By Stephanie Zacharek
By Stephanie Zacharek
By Voice Film Club
By Chris Klimek
By Stephanie Zacharek
By Alan Scherstuhl
By Amy Nicholson
By David Konow
To: Stephanie Zacharek
From: Alan Scherstuhl
Agreed on all of that. It seems, once in a while, an argument has to be made for criticism itself. Now, if you don't mind me acting like the NRA, I'm about to change the subject and blame video games. Some of that comic-book film audience seems to take the reviews personally, like the guys — yes, I'll stereotype and say "guys" — who monitor the Tomatometer before a Batman movie comes out, ready to denounce the first negative review as heretical.
I suspect this has something to do with the only other reviews in our media culture read by millions: the reviews of new video games, which certainly have a crossover audience with those Batman fans. The reviews of major new games on the major websites are always wildly enthusiastic, entirely entranced with the newest and most technologically advanced iteration of each franchise. There's always a numeric score, a 4 out of 5 or a 95 percent, and for years that score was arrived at by crunching together the scores of the game's individual elements: graphics, sound, the fluidity of the controls, and the like.
While there are smart outliers, this consumer-guide, product-oriented Stereo Review-style approach has created among many fans a sense of the reviews as somehow objective, the product of provable math rather than subjective aesthetic responses. That's especially true when the review scores are collected together at Metacritic. There, as at Rotten Tomatoes, the reviewer whose stubborn personal review goes against the mathematical tide is something like a global-warming skeptic — not just wrong, but willfully so, maybe in denial or actually being paid off.
All of this is a longwinded way to say that, to the video game nation, what you and I see as serious problems with Iron Man 3 might instead just be minor bugs. Reviewed as game, the movie excels in almost all its key categories:
Action: There are more Iron Men suits than all other Iron Man movies combined! 10/10
Fun: Robert Downey Jr. calls that kid a pussy! 10/10
Suspense: The magma-people keep reaching for his heart! Also, that fight in the bar is super-tense! 10/10
FX: Clang clang boom boom! That house takes forever to get nuked, and it looks absolutely photo-real! 10/10
Character: Tony Stark goes through the same stuff he always does. 7/10
Add those up to 47, convert to a percentile and we have 94, and now we all know Iron Man 3 is a solid A, despite its relentlessness, its plotholes, its familiarity, its elevation of shtick over feeling. (And I mostly liked the movie!)
This, to me, is why reviewers like you remain so vital, Stephanie. This is an old fight, of course. Does it seem to you a losing one?
To: Alan Scherstuhl
From: Stephanie Zacharek
Words like "consumer-guide" and "product-oriented" hit like the buzzers and bells in a pinball machine (to the extent that those even exist in our cultural consciousness anymore). Some moviegoers do seem to believe that film criticism should serve that purpose.
I know some very smart, discriminating, engaged movie people — and even some filmmakers — who love video games, and I don't think the two passions necessarily cancel each other out. I don't play video games at all, but I remember watching a friend play a new one, and he pointed out some really inventive use of perspective, and explained certain kinds of video-game logic, where if you do X, then Y will probably happen, but you may get Z, and then what? Admittedly, he was probably trying to justify how excited he was at having a new game to monkey around with. Even so, I'm kind of intrigued by the idea of writing about video games as you'd write about movies or music — about making an argument or sharpening a point of view in a shaped piece of writing. The New York Times does this pretty well.
But as you've alluded, that kind of video-game-style coverage isn't the norm. Plus, no one could ever convince me that the world of video games is as rich as the world of movies. I'm cautious about trying to see a specific film "from the other side" — in other words, to study the reasons other people love, say, The Dark Knight, and I don't, as if I were Margaret Mead studying a strange tribe or something. But you're onto something with your Iron Man 3 breakdown. Of course, subconsciously, we all have our little checklists. My husband took his dad to see Blue Velvet when it came out and afterward wasn't quite sure if he liked it, so he asked him outright. His dad's face lit up: "It's got violence, it's got romance, it's got really sick sex! What's not to love?" Sometimes an internal checklist can help you define what you respond to in a movie.
But by breaking down the components of Iron Man 3's thrills, you really touched on something: A movie can have a whole bunch of desirable qualities — and I think Iron Man 3 does have some pretty cool stuff in it, like that army of flying Iron Men — but do they connect in a way that's emotionally meaningful or affecting, beyond being really cool? Or maybe "being really cool" is enough? But, see, that's a response to comic-book movies that I really don't understand. When a friend saw The Avengers, he tried to explain to me why he loved it so much: "These are characters I've loved since I was 4 years old, and there they were, all onscreen together, in a way that felt real and true." I totally understand having that kind of connection with characters — why wouldn't we respond to superheroes? There's something inherently compelling about these people who can pull off amazing feats and yet have their limitations, their neuroses, their really bad moods, just like us.
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