: Season 8, Episode 1 “Winterfell” Reaction

I usually stick to politics and only politics on this site, but I couldn’t resist writing about Game of Thrones. I just enjoy the show too much. If you don’t care about the show then you can ignore this post because it has nothing to do with politics at all, but I’ll probably be doing a write-up like this after every episode of season eight over the next five weeks.

  • When Bran cuts the Sansa-Dany introduction short by informing everyone that the Night King revived Viserion and burned down the Wall, I was a bit surprised there wasn’t more of a reaction from the other characters, namely Dany. Although I guess they all already knew the Night King could revive dead creatures and turn them into his undead slaves; they probably assumed the worst after Viserion went down.
  • Jon riding the dragon: we all expected this to happen, but probably not in the very first episode. They foreshadowed it when Drogon allowed Jon to pet him in the last season, and on top of that, Dany’s other living dragon is named Rhaegal after Jon’s father Rhaegar Targaryen. This scene fully confirmed Jon has Targaryen blood and, more importantly, that he will be riding Rhaegal in battle at some point in the next several episodes. The dragons have to be the key to defeating the Night King, and both of the living dragons have to be involved in that. The question now is whether Rhaegal becomes “Jon’s dragon” or whether it’s still Dany’s dragon and Jon can ride it with her permission.
  • Whether you thought the Dragon Date scene was corny or not, it was still important. (Personally, I’m a sucker for corny stuff like that. I wish Hollywood was less self-conscious about corniness.) Dany had to know there was something special about Jon when her dragon allowed Jon to ride him. If you recall back in season two when Dany pretended to trade her baby dragons for the army of Unsullied, when she gave the dragon to the bald Valyrian dude, the dragon would not obey him at all and wanted nothing to do with him. That scene made it clear that the dragons were bound to Daenerys and Daenerys alone as she was the only Targaryen alive. But when her dragon Rhaegal accepted Jon as essentially its master, it should have been an obvious tell to her that Jon also had the blood of the dragon. Evidently she did not put two and two together.
  • The Sansa-Dany Hot Girl Drama: I hope this doesn’t get too drawn out. It’s pointless. There’s really no reason for it given the circumstances. The army of the dead is coming and the two hot girls have beef. It can’t last long. On the other hand, it would have been pretty lame if Dany and Sansa immediately became BFFs: “OMG, girl, I am like literally obsessed with your hair. It’s so perfect.”
  • Euron arrives at King’s Landing with the Golden Company: I have to admit that I really don’t care all that much about Euron and Cersei. Yes, Euron is helping Cersei assemble an army and Cersei finally gives it up to Euron after like two seasons of him begging her to let him hit it, but whatever. Their situation feels like an afterthought given the massive battle looming in the North. And it just feels like a given that when the Good Guys defeat the Night King, they will go down to King’s Landing and depose Cersei. I mean, there’s no way Cersei wins, right? And there’s no way she doesn’t eventually grow tired of Euron and kill him off after he is no longer useful to her, right? Cersei and Euron just feel like dead men walking.
  • Theon-Yara: Theon rescues Yara from Euron’s captivity, and they escape together. Yara plans to go back to the Iron Islands, while Theon makes it clear that he wants to go to Winterfell to help fight in the Great Battle To Come. This storyline is actually shaping up to be important because it seems like the main characters will have to retreat to the Iron Islands after probably being routed by the Night King either next episode or in episode three. They’ve mentioned several times before in the show that white walkers can’t swim, so the Iron Islands should prove essential to giving the main characters a safe haven, at least until the Night King flies his undead dragon over the water–or freezes it with his Powers of Winter.
  • Jon’s true identity: the fact that Jon is actually Aegon Targaryen VI, rightful king of the Seven Kingdoms, threatens to tear everything apart. Dany has lived her whole life believing she is destined to be the queen, and that she’s the last Targaryen, but in truth Jon is the rightful king and also can ride dragons. Once Jon’s true identity becomes widely known it could cause a rift among the Good Guys, where the Starks obviously will support Jon in the event that Dany does not willingly step aside and recognize his claim to the throne.
  • How will Dany react? How will they break the news to her. We all believe that Dany will be pregnant with Jon’s child, and I think this will be revealed before Jon can tell Dany who he really is, which will further complicate things.
  • Holy shit, that undead Umber kid nailed to the wall was terrifying. That scene got me. The screams are still haunting me.
  • At the outset of the episode I figured the last scene would be Jamie arriving in Winterfell, but I was surprised to see Bran sitting there waiting for him the second he arrived. The look on Jamie’s face said it all: “holy fuck it’s that kid I pushed out the window way back in episode one.” We were never really told whether or not Jamie knew Bran was still be alive the whole time because nobody else in the show knew either, but now Jamie knows. I don’t think Bran will be too pissed at Jamie given that without being pushed out the window Bran would have never become the Three-Eyed Raven, and also I’m sure Bran has watched Jamie’s life unfold over the past several years and knows Jamie is a changed man. Still, it will make for an awkward and tense face-to-face between the two characters. I’m not sure whether Bran will tell his family that it was Jamie who pushed him, but either way, the Starks will not trust Jamie when he shows up in their hall, so early on, Jamie will have to prove he is a. a changed man, and b. valuable to the cause. Obviously Jamie will inform them that Cersei has betrayed them and will not be sending her army to fight alongside them, which will add to the main characters’ growing list of problems.
  • On top of all this, the episode two sneak preview also makes it clear that Dany has major beef with Jamie given that Jamie was the one who killed Dany’s father, the Mad King, all those years ago.
  • Bronn: As he’s about to have a foursome with some choice King’s Landing whores, he gets blueballed by Qyburn, who informs him that Queen Cersei has a big bag of gold for him if he hunts down and kills her brothers Jamie and Tyrion. This is a big deal because while Bronn has had extended alliances with both Jamie and Tyrion, he’s also obsessed with gold and getting his own castle. I would venture to say that although Bronn always made it clear to Tyrion and Jamie that he was just in it for the money, he does ultimately consider them his friends as well, not just rich people who pay him to kill for them. Will Bronn be able to complete Cersei’s task? It would suck to see him become a bad guy because he’s such a great character, and obviously the good guys could use his talents in the Battle To End All Battles.
  • Arya-The Hound reunion: The first thing the Hound says to Arya is “you left me to die,” which is technically true. But the Hound also left out the part that he begged Arya to kill him and put him out of his misery when he thought he was going to die. Arya did not, which resulted in his life eventually being saved. This reunion was a little too brief given how much time the two characters spent together in the series, and how much of an impact they’ve had on each other. Arya would not be the cold killing machine with a penchant for surviving without the Hound, who assumed sort of a twisted father role for her after Ned was killed. Personally, Arya and the Hound’s relationship was one of my favorite on the whole show, and I wish they would have made this scene a little longer and more meaningful, but apparently they are not going to make their relationship a focal part of the last season, which is kind of regrettable. I’m still holding out hope they have a major scene fighting side by side before it’s all over.
  • Arya-Gendry reunion: Of course they’re setting this up to be a romance, and that’s a good thing. Back in season one, King Robert Baratheon wanted to marry his “son” Joffrey to Ned Stark’s daughter Sansa to join their houses, but it never worked out (to say the least). Arya and Gendry will eventually be the joining of Houses Stark and Baratheon. Whether or not Gendry is a legitimate Baratheon or not doesn’t matter. I know there’s theories out there that Gendry is the legitimate son of Cersei and Robert given that at one point in season one Cersei mentions to Catelyn Stark that she lost a son way back when, and many believe the child didn’t die but was instead abandoned by Cersei given that she resented Robert and only wanted to have kids by Jamie. Whether or not this is true is, I think, irrelevant, because assuming Gendry survives everything, he’ll be legitimized by either Jon or Dany, who will be king/queen of the Seven Kingdoms, in an effort to revive House Baratheon in the wake of the great battle. We have seen this happen before in the show, when Roose Bolton legitimized Ramsay.
  • Sam’s family: We knew Sam would eventually learn that Dany killed his father and brother, the only question was how he’d take it. He didn’t seem too broken up about his father’s death, remarking, in a bit of dark humor, that at least he’d be able to go back home now that his brother was in charge. But Sam was visibly distraught over the news that Dany had his brother killed alongside his father. This means Sam can never fully embrace or trust Dany, which is a problem given that he’s Jon’s best friend. What will be the implications of Sam’s newfound grudge against Dany? Is there anything Dany can do to earn his forgiveness? I’m not so sure. I think the upshot here is that Sam will be pushing for Jon to upstage Dany, and potentially means Sam will try to undermine Dany and turn the Starks against her. Sam could end up taking a forgive-but-never-forget approach to Dany, but he also could decide he’s fully against Dany. The thing is, Jon didn’t seem to really care when Sam told him that Dany had killed his brother and father. Jon essentially dismissed it as the ugly reality of war, and that it was nothing personal. We’ll have to wait and see how significant this rift between Sam and Dany ends up becoming, but I think if Bran can forgive Jamie, then Sam should be able to forgive Dany.
  • Tyrion: I almost forgot to mention him until I went back and rewatched the episode. He kicked the episode off with a few dick jokes at Varys’ expense, and he had his little speech in the hall of Winterfell where he mistakenly said the Lannister Army was riding up to Winterfell to help, but other than that he wasn’t really all that important, which is sad. The showrunners have kind of marginalized Tyrion’s character over the past season and it sucks because for the first five seasons, Tyrion was the best character on the show. I really have no idea what their plan for him is at this point: he can’t play a major role in defeating the Night King, and he can’t play a major role in defeating Cersei. I really don’t know what purpose he serves anymore and it sucks. However, I’m sure George R. R. Martin has a significantly better plan in the books (namely that Tyrion will turn out to be a Targaryen) and will not marginalize him in the final two.
  • Could Tyrion and Sansa wind up together? It’s tough to see Sansa falling for Tyrion, but it could happen. Tyrion will have to get married to someone in order to further the Lannister line, and since he and Sansa have history together, it’s plausible that they’d end up together again, this time willingly instead of forced by Tywin.
  • Plus, Sansa’s character has changed so much over the course of the show. At first she was the bratty girly girl who wanted to grow up to be a pampered queen after marrying a handsome Prince Charming. Marrying the dwarf Tyrion–the polar opposite of a Prince Charming–would be symbolic of her dramatic change as a character.

I hope I’m not forgetting anything.

Future predictions:

  • Somehow, Bran will warg into one of the dragons. The thing is, if Dany is riding Drogon, Jon is riding Rhaegal and the Night King is riding the undead Viserion, then how and why will Bran have to warg into a dragon? I don’t think it’s possible for Bran to warg into the undead dragon, so that means it will have to be one of the “living” two. I think Dany will be knocked off Drogon at some point in the major battle with the Night King, and possibly killed in the process. Drogon will be distraught at the death of his “mother,” but the Good Guys will need Drogon in the fight, so Bran will have to take control of him.
  • I think Brienne will kill Jamie towards the end. Jamie will redeem himself over the next few episodes, but towards the end, when the Good Guys are going to depose Cersei, I predict that Jamie will not be able to bring himself to kill Cersei, and he will have to take her side. This will result in a fight between Brienne and Jamie, and Brienne will have to kill Jamie.
  • The army of the dead will consist of some characters that have died in earlier seasons. I think Hodor will be part of the army of the dead, as he died far beyond the wall.
  • Cleganebowl is obviously happening at some point this season, and in order to defeat his undead brother, the Hound will have to overcome his fear of fire.

I’ll have more predictions as the show unfolds but those are my main ones.

Happy International Women’s Day: Captain Marvel, Like, Literally Blows

Anyone who has used Google today knows it’s International Women’s Day:Screen Shot 2019-03-08 at 1.56.38 PM.png

Today we all come together to acknowledge that women are, like, super brave and, like, totally #Oppressed.

It is damn near impossible to be a woman these days. I mean, a TSA agent literally asked Brie Larson for her literal phone number–that’s literally how #Oppressed women literally are in this country:

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Women have it so tough today. Larson probably lacks the self-awareness to realize it, but her tweet is actually the perfect encapsulation of modern feminism: entirely lacking in self-awareness and historical perspective, wildly narcissistic, and hopelessly trivial.

Her serious tweet could just as easily be an Onion spoof headline meant to convey the fact that women today face no real problems or oppression.

Larson has no idea that her tweet makes an utter mockery of modern feminism far better than any #MisogynistMale ever could. The fact that she thinks a guy asking her out is an “issue” in need of redress, and evidence that women are #Oppressed in this country, is all the proof we need that modern feminism is a joke.

Woman in 1919: “I’m not allowed to vote, and I can’t leave the kitchen. I’m oppressed.”

Woman in 2019: “I’m a multimillionaire celebrity who is constantly applauded by the media and my fellow celebrities for my feminist lecturing, and a guy who thought I was pretty asked for my phone number. I’m oppressed.”

How has this country made so little progress in Women’s Rights?! Damn you, Patriarchy! 

I guess we’ll have to make our own sandwiches today to atone for the grave injustice of Brie Larson being asked out by a guy. This country still has so far to go. *sigh*

So to all the Women of the world, please accept my heartfelt congratulations on having a vagina. What an accomplishment.

To commemorate International Women’s Day, Marvel released its forced feminist propaganda piece “Captain Marvel” starring that Brave Feminist Martyr Brie Larson.

The movie was supposed to cement Larson as the new face of the Marvel Cinematic Universe going forward, but predictably, audiences saw right through the mediocre film and are rejecting Marvel’s hard feminist turn. Now that the movie has been released to the public and Regular People are allowed to review it, the movie now sports an embarrassing 6.6 score on IMDB:

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And that’s barely 15 hours after the film’s wide release. That number will probably go lower.

On Rotten Tomatoes, audiences have given the movie a disastrously-bad 36%:

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Feminist defenders of the movie, who only care about it because of what it represents to them politically, will say the movie’s ratings are so low because it’s being “review brigaded” by Angry Incels. Review Brigading is defined as “massively coordinated online voting designed to decrease, or increase, a product’s score artificially.”

But while the feminists believe in some Grand Incel Conspiracy to tank the score of the movie, it can just as easily be claimed that prominent, Media-Approved™ “Mainstream” movie reviewers are colluding to artificially boost the movie’s review scores.

It has been pointed out that many of the “positive” reviews actually contain a lot of criticism of the film, but the Establishment-Approved Reviewers still give Captain Marvel a good score despite acknowledging that it’s an objectively crappy movie. The point is to give the movie an artificially high aggregate Critic Score. Here’s an example from Slate:

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“Captain Marvel is mediocre, but that’s a triumph.”


Ace of Spades explains how the Critic Score of the movie is being artificially boosted:

Even these lackluster scores are themselves inflated.People know they’re Not Allowed to not like Captain Marvel, so you see a lot of supposedly “positive” reviews which sound a lot more mixed than positive reviews usually read.

They did the same thing with the Fake Ghostbusters. SJW reviewers bent over backwards to claim in their headline and concluding line that that abortion was a “a blast” and a “fun, lighthearted romp” or whatever bullshit they were required by their studio minders and ideological hygiene officers to claim, but then in between the headline and last sentence, they used a lot of words explaining how much of it didn’t work.”

This is why Rotten Tomatoes has the movie at an 81% score on “Critics’ Consensus.”

Not only this, but Rotten Tomatoes is actively going through and removing “fake” bad reviews of the movie, which are said to be wrongly pushing the movie’s score down.

But they don’t do this with the fake good reviews of the movie, and there are plenty, even if the feminists won’t admit it.

Do you still believe we’re not living in a propaganda-dominated society in which the public is endlessly deceived and brainwashed in every conceivable way?

It’s not just the political media that has become propaganda. You’re not even allowed to review movies honestly anymore. Even movie reviews now must strictly adhere to the Party Line. The average Blue Pilled NPC will either open up the newspaper or go to one of the Mainstream Movie Review Sites and have no idea the supposedly positive review he’s reading is pure bullshit.

Maybe the movie’s low scores are partially a result of it being review brigaded by an Angry Incel Conspiracy. But the movie’s high scores are also a result of review brigading by Corporate Establishment Approved shills.

On International Women’s Day, we must all solemnly reflect on the fact that women in this country are so #SystemicallyOppressed that their bad movies are artificially propped up and given positive coverage by the Mainstream entertainment media for the sole purpose of pushing the feminist agenda.


The Captain Marvel Review Are In: Bleh

From the initial trailers, the movie looked weak. You could already tell Captain Marvel was going to be a flawless Mary Sue, like most female leads in action movies these days, and that appears to be the case.

Furthermore, the alien bad guys look generic and forgettable, and the whole movie is a CGI overload.

Here’s a shot of the “Skrulls,” the alien bad guys:

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So damn generic.

Now with Captain Marvel officially being screened for critics, and with the movie hitting theaters on Thursday night, reviews are coming in. And they’re not great.

A French movie review site gave it one star out of four:

“The first Captain Marvel review lands online as the movie has been released in France, and it is not good for Disney, Marvel Studios, Kevin Feige, Brie Larson or the future of the MCU.

The French website Avoir Alire has posted their Captain Marvel review giving it one out of five stars noting (translated via Bing), “A monolithic heroine whose feminist struggle seems to be the only reason to exist. The result, without emotion, is closer to the silliness of a shortcut in time than a traditional Avenger.”

The review (again translated) goes on to mention how the titular character makes it clear she doesn’t need the help of men, with Brie Larson’s acting said to be cold and compared to that of an android. It’s said Larson doesn’t manage the slightest of an iconic pose, and that she is not sexy in the costume: “since the game of seduction is sexist and therefore irrelevant in the film.”

It’s also said Captain Marvel’s big “Superman” moment when she first flies is lacking and that Brie Larson and her powers “leave us totally cold.”

Brie Larson is an iceberg, so this makes perfect sense.

Next up is Kyle Smith of National Review (Smith is one of the few remaining bright spots at the once-great magazine):

“Two years ago, Wonder Woman proved a female-led superhero movie could reach the highest levels of the genre, with Gal Gadot proving robust and redoubtable, yet also charming and feminine. I spent Captain Marvel waiting for Gadot. What I got was Brie Larson: charmless, humorless, a character so without texture that she might as well be made out of aluminum.”

This seems to be a running theme: Brie Larson totally wooden.

“Just to be completely, unerringly, let’s-bubble-wrap-the-universe safe, Boden and Fleck decided to make [Carol] Danvers stronger than strong, fiercer than fierce, braver than brave. Larson spends the entire movie being insouciant, kicking butt, delivering her lines in an I-got-this monotone and staring down everything with a Blue Steel gaze of supreme confidence. Superheroes are defined by their limitations — Superman’s Kryptonite, Batman’s mortality — but Captain Marvel is just an invincible bore. The screenplay by Boden, Fleck, and Geneva Robertson-Dworet, with a story by the three of them plus Nicole Perlman and Meg LeFauve, presents us with Brie Larson’s Carol being amazingly strong and resilient at the beginning, middle, and end. This isn’t an arc, it’s a straight line.”

Mary Sue.

“Larson, who became a star in 21 Jump Street seven years ago and has not done anything better since (especially not her Oscar-winning turn in the appalling film Room), has quickly become one of Hollywood’s most humorless and insufferable actresses, and her personality rubbed off on the character. There isn’t an ounce of self-deprecation in her.”

That’s how these feminist bitches are.

And of course the movie continues this ridiculous trend of the Kick Ass Female trope, where 5-5, 125 pound women implausibly kick the living shit out of armies of male bad guys Because GIRL POWER!

“The trap the filmmakers set for themselves is this: They set out to make a girl-power statement — but feared acknowledging any differences between men and women. Despite Larson’s sylphlike build, there is no suggestion at any point that she might be overmatched by a guy who is 80 or 100 pounds larger, like Djimon Hounsou. If being female is defined as “exactly like a male, only more resilient,” how interesting is that?”

Not interesting at all.

Jeremy Jahns, a popular movie reviewer on YouTube with over 1.5 million subscribers, goes out of his way to avoid the “culture war” aspect of the movie and judges it simply on whether it was entertaining. The answer is no:

Boring, bad pacing, no flow–and definitely not as good a movie as Wonder Woman.

Jahns says the movie is obviously a “feminist movie” but that isn’t enough to carry a movie–it still has to be good. And Captain Marvel isn’t.

Here’s a round-up of other reviews:

“Massively disappointing.”

The Hollywood Reporter:


The Atlantic:

“Never fully takes flight.”

And this review for AP was written by a woman, so no “Misogyny!” excuses:

“Entirely average.”

Screen Crush:


“Never quite soars”

ABS-CBN of the Philippines says it’s “Just OK”:

Vox: “Captain Marvel deserves a better movie.”


How about a better lead actor?

Collider tries to argue the movie’s Feminist Message is more important than whether the movie is actually good, which it isn’t:

Captain Marvel is mediocre and the universal bogeymen White Males are not to blame.

What’s with this nonsense that white men sabotage all movies with strong female leads?

I don’t remember any Fragile White Men sabotaging Wonder Woman? That movie was widely praised by men and women alike.

And what’s with this ridiculous revisionist history that somehow Captain Marvel is some landmark achievement for women, as if it’s the first time in American history that this has ever happened. Please.

For one, there’s “Wonder Woman.”

  • “Max Max: Fury Road”
  • And Star Wars now has a woman, Rey, as its main character.
  • The “Hunger Games” trilogy.
  • “Panic Room”
  • Motherfucking “Kill Bill”
  • Didn’t Halle Berry play Catwoman in the early 2000s?
  • There’s the Tomb Raider movies–the Angelina Jolie ones–which I enjoyed.
  • “Charlie’s Angels”
  • Does the name “Sarah Conner” ring a bell?
  • “Silence of the Lambs”

And last but not least, the original: “Alien,” which came out in 1979.

I guess if you exclude all those movies, then Brie Larson’s “Captain Marvel” is a landmark cultural achievement for women.