THUMBS UP THUMBS DOWN: THE SUBJECTIVITY OF FILM CRITICISM!

Despite the opinion of many, to objectively say whether a film excels or straight up sucks is frankly impossible. No matter how strongly one feels about something, criticism is entirely subjective. If you disagree with me then that just proves my point. People can’t agree on everything. Even the most seemingly universally appealing films have their detractors. For instance, a former classmate of mine once said that she couldn’t understand how some people could be so emotionally affected by watching a Pixar film that they would resort to crying. I couldn’t believe what I was hearing. But you know what? That’s just like her opinion, man.

Pixar doesn’t do it for everyone and neither does open ended, existential dramas like Half Nelson and Greenberg. The overall ambiguity and uncertainty of those works can be quite frustrating for those favoring stories that don’t demand the use of patience and brainwork. That is not a diss by the way. From time to time, I crave mindless, popcorn fare. But ultimately, those kinds of movies don’t resonate. They serve their purpose as temporary, mind-numbing distractions from the mundaness of everyday life or whatever shit is stressing you out at the time. However, complex character driven dramas like the aforementioned Greenberg don’t let the viewer off so easily. The audience must work. Instead of being told how to think or feel, they have to look into themselves and sometimes confront their own least desirable qualities. Furthermore, without the luxury of a “happily ever after” ending, the audience is required to use their imagination and speculate what the fate of the characters is going to be once the story is over.

For many, an open ending is a much more satisfying alternative to a traditional one in which everything culminates in a neat resolution, which doesn’t seem like a close representation of reality. Some of my favorite endings provide you with a sense of resolution as well as mystification. Greenberg is a good example. By framing Florence’s niece’s drawing and allowing her to listen to his coke-induced, tangential voicemail in which he analyzes the film Wall Street, Greenberg is finally beginning to accept his flawed nature and where life has taken him. As for what’s going to eventually happen between him and his lady friend? Well, that’s totally up in the air. The climax of Half Nelson functions in a similar fashion. Dan and his student Drey arrive at his apartment after she discovers him free-basing with prostitutes in a motel. Dan tries to shave off his beard and Drey says that he missed a spot. Dan is now more willing than ever to change but as evidenced in his inability to shave properly, his road to sobriety is sure to be long and messy. One in which eventual recovery is not for certain. That is a great ending. My friend asked me how I felt about a more “traditional, predictable” ending like Toy Story 3. I thought, traditional yes, predictable no. Sure, we know the toys are going to survive because it’s a kids movie but we don’t know what Andy’s going to do with them after they get back. What ultimately happens is suprising, poignant and drives the message of the film home: one can only move forward by learning to let go. It’s a neat resolution but unpredictable and resonant.

All in all, the world is filled with variety. There are films of various lengths, genres, origins etc. Despite the disparity, none of them can be said to truly be better or worse. It is simply just a matter of opinion.