Post by drystyx on Jan 20, 2019 0:51:49 GMT
There's a bit of overlap here, too. It actually began around 1965 and went till about 1981.
But overall, it's undeniable that the "control freak era" of Hollywood in which hacks and their hack critic friends from the mob DEMANDED that audiences appreciate every bit of hate tossed in their faces. The more depressed the movie made you, the more the sadistic mob critics loved it, and the more it was praised by their sheep, the sheep from whom the characters of Beavis and Butthead were formed.
Leone, Kubrick, Coppola, all hacks who did nothing but insult audiences and try to depress them as much as possible with their neo Nazi Hollywood ideology, led the big budget attack of terrible movies, and there are crack heads and other sheep still today who are afraid to stand up against the control freaks who demand everyone like their garbage.
Meanwhile, there were some great movies made, but they land in two categories: low budget and comedies.
Comedies were good, because how could you not make fun of the crap being made. And the comedies were the release from the hatred. The Holy Grail, Blazing Saddles, and ending with Airplane in 1980, the all out pie your face attack was the needed release from the hate being forced down our throats.
Made for TV movies hit a golden age. THE INTRUDERS, with Murray, Saxon, and O'Brien is one of the most professional and well rounded Westerns ever made. LOST FLIGHT was a mature version of LOST, without the science fiction, and should have launched a TV series, but the direction to go afterwards was probably never settle on. SOLE SURVIVOR pioneered the war action with science fiction and fantasy, combining it with drama. It had the mark of excellent film making, making a "drama" appear to have much more action than it really had.
The foreign market gave us FIVE DEADLY VENOMS, FOUR ASSASSINS, DRAGON SWAMP, DEATH DUEL in the Orient. Russia gave us THEY FOUGHT FOR THEIR COUNTRY. Some mid to late sixties sci-fi from Europe produced some of the best sci-fi ever. ISLAND OF THE BURNING DOOMED and ISLAND OF TERROR are undeniably better than the boring, horribly directed Space Odyssey that is so loved by the crack heads and other sheep. No offense.
While big budget movies failed so miserably in making points, small budget ones like BURY ME AN ANGEL remain superior hidden gems in the "message movie" department.
Lets not forget that Spielberg did his best work in this era, too, before he sold out to Hollywood neo Nazi propaganda, ironic, considering his background.
Not all big budget films were bad. Most were, but at least the Duke never sold out, making two of the best Westerns of that decade with BIG JAKE and RIO LOBO. And one can include those late sixties greats of TRUE GRIT and EL DORADO. Whatever one thinks of John Wayne, one has to admit that he didn't sell out to Hollywood clichés.
Overall, we're faced with the simple, undeniable fact that the 1965-1980 era saw the low budget films being at least twice as good as the big budget disasters.
I'm glad you all agree, so now, since there are no objections, it is now OFFICIAL.
But overall, it's undeniable that the "control freak era" of Hollywood in which hacks and their hack critic friends from the mob DEMANDED that audiences appreciate every bit of hate tossed in their faces. The more depressed the movie made you, the more the sadistic mob critics loved it, and the more it was praised by their sheep, the sheep from whom the characters of Beavis and Butthead were formed.
Leone, Kubrick, Coppola, all hacks who did nothing but insult audiences and try to depress them as much as possible with their neo Nazi Hollywood ideology, led the big budget attack of terrible movies, and there are crack heads and other sheep still today who are afraid to stand up against the control freaks who demand everyone like their garbage.
Meanwhile, there were some great movies made, but they land in two categories: low budget and comedies.
Comedies were good, because how could you not make fun of the crap being made. And the comedies were the release from the hatred. The Holy Grail, Blazing Saddles, and ending with Airplane in 1980, the all out pie your face attack was the needed release from the hate being forced down our throats.
Made for TV movies hit a golden age. THE INTRUDERS, with Murray, Saxon, and O'Brien is one of the most professional and well rounded Westerns ever made. LOST FLIGHT was a mature version of LOST, without the science fiction, and should have launched a TV series, but the direction to go afterwards was probably never settle on. SOLE SURVIVOR pioneered the war action with science fiction and fantasy, combining it with drama. It had the mark of excellent film making, making a "drama" appear to have much more action than it really had.
The foreign market gave us FIVE DEADLY VENOMS, FOUR ASSASSINS, DRAGON SWAMP, DEATH DUEL in the Orient. Russia gave us THEY FOUGHT FOR THEIR COUNTRY. Some mid to late sixties sci-fi from Europe produced some of the best sci-fi ever. ISLAND OF THE BURNING DOOMED and ISLAND OF TERROR are undeniably better than the boring, horribly directed Space Odyssey that is so loved by the crack heads and other sheep. No offense.
While big budget movies failed so miserably in making points, small budget ones like BURY ME AN ANGEL remain superior hidden gems in the "message movie" department.
Lets not forget that Spielberg did his best work in this era, too, before he sold out to Hollywood neo Nazi propaganda, ironic, considering his background.
Not all big budget films were bad. Most were, but at least the Duke never sold out, making two of the best Westerns of that decade with BIG JAKE and RIO LOBO. And one can include those late sixties greats of TRUE GRIT and EL DORADO. Whatever one thinks of John Wayne, one has to admit that he didn't sell out to Hollywood clichés.
Overall, we're faced with the simple, undeniable fact that the 1965-1980 era saw the low budget films being at least twice as good as the big budget disasters.
I'm glad you all agree, so now, since there are no objections, it is now OFFICIAL.
