History Main / CausticCritic

13th Aug '16 6:58:07 AM Tractical_Chunder
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* Tim Minchin's song [[https://www.youtube.com/watch?v=GJiINMitt0Q For Phil Daoust]] is a satire on the entire concept of how Caustic Critics affect artists and how the artists react.
30th Jul '16 3:06:40 PM LadyJaneGrey
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* One episode of ''Series/TheMuppetShow'' sees the Muppets plagued by the Phantom of the Muppet Show, a malevolent ghost of a performer who's work was "killed" by the critics.
25th Jul '16 3:51:16 PM nombretomado
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* ''CyranoDeBergerac'': Cyrano critiques your artistic work without any pity, and given the play is a PeriodPiece, [[ForegoneConclusion Cyrano is always right]] [[HistoricalFiction in his critiques]]: [[GiftedlyBad Montfleury]] was a ''"An actor villainous!"'' (and then Cyrano kicks him out the theater), [[FanDumb les Précieuses]] could ''"Inspire our verse, but—criticise it not!"'', [[SturgeonsLaw playwright Baró’s]] ''"verses are not worth a doit! I'm glad to interrupt"'' (Baró’s play). [[MagnificentBastard Cardenal]] [[SmallNameBigEgo Richelieu]] ([[ManBehindTheMan famous politician]], [[RenaissanceMan wrote plays as a hobby]]) ''"is an author. 'Twill not fail to please him that I should mar a brother-author's play"''. Cyrano also is fair, of his own talent he thinks: ''"Not to mount high"'' and about {{Moliere}}, Cyrano thinks he’s a ''"genius"''.

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* ''CyranoDeBergerac'': ''Theatre/CyranoDeBergerac'': Cyrano critiques your artistic work without any pity, and given the play is a PeriodPiece, [[ForegoneConclusion Cyrano is always right]] [[HistoricalFiction in his critiques]]: [[GiftedlyBad Montfleury]] was a ''"An actor villainous!"'' (and then Cyrano kicks him out the theater), [[FanDumb les Précieuses]] could ''"Inspire our verse, but—criticise it not!"'', [[SturgeonsLaw playwright Baró’s]] ''"verses are not worth a doit! I'm glad to interrupt"'' (Baró’s play). [[MagnificentBastard Cardenal]] [[SmallNameBigEgo Richelieu]] ([[ManBehindTheMan famous politician]], [[RenaissanceMan wrote plays as a hobby]]) ''"is an author. 'Twill not fail to please him that I should mar a brother-author's play"''. Cyrano also is fair, of his own talent he thinks: ''"Not to mount high"'' and about {{Moliere}}, Cyrano thinks he’s a ''"genius"''.
16th Jul '16 1:59:08 PM DaibhidC
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* ''Series/SaturdayNightLive'': Recurring Weekend Update character Jedediah Atkinson, the critic who panned UsefulNotes/AbrahamLincoln's Gettysburg Address in 1863 (calling it "silly), comes on to pan other things.

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* ''Series/SaturdayNightLive'': Recurring Weekend Update character Jedediah Atkinson, the critic who panned UsefulNotes/AbrahamLincoln's Gettysburg Address in 1863 (calling it "silly), "silly"), comes on to pan other things.




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* The ''Series/MurderSheWrote'' episode "Deadpan" had a theatre critic played by Dean Stockwell, who was known for dismissing everything - although Jessica would be the first to admit that in the case of ''Maine-ly Murder'', the play ''very loosely'' based on her ''Murder Comes to Maine'', he had a point.
1st Jul '16 7:41:38 AM ScroogeMacDuck
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Most Caustic Critics belong to one of two types of reviewers: those who thrive on BileFascination and give only negative reviews, and those who review both good or bad recent works but consider merciless panning the only [[BrutalHonesty honest]] way to criticize the bad ones. They need not necessarily be reviewers; they might be essayists discussing trends, but the spirit is the same.

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Most Caustic Critics belong to one of two three types of reviewers: those who thrive on BileFascination and give only negative reviews, and those who review both good or bad recent works but consider merciless panning the only [[BrutalHonesty honest]] way to criticize the bad ones.ones, and those who don't really care about honestly reviewing anything (without necessarily only panning, either) and are doing the whole thing for RuleOfFunny alone. They need not necessarily be reviewers; they might be essayists discussing trends, but the spirit is the same.
11th Jun '16 9:15:44 AM Andyroid
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* In the ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' episode "Spice Up Your Life", Rarity and Pinkie Pie try to help a failing ethnic restaurant, the Tasty Treat, impress Zesty Gourmand, a super-snooty food critic with very particular tastes in food and decor. Ultimately, though, they convince the citizens of Canterlot to reject Zesty's strict, cookie-cutter ideas of what a fancy restaurant should look like.
10th Jun '16 11:32:12 PM nombretomado
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* ''Webcomic/CinemaBums'' features StatlerAndWaldorf in a meta-example, providing caustic criticism to caustic critics in [[http://www.cinemabums.com/?p=180 this]] comic.

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* ''Webcomic/CinemaBums'' features StatlerAndWaldorf JustForFun/StatlerAndWaldorf in a meta-example, providing caustic criticism to caustic critics in [[http://www.cinemabums.com/?p=180 this]] comic.



* [[StatlerAndWaldorf Hecklers]] [[http://www.youtube.com/watch?v=NpYEJx7PkWE&feature=related Statler and Waldorf]] added a grumpy (and extremely popular) streak of critical humour to ''Series/TheMuppetShow''.

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* [[StatlerAndWaldorf [[JustForFun/StatlerAndWaldorf Hecklers]] [[http://www.youtube.com/watch?v=NpYEJx7PkWE&feature=related Statler and Waldorf]] added a grumpy (and extremely popular) streak of critical humour to ''Series/TheMuppetShow''.
22nd May '16 8:44:46 AM AllenbysEyes88
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** Critics of her criticism include Creator/DavidLean, who commented that Kael (who'd panned his recent ''Film/RyansDaughter'') wouldn't be content until he was making black-and-white films in 16 mm. Lean didn't direct a film for 14 years afterwards. Charlotte Rampling was also deeply offended by Kael's comments on her performance in ''Film/TheNightPorter'', which labels her a talentless slut. Rampling was offended enough that seriously considered quitting acting; she spotlighted Kael's review in a documentary made decades later. Kael also nursed feuds with fellow critics, notably Andrew Sarris, with whom she clashed over UsefulNotes/TheAuteurTheory.
** Kael could be equally over-the-top when she loved a film. She penned a notorious review of ''Film/LastTangoInParis'' which compared it to Stravinksy's ''Theatre/TheRiteOfSpring'' as a cultural game-changer. Though most critics still hold ''Last Tango'' in high regard, it's better remembered for its sexual content among general audiences. Similarly, she wrote a gushing review of the now-obscure ''The Last American Hero'', upholding it as one of the '70s greatest films. Even ''The Killer Elite'', generally considered among Creator/SamPeckinpah's worst movies, inspired a several thousand word essay espousing its greatness. More than one critic accused Kael of hypocrisy for attacking the auteur theory while reflexively promoting directors she liked.

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** Critics of her criticism include Creator/DavidLean, who commented that Kael (who'd panned his recent ''Film/RyansDaughter'') wouldn't be content until he was making black-and-white films in 16 mm. Lean didn't direct a film for 14 years afterwards. Charlotte Rampling was also deeply offended by Kael's comments on her performance in ''Film/TheNightPorter'', which labels her a talentless slut. Rampling was offended enough that she seriously considered quitting acting; she spotlighted Kael's review in a documentary made decades later. Kael also nursed feuds with fellow critics, notably Andrew Sarris, with whom she clashed over UsefulNotes/TheAuteurTheory.
** Kael could be equally over-the-top when she loved a film. She penned a notorious review of ''Film/LastTangoInParis'' which compared it to Stravinksy's ''Theatre/TheRiteOfSpring'' as a cultural game-changer. Though most critics still hold ''Last Tango'' in high regard, it's better remembered for its sexual content among general audiences. Similarly, she wrote a gushing review of the now-obscure ''The Last American Hero'', upholding it as one of the '70s greatest films. Even ''The Killer Elite'', generally considered among Creator/SamPeckinpah's worst movies, inspired a several thousand word essay espousing its greatness. More than one critic accused Kael of hypocrisy for attacking the auteur theory while reflexively promoting directors (Peckinpah, Creator/RobertAltman and Creator/BrianDePalma, in particular) whom she liked.
21st May '16 10:01:31 AM AllenbysEyes88
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* Pauline Kael, longtime critic for ''The New Yorker'': in the '60s and '70s she originated the tradition of intellectuals reviewing summer blockbusters, a medium possibly not best suited to her interests.

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* Pauline Kael, longtime critic for ''The New Yorker'': in Yorker''. In the '60s and '70s she originated the tradition of intellectuals reviewing summer blockbusters, a medium possibly not best suited to her interests.



** Critics of her criticism include Creator/DavidLean, who commented that Kael (who'd panned his recent ''Film/RyansDaughter'') wouldn't be content until he was making black-and-white films in 16 mm. Lean didn't direct a film for 14 years afterwards. Charlotte Rampling was also deeply offended by Kael's comments on her performance in ''Film/TheNightPorter'', which labels her a talentless slut. Rampling was offended enough that seriously considered quitting acting; she spotlighted Kael's review in a documentary made decades later. Kael also nursed feuds with fellow critics, notably Andrew Sarris, with whom she feuded over UsefulNotes/TheAuteurTheory.
** Kael could be equally over-the-top when she loved a film. She penned a notorious review of ''Film/LastTangoInParis'' which compared it to Stravinksy's ''Theatre/TheRiteOfSpring'' as a cultural game-changer. Though most critics still hold ''Last Tango'' in high regard, it's better remembered for its sexual content among general audiences. Similarly, she wrote a gushing review of the now-obscure ''The Last American Hero'', upholding it as one of the '70s greatest films. Even ''The Killer Elite'', generally considered among Creator/SamPeckinpah's worst movies, inspired a several thousand word essay espousing its greatness.
** Far and away her biggest blunder was her assertion that Creator/OrsonWelles did not write the screenplay of ''Film/CitizenKane'' and that he was a nitwit who rode the coattails of a ''true'' man of genius, Hermann Mankiewicz. Her attack on Welles and Kane was largely ideological since she opposed UsefulNotes/TheAuteurTheory [[note]](Welles was understandably part of this movement since Kane was made under AuteurLicense when he was 25)[[/note]]. The problem is that she DidNotDoTheBloodyResearch, several people who worked on Kane were alive at the time and Kael interviewed none of them [[note]]One of her own sources, Charles Lederer, later noted that Kael had no idea how the Screenwriter's Guild worked and Creator/BernardHerrmann likewise criticized her for assumptions about the music choices.[[/note]] It didn't help, either, that Kael stole most of her research from UCLA professor Howard Suber without attribution. This attack and Welles' low reputation at the time made it harder for him to get finance for his films and it also hurt him personally that he considered suing her for libel. It has also been conclusively disproven by investigation in Creator/RKOPictures archives which show virtually every draft of Kane had Welles' input and the credits (to Mankiewicz and Welles) are accurate. Welles, who nearly sued her for libel, joked that "one hasn't lived until one has been panned by Pauline".
** Creator/GeorgeLucas included a villain named "General Kael" in ''{{Film/Willow}}'' as a reference to his consistently negative reviews from Kael. Similarly, Creator/ClintEastwood made an obnoxious female critic one of the murder victims in ''Film/TheDeadPool''.

to:

** Critics of her criticism include Creator/DavidLean, who commented that Kael (who'd panned his recent ''Film/RyansDaughter'') wouldn't be content until he was making black-and-white films in 16 mm. Lean didn't direct a film for 14 years afterwards. Charlotte Rampling was also deeply offended by Kael's comments on her performance in ''Film/TheNightPorter'', which labels her a talentless slut. Rampling was offended enough that seriously considered quitting acting; she spotlighted Kael's review in a documentary made decades later. Kael also nursed feuds with fellow critics, notably Andrew Sarris, with whom she feuded clashed over UsefulNotes/TheAuteurTheory.
** Kael could be equally over-the-top when she loved a film. She penned a notorious review of ''Film/LastTangoInParis'' which compared it to Stravinksy's ''Theatre/TheRiteOfSpring'' as a cultural game-changer. Though most critics still hold ''Last Tango'' in high regard, it's better remembered for its sexual content among general audiences. Similarly, she wrote a gushing review of the now-obscure ''The Last American Hero'', upholding it as one of the '70s greatest films. Even ''The Killer Elite'', generally considered among Creator/SamPeckinpah's worst movies, inspired a several thousand word essay espousing its greatness.
greatness. More than one critic accused Kael of hypocrisy for attacking the auteur theory while reflexively promoting directors she liked.
** Kael was also universally pilloried for trashing the Holocaust documentary ''Film/{{Shoah}}'', a piece her editors at the ''New Yorker'' were extremely reluctant to publish. Kael attacked ''Shoah'' as overlong (it runs 550 minutes in its uncut version), morally simplistic and shamelessly sentimentalized, a criticism many found baffling considering the movie consists almost entirely of eyewitness testimony.
** Far and away her biggest blunder was her assertion that Creator/OrsonWelles did not write the screenplay of ''Film/CitizenKane'' and that he was a nitwit who rode the coattails of a ''true'' man of genius, Hermann Mankiewicz. Her attack on Welles and Kane was largely ideological since she opposed UsefulNotes/TheAuteurTheory [[note]](Welles the auteur theory[[note]](Welles was understandably part of this movement since Kane was made under AuteurLicense when he was 25)[[/note]]. The problem is that she DidNotDoTheBloodyResearch, several people who worked on Kane were alive at the time and Kael interviewed none of them [[note]]One of her own sources, Charles Lederer, later noted that Kael had no idea how the Screenwriter's Guild worked and Creator/BernardHerrmann likewise criticized her for assumptions about the music choices.[[/note]] It didn't help, either, that Kael stole most of her research from UCLA professor Howard Suber without attribution. This attack and Welles' low reputation at the time made it harder for him to get finance for his films and it also hurt him personally that he considered suing her for libel. It has also been conclusively disproven by investigation in Creator/RKOPictures archives which show virtually every draft of Kane had Welles' input and the credits (to Mankiewicz and Welles) are accurate. Welles, who nearly sued her for libel, joked that "one hasn't lived until one has been panned by Pauline".
** Creator/GeorgeLucas included a villain named "General Kael" in ''{{Film/Willow}}'' as a reference to his consistently negative reviews from Kael. Similarly, Creator/ClintEastwood made an obnoxious female critic one of the murder victims in ''Film/TheDeadPool''.''Film/TheDeadPool'', in response to her branding the ''Film/DirtyHarry'' movies fascist, and her frequently insulting comments about Eastwood.
16th May '16 5:53:13 PM DarkHunter
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-->"You don't call a sewer technician to redecorate your bathroom, and you don't come to me to hear about how a game is good."
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