One reason, I'm guessing, for still subscribing to The Boston Globe is to laugh at "self-loathing" black conservatives...even in Quentin Tarantino movie reviews. Globe film critic Wesley Morris is at is again. On NPR in May 2011, Morris hailed "The Fast and The Furious" movies as very "progressive" and "equal-opportunity shallow." When challenged on it, Morris shot darts instead at "The Blind Side."
In his Christmas Day review of the new movie "Django Unchained," Morris found "a hard mix of meticulous cartoonishness and unexpected power," especially in the "house Negro" Samuel L. Jackson, who apparently channels Clarence Thomas, Alan Keyes, Herman Cain, and Michael Steele:
Two years ago, Time critic Richard Corliss wrote an article that clearly must have resonated at the Academy of Motion Picture Arts and Sciences. The Oscar telecast was sinking in the ratings, he wrote, because the nominees were largely unwatched by the masses. It used to be that the Best Picture prize went to mainstream box-office hits. "Now when the nominations come out, people try to catch up with the finalists, but it's almost like homework."
The 2010 Oscar nominations clearly signal that Hollywood is trying to return to a broader vision of the Oscars, as something more than an insular critics’ circle that likes only the self-consciously arty and obscure. That signal came most obviously with the announcement that there would be ten nominees for Best Picture. That list hadn’t seen 10 nominations since 1943, when the winner was "Casablanca."
Arty films that almost nobody has seen are still there – like "An Education." But arty blockbusters are there as well, like "Avatar" – current box office gross: $601 million -- and the animated film "Up," with $293 million. (By contrast, two years ago, the Best Picture box office leader was "Juno" – at $85 million when the nominations came out.)