From the moment that critic Robert Daniels’s one-star review of the movie Michael was shared on Twitter, he was harangued by a tidal wave of backlash from both intense fans of Michael Jackson and ordinary users who merely liked the film he panned. His critiques were broadly comparable to other critics: aimed at the conflict-of-interest oversight of the Jackson family on the movie’s production, the bland characterization of the singer’s life and family, and the hagiographic attitude sapping away any dimension from Jackson along with his flaws. “A filmed playlist in search of a story” he characterizes it sharply. Against the furor, he stood his ground and engaged with some comments, most of which were in bad faith. It was blatantly obvious that a lot of them hadn’t actually read the review, assuming Daniels took issue with the movie’s omission of Jackson’s later controversies, legal issues, and pedophilia allegations -things he barely alludes to. Daniels was not alone in this -critics ...
It's mid-May, the heart of the summer, and the weather is beautiful on the French Riviera for the 79th Cannes Film Festival. And once again I can only admire it from afar. One of these days I will see it in person, but for now I can only fawn on what is likely to be a critical preview of the movies to gradually come through the rest of the year. The big headline out of Cannes this year so far seems to be on the lack of Hollywood present. No major American studio films are in competition or premiering there, when typically there are at least a few. In past years, Furiosa and Indiana Jones and the Dial of Destiny as well as the last several Mission: Impossible movies have featured in the festival a few weeks ahead of their broad domestic release. But this year and by its own choice, mainstream Hollywood has no presence at all, despite the official poster referencing Hollywood classic Thelma and Louise . But this isn't a bad thing. Cannes is an international festival with inte...