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  • Anonymous
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    Jan 1st, 1970
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    #1202561638

    It’s CinemaScore is D+. God, why audiences are so dense these days.

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    CitizenBlake
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    #1202561642

    It’s CinemaScore is D+. God, why audiences are so dense these days.

    Of course it’s a fuckin D+. When they take into account the puddle of piss and/or pile of shit they left from watching the film, of course it’d be a D+. The movie is too hardcore horror, so it’s to be expected that a film like this wouldn’t cater to a wider American (attention span of a goldfish) audience.

    I doubt fuckin’ anybody takes CinemaScore seriously though haha.

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    Anonymous
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    #1202561663

    Mainstream American audiences piss me off.

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    vinny
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    May 20th, 2011
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    #1202561669

    This movie should be fun. Always ready for a good scare and this seems to be full of them.

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    Lone Pirate
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    #1202561680

    The movie received a D+ because the film was made for critics, not for audiences. It’s a horror film suffering an identity crisis – it doesn’t know if it wants to be a mental illness based horror film, a supernatural horror film or a gorefest. Not only that but the film is just not that scary. Yes, it’s creepy and at times mysterious; but it is not scary, which is an unforgivable crime for current day horror films. Plus, the pacing of the film is a mess, as far as horror films go, because there are too many long stretches where basically nothing happens. Then there’s the film’s ending, or lack thereof, which sort of sprung out of nowhere with few ties to the rest of the film. If you botch the ending, audiences are not going to like the film.

    Collette delivers a great performance but that’s not enough to sustain horror audiences, especially when the story is weak, as is the case here. Byrne has almost nothing to do in the film and Wolf seems to be unsure what’s going on with his character or what film he’s in, a feeling shared by the audience.

    Hereditary is not a bad film, mostly due to Collette, but it is not a good one either. On the whole, it’s mediocre. Without Collette, it sucks.

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    Pulp
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    #1202561737

    I saw this last night and absolutely loved it, and I loved Collette and Wolff. I’m not surprised by the cinemascore, this is a just a classic case of an audience reacting poorly because the movie didn’t turn out to be what they thought it would be. At least the critics all seem to be behind it so this isn’t a mother! situation.

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    Makuta Teridax
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    #1202561742

    I love how often mainstream American audiences are able to sense arthouse bullshit. I will wait to rent this movie. It Comes at Night was utterly forgettable last year and I loathed It Follows. This feels like one of those movies. Nothing scary or engaging, just a piece of generally well-crafted critic bait.

    Mother I liked but totally get people hating. That was always going to be a polarizing one.

    For your Goldderby Film Awards consideration: Isle of Dogs for every category, especially Music Score for Alexandre Desplat!

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    Marco B.
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    #1202561753

    How was the score? I’ve heard it was composed by Colin Stetson, and I consider him to be one of the great musicians of these years.

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    Pulp
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    #1202561817

    How was the score? I’ve heard it was composed by Colin Stetson, and I consider him to be one of the great musicians of these years.

    Great score

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    Marco B.
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    #1202561848

    Great score

    Thanks! I suggest to check Stetson’s albums – with a single saxophone, he can do miracles. It’s a challenging but ultimately rewarding music.
    I’ll watch Hereditary as soon as it is released in my country!

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    VanRoberts
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    #1202561875

    The movie received a D+ because the film was made for critics, not for audiences. It’s a horror film suffering an identity crisis – it doesn’t know if it wants to be a mental illness based horror film, a supernatural horror film or a gorefest. Not only that but the film is just not that scary. Yes, it’s creepy and at times mysterious; but it is not scary, which is an unforgivable crime for current day horror films. Plus, the pacing of the film is a mess, as far as horror films go, because there are too many long stretches where basically nothing happens. Then there’s the film’s ending, or lack thereof, which sort of sprung out of nowhere with few ties to the rest of the film. If you botch the ending, audiences are not going to like the film.

    Collette delivers a great performance but that’s not enough to sustain horror audiences, especially when the story is weak, as is the case here. Byrne has almost nothing to do in the film and Wolf seems to be unsure what’s going on with his character or what film he’s in, a feeling shared by the audience.

    Hereditary is not a bad film, mostly due to Collette, but it is not a good one either. On the whole, it’s mediocre. Without Collette, it sucks.

    Mainstream audiences can go fuck themselves. They can’t put their cell phones down long enough to watch a film nowadays anyway. Any scene that builds slow tension instead of pacing itself after the latest Fast and Furious sequel, is going to go right over their heads.

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    Anonymous
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    #1202561895

    The movie received a D+ because the film was made for critics, not for audiences. It’s a horror film suffering an identity crisis – it doesn’t know if it wants to be a mental illness based horror film, a supernatural horror film or a gorefest. Not only that but the film is just not that scary. Yes, it’s creepy and at times mysterious; but it is not scary, which is an unforgivable crime for current day horror films. Plus, the pacing of the film is a mess, as far as horror films go, because there are too many long stretches where basically nothing happens. Then there’s the film’s ending, or lack thereof, which sort of sprung out of nowhere with few ties to the rest of the film. If you botch the ending, audiences are not going to like the film. Collette delivers a great performance but that’s not enough to sustain horror audiences, especially when the story is weak, as is the case here. Byrne has almost nothing to do in the film and Wolf seems to be unsure what’s going on with his character or what film he’s in, a feeling shared by the audience. Hereditary is not a bad film, mostly due to Collette, but it is not a good one either. On the whole, it’s mediocre. Without Collette, it sucks.

    This gets me annoyed because I feel like this is what is wrong with American society as a whole. Film is art. In my opinion, art shouldn’t be made to please audiences.

    Horror, as an art form, is about more than jump scares. Hereditary doesn’t need those jump scares to make its point. It is suspenseful, unnerving, and creepy, and it also says something very powerful.

    You complain that Byrne wasn’t given much to do, but the film really wasn’t about him. It was about the direct bloodline of Annie’s family, so it makes sense he wasn’t given much in that role.

    I personally loved Wolff and disagree with the notion that he didn’t know what to do.

    Most importantly, I strongly disagree with the belief that the film has an identity crisis. I think you are confusing identifying crisis with being multi-faceted. A horror film is allowed to be more than jump scares. It is using the supernatural elements to make its dramatic metal illness aspects even more powerful.

    And this last part is what makes me so annoyed. I’m sorry if this comes across as rude, but it frustrates me that audiences ignore intelligent pieces of work for the avengers. I myself having been part of that audience for a very long time.

    You are most certainly entitled to your opinion, and I’m sorry if this post comes across as otherwise.

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    Makuta Teridax
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    #1202561899

    Double Toasted’s review of Hereditary.

    https://m.youtube.com/watch?v=jCWi34hEOQ4

    For your Goldderby Film Awards consideration: Isle of Dogs for every category, especially Music Score for Alexandre Desplat!

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    Lone Pirate
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    #1202561907

    Hunter-ish, if all you care about with regard to a film is how arty it is, then why do you care if audiences did not like this film? This film was made with the intention of making money and that happens by pleasing audiences, which it does not do. If you enjoyed it, then great. Savor it however you want. The audiences who turned out on opening night, by and large, did not enjoy it, though.

    I’m not sure if the reviews led you to believe it was an intelligent film; yet it’s difficult to call it intelligent when Collette’s performance is the only thing holding together its disjointed and unfocused mess of a story. It tries to be several things during its two hour running time and it doesn’t really do any of them all that well. The supernatural elements replaced or negated but certainly did not strengthen the mental illness storyline. Then there was the ending which felt like the producers realized they had a mess on their hands so they threw some extra dollars at it to change the direction of the film, ignoring most of what had happened already.

    For me, this film is a great example of critics missing the mark and general audiences assessing a film for its true worth. It doesn’t happen often but it did here.

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    VanRoberts
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    #1202561910

    Fortunately for me, I couldn’t care less about a “audience score” lol. That didn’t affect my enjoyment of this future classic in any way. Today’s audience probably wouldn’t rate Rosemary’s Baby or Blue Velvet much higher and would probably refer to it as “slow” due to the lack of “jump scares” and scenes that go on for more than 30 seconds without some sort of cut.

    These people should stick with the latest Blumhouse flick.

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