Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

RE: Best or most popular? Corliss should know better. Just

Posted by jamesgarvin on December 11, 2007 at 16:04:30:
I think Corliss point is this: We critics pontificate about the best films of the year, make up our lists, and no one cares. We write about, and recommend, these obscure films that, despite our best efforts, remain largely unseen by the movie going public. The movie going public has no interest. I and other critict pump up the latest Coen Bros. film, and the only response I get from people in my office is "yea, I keep meaning to see that one." Guess what? They ran out to see Enchanted.

The movie going public would prefer to spend their hard earned dollars on films made strictly for entertainment. And the Hollywood machine, which needs money to survive, promotes and advertises those films made for entertainment, while it spends nary a penny on those films we critics recommend.

The academy will throw us a bone by nominating those art films we love for awards, but then the public will stay away from the award shows because they want to see the big production films, not the small art films.

I do not read Corliss' piece to suggest that critics should factor in mainstream success in their opinions - after all, their opinions are generally published before the box office numbers are tallied. Rather, I think Corliss is suggesting, "what is the point?" "Does anyone really care?"