Story 457: The Unbiased Film Critic

Unbiased Film Critic (online video channel)

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Video #1,372: “Unbiased Review of The Reason for Existing”

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(Unbiased Film Critic is seated in an overstuffed armchair, looking and sounding extremely haggard while holding an energy drink with the logo blurred out; there is a plain blue background throughout the video)

Unbiased Film Critic: Hello folks, and welcome to Episode Number… I don’t even know what I’m up to on these, of Unbiased Film Critic.  You know the drill: I spend my days and nights watching gajillions of movies made all over the world, and then turn around and give it to you straight, so you can make a well-balanced decision on whether to spend your hard-earned money and hours of your life that you really can’t spare on studio bonuses, suspicious popcorn, liquid sugar, and 30 minutes of commercials before, during, and after the film.  (Takes a swig of the energy drink) AND, with the advent of streaming services forcing themselves into every aspect of our leisure time, if you are considering watching a movie there instead of in a theater, I’m here to help you with the cost-benefit ratio of your subscription.  I like to think I provide an invaluable service to the public, otherwise, what is the point of my existence, which I am not even posing as a rhetorical question.  So: today, I’m going to talk to you about the much-anticipated, astronomically-budgeted, in-your-face marketed, awards-bait new release this weekend, The Reason for Existing.  (Shifts in the chair trying to get more comfortable) Let me get this out of the way right now: I hated it.  I thought every single character and corresponding actor – with the exception of the dog, because of course – was the most irritating person it has been my misfortune to witness, either on the silver screen or in everyday life; none of the production design was pleasing to my eyes; the director’s choices in nearly every aspect of the film’s journey hurt my core being; the list goes on.  (Shifts in the chair again) Having said that, I will also attest that this is possibly the greatest film to have ever been created in the history of cinema.  And let me tell you why.

[Opening title card for the video: “Unbiased Film Critic: I Tell You THE TRUTH”]

Unbiased Film Critic: (Takes another swig of the energy drink) I won’t beat around the bush: when I say this film has everything anyone could ever want in a moving picture, I am not saying it lightly.  It covers all the genres, but primarily action, thriller, sci-fi, fantasy, comedy, romance, and documentary; there is a cast of literally thousands – the end credits for them alone took 45 minutes; so many themes are covered that I lost count a tenth of the way in; and the main plot really boils down to: “Why are we here, anyway?”  No one knows for certain, but this film makes the bold attempt in trying to answer that.  There are scores of subplots that I lost interest in, but not one of them was dropped and they all tied in seamlessly with the main story.  The significance of this piece is so immense, that I’m doing one of my rare departures from my solo act and invited a few of the filmmakers to say, in their own words, why this movie was so darn good, as it simultaneously ate away at my very soul.

(Now facing the camera from a different angle with a guest sitting opposite)

Unbiased Film Critic: Joining me today is the film’s soundtrack composer, who is said to have spent two years in prep work alone before writing a single note for this score – (Turns to the guest) is that actually correct?

Composer: Yes, thank you; this film was such a passion project for all of us involved, I really wanted to immerse myself in the world that was being created before I could begin working on even the basic themes for the characters and the piece in general.

Unbiased Film Critic: (Nodding) Uh-huh, uh-huh – and you chose strings as your primary instruments in the score, yes?

Composer: Oh yes, those definitely were the instruments to really capture what we were trying to convey here: the desperation for connection these characters yearned for, that also resonates in all things throughout the universe.

Unbiased Film Critic: Uh-huh.  And as my ears took in sounds akin to a multitude of cats being strangled whilst reciting “The Star-Spangled Banner,” (Composer double-takes) each theme, movement, and change in time signature so aptly fit the evolving narrative and emotional underpinnings of each scene, that I don’t think movie audiences will ever experience the likes of such perfection in orchestration ever again – how did you do it?

Composer: Ummmm… it was a team effort?

Unbiased Film Critic: Really.

Composer: It was a lot of hard work by a lot of talented people.

Unbiased Film Critic: And so it seems.  I will forever be saddled with the ear worm of the tormented souls of the underworld, but rest assured, you have truly created a masterpiece in the flawless union of film and music.

Composer: Ummmm… thanks?

Unbiased Film Critic: You’re welcome.  (They stare at each other for a few moments) OK, we’re done here.

Composer: Oh-thank-goodness.  (Hastily vaults out of the chair)

            (Cut to Unbiased Film Critic facing the front again and now holding several pieces of paper instead of the energy drink)

Unbiased Film Critic: The director of this epic work is currently filming evidence of human rights violations in all 200-ish countries of the world and so, unfortunately, could not join me on this session, so instead I will read from a letter that I had written with my interview questions, and then the response.  (Unfolds the papers while putting on a pair of glasses) I’ll skip the preliminaries and go straight to the meat… ah!  Here it is: (Reads) “Your use of Dutch angles brilliantly conveyed the uncertainty of the characters’ reality and maintained suspense effectively throughout the film, while also giving me an extreme case of vertigo from which, I fear, I may never recover.  Do you make such choices consistently with intention, or is it your unconscious mind that inspires this, dare I say, genius?”  (Turns to another page) Another of my questions was… (Reads) “The cacophony of sounds, visuals, and plot overwhelmed my senses to the point where I needed to spend the remainder of the day and night with the blinds drawn and doors closed to the world, in order to reset my entire body back to default mode – since these elements were so apt in conveying the film’s messages of hope vs. nihilism, did you come up with the entire overloaded palette on your own, or did you collaborate with the screenwriter to create such an effective tour de force of chaos?”  (Unfolds another piece of paper) To which the response was… (Reads) “I’m sorry, were these compliments or are you being sarcastic?”  (Takes off the glasses and faces the camera) I was unable to complete another volley of correspondence before this video needed to be posted online, so I will simply answer that question to my questions with another question: “Do you not know me at all?”

(Cut to Unbiased Film Critic sitting opposite another guest)

Unbiased Film Critic: Here with me now is the aforementioned screenwriter, whose life work has culminated in this story of unbridled mayhem, awkward true lust, irritating personalities, and the true meaning of life.  (Turns to Screenwriter) Welcome.

Screenwriter: (Uncertain) Hi….

Unbiased Film Critic: My question for you is this: with all your characters’ quirks, peccadillos, and off-puttingness in general, did you base them on any actual human beings of your acquaintance in order to make them so true-to-life and meaningful?

Screenwriter: Uhhh… I just wrote what I notice a lot of people are like.

Unbiased Film Critic: (Nodding) Brilliant.  And was the love story, of which the schmaltz practically had me gagging for 129 of the 417-minute runtime, intentionally created to be so resonating and universal from the start, or did some of that come from the actors’ work on the role and their natural, riveting chemistry with each other?

Screenwriter: Uhhh… mostly me, but some of them.

Unbiased Film Critic: Uh-huh.  And the dialogue –

Screenwriter: (Wincing) Yeah?

Unbiased Film Critic: I predicted the punch lines of all the jokes and the outcomes of almost all the arguments.

Screenwriter: Yeah…?

Unbiased Film Critic: This is not a question, but I really must say, those were all so authentic and genuine that I was nodding in agreement for the entire piece, as I simultaneously gripped the front of the armrests of the theater lounge chair to counteract the cringe.

Screenwriter: Uhhh… thank you?

Unbiased Film Critic: (Turns to the camera) I don’t why my interview subjects say it that way.

(Cut to Unbiased Film Critic solo again, back to holding the energy drink)

Unbiased Film Critic: As I wrap this up, I realize that I now need to spend more hours than usual on post-production for this video, which I dread with all my essence.  Once upon a time, I used to write film review articles for newspapers and magazines; I even had my own column for a bit, as some of my more “mature” viewers may remember.  (Empties the can and tosses it into an off-screen bin)  Now, to remain relevant with the kids and maintain a steady income, I had to teach myself to create these videos for the “likes” and “subscribes” and “ad revenue,” cutting into the precious two hours of sleep I get each night after watching film upon film upon film, occasionally having to schedule interviews like the ones you saw earlier, reviewing my notes on the piece to get my thoughts in order, actually filming the videos with five billion takes for every 30 seconds, adding in special effects like clips and sound effects just to keep you all from getting “bored” – which I didn’t bother with this time, because too bad – and then editing everything together to form one coherent piece that takes up enough airtime to justify the commercials.  In short, I myself had to become a filmmaker, in order to continue a career in critiquing films.  Trust me when I say, the irony is not lost.  (Reaches off-screen to grab another energy drink, opens the tab, and takes a swig) In conclusion: The Reason for Existing should and probably will win every film award ever made; you all should go see it if you haven’t already and have your soul filled with profundity; and even if I never see it again, it’s too late for my worn-out nerves.  Thank you for watching, and now I’m off to see “Horror in My Mind” to review for you next – it promises to be another assault on all my senses, that will contain momentous messages on compassion and the true natures of good and evil.  I’ll let you know tomorrow, after I’ve taken a nap, on:

[Title card: “Unbiased Film Critic: I Will Bash Films That I Enjoy Immensely If They Are Absolute Rot”]

Story 344: Director’s Commentary

            [Disc is loaded into the player; menu appears – Director’s Commentary – ON – Play Movie]

          Director: (Voiceover as opening titles scroll across the screen) So, you may be  somewhat surprised to hear me doing this, after I’d quite vociferously proclaimed on multiple occasions that I would never, ever, EVER do one of these things again.  But, it turns out – money.  You don’t get it with a breached contract, and mine for this film snuck in the whatever disc commentary, sneaky gits.  I valiantly tried to dump this onto the screenwriter, the executive producer, the lead actor, the composer, the caterer, the transportation captain, the president of the fan club – all unanimously told me to shove off, so here we are.

            (Opening establishing shots of the film)

          Director: (V.O.) Hoo-boy, I’d already forgotten this thing’s over three hours long – we shot over 96 hours of footage, so lots of long nights in the editing room.  I think I’ve seen this thing about 300 times by now.  Once more with feeling, eh?  (Sound of carbonated drink being opened) Throat’s already getting dry just thinking about it.

THIRTY MINUTES LATER

            Director: (V.O.) Yeah, that river’s fake… That forest’s fake…. That elephant’s fake…. That king’s fake…. No wait, scratch that, king was real.  Country was fake, though; surprise for him, let me tell you.  (Sound of drinking soda) Aaaaaahhhhh, hate filming crowd scenes – wish those were fake.  Extras are the worst, always wanting to be paid at a higher tier for standing around in the blazing sun for five hours straight, and get a lunch break on top of it.  Wish I had it so easy.

THIRTY MINUTES LATER

            Director: (V.O.) This scene’s great – steady camera to the rescue!  But seriously, we lost two brave cranes and about 100 yards of track to shoot it, so you’d better appreciate this 60 seconds of cinematic gold…. And it’s over.  I think my point was made, don’t you?  Those trolls online drown out the voices of truth, but legitimate connoisseurs of art would agree that “obscure” is most assuredly not an appropriate adjective for my work.  I defy you to tell me otherwise.

THIRTY MINUTES LATER

            Director: (V.O.) I’ve gotten complaints about this scene because the camera never stops moving, but if you haven’t figured it out by now, the camera is an extension of you, the audience, so you have no one to blame but yourselves…. You see, it’s metaphors upon metaphors…. Wow, what an amazing jump cut that was.  I’m freakin’ awesome.

THIRTY MINUTES LATER

            Director: (V.O.) I can’t believe I kept this scene in – the lighting does nothing, the actors were off their game, the dialogue is poor, the production design is “What?”, the music is jarringly atonal, the plot goes off on a tangent and takes forever to recover from it – you know what, just forget this scene ever happened, it’s utter garbage…. By the way, this one’s on the screenwriter, not me: I was a tyrant on the set, but the one hold over me in that world is that I must film what’s written in the script, and the screenwriter’s reps wouldn’t let me edit any of it out.  So, the scene stuck, and I was powerless to fight it…. Ooh, this is my cameo – I’m the silhouette by the window.  Never mind, you can remember this scene happened now, I insist.

THIRTY MINUTES LATER

            Director: (V.O. with sounds of eating potato chips) I’d like to take this moment to point out that any historical inaccuracies you all have been so kind to point out to me numerous times are intentional – I know what really happened, we all know what really happened, and it was completely underwhelming so I made it look better.  This isn’t a newsreel, folks, this is ART!  (Chokes a bit on the chips)

THIRTY MINUTES LATER

            Director: (V.O.) As you may have noticed, costumes are extremely integral towards making this whole bit of make-believe believable, and I have regretted firing the original costume designer halfway through production every day since.  Slacker totally deserved it, but I must admit there is a distinct decline in the overall work in the scenes filmed afterward, of course not chronologically with regards to the plot…. Yes, the threads certainly suffered.

THIRTY MINUTES LATER

            Director: (V.O.) Almost there – (Yawns) – sorry, but I really have seen this thing way too many times to enjoy it anymore.  I always was told that it’s no fun when you’re the one in charge, but I never believed it until it was too late…. By the way, that pen there symbolizes the main character’s struggles with the eternal question of what’s right and wrong.  No one ever got it, so I guess I failed in that respect.  Oh well…. (End credits begin to roll) And that’s the end!  (Sounds of stretching) I think my leg fell asleep.  Thank you all for watching and listening to me drone on for almost 1/6 of a day, and also for giving me your money – much appreciated.  Oh, one last thing: next time you watch a film, always pay attention to the background details – the crew works so long and so hard to make all that stuff, so you’d better appreciate it.  Now that this cinematic epic is over, go ponder everything I just told you…. Whoa, that was a lot of graphic designers on the payroll, I never realized…. Anyways, I hope now I never have to see this thing again…. (Sound of rustling papers) I also have to do the anniversary edition in 10 years?!  Fine, whatever: the art demands.