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Essay:Worst Liberal Movies (view source)
Revision as of 02:00, August 28, 2023
, 02:00, August 28, 2023no edit summary
|A beautiful animated film about tradition and family. In Santa Cecilia, Mexico, 12-year-old Miguel Rivera secretly dreams of becoming a musician like Ernesto de la Cruz, a popular actor, and singer of his great-grandmother Coco's generation, despite all music being despised by his family. After entering the Land of the Dead, Miguel encounters Héctor, a down-on-his-luck skeleton who once played music with Ernesto. Héctor offers to help Miguel reach Ernesto; in return, he asks Miguel to take his photo back to the Land of the Living, so that he might visit his now-elderly daughter before she forgets him and he disappears completely. However strong [[feminism]] is present as well, as the men in the movie are all typically weak, and the only strong male figure in the film is the villain. Not to mention it presents a bizarre afterlife without the reality of Heaven, Hell or any need for the Gospel.
|A beautiful animated film about tradition and family. In Santa Cecilia, Mexico, 12-year-old Miguel Rivera secretly dreams of becoming a musician like Ernesto de la Cruz, a popular actor, and singer of his great-grandmother Coco's generation, despite all music being despised by his family. After entering the Land of the Dead, Miguel encounters Héctor, a down-on-his-luck skeleton who once played music with Ernesto. Héctor offers to help Miguel reach Ernesto; in return, he asks Miguel to take his photo back to the Land of the Living, so that he might visit his now-elderly daughter before she forgets him and he disappears completely. However strong [[feminism]] is present as well, as the men in the movie are all typically weak, and the only strong male figure in the film is the villain. Not to mention it presents a bizarre afterlife without the reality of Heaven, Hell or any need for the Gospel.
|$591.4 million
|$591.4 million
|-
|''Django Unchained''
|2012
|R
|Quentin Tarantino's own version of the Django character (there's a scene where the original Italian Django as a cameo and Tarantino's version speak to each other, another tribute by Tarantino to the Spaghetti-Western genre that has always been his source of inspiration). As common for Tarantino's movies, graphic violence with practical effects and the constant use of the word nig*er is the norm also here, but this time there is one disgustingly revisionist take on the author of the book ''The Three Musketeers'', in which German former dentist and now bounty hunter Dr. Schultz tells the racist slave owner Calvin Candie that Alexandre Dumas, the author of ''The Three Musketeers'', of which Candie is a reader, is black. This, of course, is universally known and proven as very far from being true and doesn't take anything to debunk this lie. There's also the ridiculously exaggerated reaction of terrorized people when they see a black man on a horse coming into town, this is surprisingly unrealistic for a Tarantino's movie. However, the reason this film is in this section is because the protagonist Django, when discussing with Schultz the plan to take Django's wife from Candie's plantation pretending to be in the business of slave mandingos, he mentions that there's no worse dishonor than being a black slave owner, and this is a more inique than rare time in which really and historically existed black slave owners in America (just like black [[Confederates]]) are mentioned in a liberal Hollywood film.
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|''The Crow''
|''The Crow''