Critic's calling out of the utter hypocrisy of the Broken Aesop of the First Pokemon Movie was awesome.
Nostalgia Critic:SHUT UP! GODDAMN IT, SHUT UP! WE GET IT! VIOLENCE IS BAD, DON'T FIGHT, WE WILL NOT FIGHT! HOW MANY TIMES DO YOU HAVE TO HAMMER THIS SHIT IN!? I MEAN, TALKING ABOUT IT DOESN'T MAKE US LESS VIOLENT, IT MAKES US MORE VIOLENT! I mean, am I the only one who finds it a little ironic that a franchise whose made its entire profit on nothing but fighting is suddenly telling us it's bad to be fighting? How fucking hypocritical is that? That's like O.J. Simpson going around telling everybody it's bad to kill people.
How about the fact that he had a spontaneous fanboy Freak Out at the Harry Potter book launch and didn't get arrested even though you can see people around him getting scared and running away?
Played for Laughs, but in his research of finding out the Nerd's message, he finds an untraceable pattern in the stock market that would lead to nothing but higher returns. Too bad he thinks it's pointless.
He also manages to learn German, Latin and Gaelic really fast.
"The Top 11 Naughtiest Moments In Animaniacs" still remains his highest rated video. What makes this awesome? Doug did the list while feeling like death.
The start of the "Top 11 Drug PSAs" has him giving a well-reasoned, understandable argument of why you shouldn't do drugs, in stark contrast to the narmy messages of what's in his list.
Subverted whenever the DuckTales theme plays. He's got so close to figuring out enlightenment, solving world hunger and curing all unknown diseases... but that Ear Worm comes in and all that knowledge disappears.
Sesame Street being so powerfully nostalgic that it turns him into high-pitched goo and forces him to give the review to Chester. While we might have all now got used to him being keetish when happy, back then everyone was expecting him to trash their childhoods.
It might sound like a strange (and old) choice but the "Alas, poor Tom and Jerry" speech. You can show it to anyone who thinks his comedy is just 100% yelling/going crazy and it'll change their mind instantly.
Even more awesome? That speech apparently was a Throw It In moment by Doug which even surprised his friends. Guy's got serious creativity.
Optimus Prime bringing the Critic back to life by dying for his sins.
His parody of Mary Poppins at the end of Batman & Robin. He might not be putting as much effort into his singing as he would later on, but it's still Doug's great voice.
Of course in real life Doug and Rob drove to the Nerd's place, but in-universe Critic ran to Philadelphia and never got tired. Nice going for a lazy geek.
Sure it's Nightmare Fuel, but Teddy Ruxpin proves to be a Magnificent Bastard in the 2008 Halloween special by forcing the Critic to write a positive review and then killing him when he breaks in terror.
Even though it doesn't work, trying to shoot Lady Tremaine from Cinderella because she's supposed to be looking after Cindy, not abusing her.
This small speech at the end of his review of The Super Mario Brothers Super Show:
Critic: Now to be fair, I do think this show was probably intended for younger kids in mind, but that's no excuse. Just because something is intended for younger kids doesn't give you the right not to try. If you're really good at something, you can make anything entertaining and anything plausible, no matter how absurd.
In the Nickcoms video, one of the few times he's been badass:
And during his commentary on that video, he admits that looking back, he wishes they hadn't used that to end that video, because it ended up being so awesome, he wishes they could have saved it for the end of the very last video he ever did as the ultimate finale.
Can't we just say Critic's Moment of Awesome is actually WATCHING the film in the first place?
His apologies about poking fun at Mako certainly count in that he STILL manages to pull a Take That at the audience by blatantly pointing out their own Fan Dumb. For the record, there's a difference between poking fun at a single character's voice and totally bashing an actor. Critic manages to point out these differences while apologizing to all the Mako fans at the same time, especially since he unintentionally referenced the fact that Mako died of throat cancer when he said that Splinter sounded like he "smoked a million Marlboros".
Nostalgia Critic: "I don't hate Mako. I don't know Mako.
Destroying North for all its offensiveness, drawing attention to an infertility joke as "the worst thing uttered by humanity" and getting most disgusted at the treatment of the Eskimos:
Critic: (after Kathy Bates in blackface comes in) No! No! You go back to your room, movie, until you learn something about being racially sensitive!
In his review of Sidekicks, the Critic proceeds to mercilessly mock Mako's Fan Dumb by deliberately avoiding making obvious jokes about him and explicitly comparing him to God. The review ends with Chuck Norris smiting the Critic because Mako hates him.
"The Top 11 Cereal Mascots" feels like a well-justified Take That to all those who accuse him of not doing research.
After being made seriously uncomfortable by a Male Gaze torture scene, giving Barb Wire some therapy.
In the review of Captain N, his so very perkily bitter explanation and rant on princesses and how Lana can avoid any responsibility.
In the "Top 11 NC Fuck-Ups", he reveals with glee that Drew Struzan emailed him after the tribute and told him he was one of the few people who got most of his artwork right. (Most mix in similar artists by accident.)
From the Blank Check review, his making a joke about Michael Jackson, then making a long speech about how it's still okay to make jokes about him.
Showing no Double Standards in the "Bad Touch" Running Gag and calling the police even when a woman he has a crush on is creepy with a child.
Him calling out the father's total disregard to his son because he's not into business and grounds him for not being careful with his bike when he almost got run over. All in just one little world: DOUCHE.
The end of the Casper review, where Critic crashes the Geek Media Expo in a Ghostbusters costume and chases down Casper with the help of some very cooperative convention goers.
Including a Chester A. Bum cosplayer who asks him for change.
Revealed in the Animaniacs Tribute that Doug actually framed it.
"Holiday Clusterfuck"! My God, that was brilliant!
Ma-Ti and past!Critic telling off present!Critic for being a lazy ass and making him do an actual review for the hundredth episode instead of a clip show.
Any time he goes into Papa Wolf mode. People who were abused as children have gone on record to say he actually gives them hope. Because even though he's pitiful, still has parent issues and is nowhere near a role model, if you're going to have a good quality, it might be as well be protecting innocent kids.
Really letting Robin in Bebe's Kids have it for being such a shitty "parent" to the kids. You know someone's triggered his Berserk Button when he calls them one step away from being like Hitler.
There's the scene in the Quest for Camelot review where he digitally altered his voice to sound like the Rock Biter. It sounds so close that according to the commentary, many people wrote in to congratulate him, as they assumed it was the real audio from the film until the word "script" came up.
Remember the scene from his Flubber review where Weebo gives Spock's dying speech from The Wrath of Khan? If you've never seen Flubber, you'd have thought that was part of the original movie; hell, this troper was nearly fooled into thinking he'd missed it from the original, Doug's editing was that good!
The belief that movies need actual effort comes up again, where he slams the writers who just think all they need is Robin Williams being funny and they'll have a good film in their hands.
Telling the woman to go Lorena Bobbitt on Robin Williams's character for missing the wedding three times might have been going overboard, but it's still weirdly cool to see him care that much.
Just how much he detests Professor Brainard in general.
Instantly hating the mother in Home Alone III for leaving her very young, sick son at home with a "babysitter" across the street.
His talk on both the effects and King Kong himself in "Old Vs. New: King Kong". It's just so thoughtful and well-spoken, and might very well give you a new perspective if you've derided the old version.
The "Old vs New" episodes in general. Anyone who says he's not intelligent or "isn't analytical enough" are now directed to those to prove how wrong they are.
Sticking to his guns and standing by his opinion that he liked the 1989 Batman better than The Dark Knight, knowing that the Fan Dumb would get up in arms over it.
A slightly... pornier example happens in Jaws 3D. He manages to do sex noises for both the man and the woman and does them convincingly for a startling length of time.
The Critic "outdreaming" Stanley the Troll by shoving a porcupine into his anus and then morphing it into a Tyrannosaurus Rex.
His rant about how you can't tell kids that all they need to do is dream and they'll get whatever they desire. Long? Yes. Coming from his own personal issues? Of course. Needed to be said? Very much so.
The Nostalgia Critic's Top 11 Best Cliches, which is essentially a long and loving tribute to tropes.
A meta example. After his review of The Room was attacked by Johnfromtheroommoviedotcom's lawyers, Doug put it back up on Blip.tv. Remembering the reason for making the website was to be protected by fair use, this seems doubly awesome.
And now it's back on the site. He won against Wiseau's lawyers!
In sharp contrast to Wiseau's whining, the actress who played Lisa had this to say after watching it:
"OH...MY....GOD. I FINALLY just watched Nostalgia Critic's review of The Room. I'm dying...it was so hysterical. Thank you to my fans for keeping after me to watch it. Priceless."
Speaking of, more of his Momma's Boy side comes out in the review, as Lisa's "despicably calm" reaction to her mother's breast cancer news is the thing that makes him hate her.
The Animaniacs Tribute episode. He made clear in the commentary that he's more or less just as in awe as we are at the interviews and cooperation he was able to pull down.
The Critic singing his own version of "Poor Jack" after a hard Heroic BSOD, particularly when he rips off his T-shirt revealing his signature outfit. The camera shots and timing mimic that entire sequence to the split-second!
Upon at the end of the song, he also describes that "While it may be pathetic, he's proud of what he does". Guts, man.
And after all that, we hear a Nostalgia Critic theme song! I expect to hear that all the time from now on!
The 'Nostalgia Critic Anthem' is by Sad Panda and has been around for at least a few months now. Doug just hasn't used it in any of his videos until now. The full song of course is basically a big fan letter to Doug Walker and his characters The Nostalgia Critic and Chester A. Bum.
The way he performs the Heroic BSOD and rising again to sing; it's not all just yelling and ranting, he really can act.
Relatedly, how he foreshadowed the low self-esteem and the insecurity with his job more than a year earlier, with the starts of his TMNT and Full House reviews. It kicks ass when you realize what was actually going on in his head when he made all those "YOU'RE IN MY TERRITORY" cameos.
Overshadowed by the ending, but Doug manages thirty seconds of motor mouthing Shakespeare lines.
You've also got to give him credit for being obviously religious (you see it in other episodes but this is the clearest one for natural reasons), but being mature about it, letting both the people without and with faith enjoy the funny analysis.
His review of The Thief and the Cobbler. The fact that he knew about about the film's history and that he saw and recommended the "Recobbled Cut" makes the animation fan in me happy.
Calling out Little Monsters, ostensibly a film made with young children in mind, for being needlessly dark and mean-spirited.
The "80s Montage" song. Absolutely perfect.
In Rover Dangerfield, he does some really good drawings without effort in the space of about a couple of minutes. And gallingly, he says they're crap and throws them away.
Know what's really awesome about this? Remember he did the review of the second film and at the end, he happily and deliberately ignored the fact that there was a third movie made at all. (Which was pretty cool too.) We the fans never saw it coming!
He shows off his singing and voice-acting skills again in the review of The Secret of Nimh II. He sings a take on the "Pinky and the Brain" song as the chorus AND Timmy AND his brother, and makes a pretty awesome Justin.
Starting off the X-Men review by nipping all the accusations that he's ripping off the Nostalgia Chick in the bud by pointing out the other movies he's reviewed after someone else on the site did them, and then showing what a REAL ripoff of the Chick would be.
The "BEST!DEATH!EVAH!" from 'Double Team', prompting the Nostalgia Critic to make a meme of it called "Frying the Coke".
His summation of The Legend of the Titanic, which takes on a more serious tone than usual as he discusses how offensive the film is to the memories of all the people who died on the Titanic, denying that their senseless deaths even happened for the sake of a cheap anti-whaling screed.
In the commentary, Doug calls attention to the great work done on the picture of the Ferngully characters being inserted into the film, which is detailed to the point where you can start to put together an actual story to go with it.
For the men of the audience especially, Doug clipping clothes-pegs to his scrotum for the crying scenes and only wibbling a little. He doesn't even regret it!
In a commercial special, a commercial is shown for a theatrical re-release of Song of the South. After mocking the commercial for only using the brief animated Brer Rabbit segment, the Critic mocks Disney's refusal to acknowledge the film, despite it winning an Oscar and being generally praised by international viewers.
Ripping Cornelius a new one for being a Dirty Coward and endangering four children by making them go get herbs for their sick friend.
If he did the manic dancing in Little Nemo without computer help, he should be applauded.
Singing the Enjolras part in "One Day More" at the end of the Chick's Les Misérables review. This man should be on Broadway.
Sending Milk Money to Hell after roughly the one-thousandth pedophilia joke.
Also from that review, his disgust that the movie got Vee out of prostitution so easily when it's close to impossible in real life.
The line in Care Bears In Wonderland that so succinctly sums his problems with princesses:
Alice: Mr. Rabbit, I was wondering, what exactly does a princess do?
Critic: Well mostly sell toys, piss off feminists, and make girls question their own sense of self-worth. *Beat* Tell me I'm wrong!
Paul Dini became the second video subject to praise Doug on Twitter, as he loved the video on the eleven best Batman: The Animated Series episodes.
Would it be a cheat to put the Critic as an awesome moment for Doug? He's just such a funny, consistent, interesting, sympathetic-yet-total-waste-of-space asshole that you can't help but root for. Hell, we even get Character Development!
His discussing Harley and the Joker in the Top 11 Batman Episodes is a pretty good example of Character Development. The last time they appeared was in the uncomfortably Male Gaze-y "Top 11 Animated Hotties" where her abuse was treated for laughs and he compared himself to the Joker. In the Batman Top 11 however, he's kinder, more mature and can relate to how you might hate someone but keep still keep going back to them.
In the Alaska review, his surprisingly serious rant on how disgusting it is to just use a dead parent for a plot device and how he's never going to like the lead because of his mean-spirited "I wish you had died and not her" line.
And despite never having watched the original show, he still puts its theme song over the closing credits.
Rob and Doug have tried to get it into the heads of fans for ages, but it was nice to hear Critic saying that an adaptation should stand on its own and you shouldn't need to read or watch something else in order to get it.
The intro to Nostalgia-ween 2011 is an homage to the opening of The X-Files, and it is glorious.
He even has the X-Files theme as his end credits music!
Extra bonus? This was all the character. Doug said on facebook that he loved the guy for how one-note evil he was. Nice acting, Doug.
In his review of the remake of The Haunting, how even though he's all about the Catherine Zeta Jones lust and Girl on Girl Is Hot, he still calls out the film and the 90s in general for horrible writing/fanservice of gay people.
Rather than just chew out the film itself (which easily could have sufficed, given how dumb it is), he makes several point by point comparisons with the original film and how the remake got things wrong, including one line that was put in solely as a reference to the original film that makes no sense in its new context. Way to go above and beyond.
The breakdown, if only to show off how ridiculously childish the remake was.
It's also his longest review, at longer than a half hour. If that's not awesome...
During the Exorcist II review, you can really hear his disgust at John Boorman filming the scene of Regan almost jumping off a roof completely for real, with no way to save Linda Blair if she fell. And then he's still able to make a good joke from it.
His cameo in The Nostalgia Chick's review of The Worst Witch. Singing, having glorious fun and the whole song is a celebration of everyone joining in sluttiness.
Any person who suffered from body issues because of bullying will love his rant on how teenage girls mistreat each other in the Doug's First Movie review.
"They criticize thighs. Thighs, mind you.
In his review of The Cell, his clear anger at the film using intense child abuse scenes as to show that "child abuse is bad".
The clear implication that telling the audience the Serial Killer has child abuse as a Freudian Excuse doesn't fly at all because your tragic past is not what makes you. Extra bonus? With the Critic's own past, he knows this full well.
It's both amazing and slightly pathetic when a comedy character on the internet manages to have a more compelling and entertaining Freudian Excuse than a lot of movie villains.
In the Superman Story Arc, even though he delivered it through Hypocritical Humor, bringing up the important point that female-on-male sexual harassment in the work place isn't taken seriously.
"Top 11 Reasons the Nostalgia Critic Won't Review Digimon", which is actually an alert to the first American Internet Censorship bill, and giving us the website that will send our congressmen a letter urging them not to vote for it.
In Felix the Cat, "Random Zone". Way too short, but an epic way of showing off his singing voice once again. However, he does get to show it off again in...
Linkara singing a cover of the opening (and closing).
Nostalgia Chick's solo in "Pretense." Damn, that girl can sing.
The "guilty pleasures" song.
Critic and Chick's parody of The Show Must Go On, called "The Review Must Go On".
New rule: whenever Critic has a breakdown, he must sing his recovery. It always works. The moment where he gets out his jacket, puts it on and straightens his tie is especially epic.
Brentalfloss's parody of Zidler's rap.
Hell, Phelous doesn't exactly have the best voice, but his talent for hamminess certainly qualifies his musical number as awesome. His angry, growling tone also flows surprisingly well with the Critic's operatic style.
Nostalgia Chick's rant about Christian's dickish treatment of Satine, insulting and humiliating her over what turned out to be just a misunderstanding.
Let's also look at this from a more meta perspective. Just the fact that Doug managed to piece together a roughly 45 minute long video, packed with scripted songs and cameos, speaks volumes about the effort that was put into it, not to mention the guts it took to tackle such a well renowned movie as Moulin Rouge.
How about we just say the entire "Moulin Rouge" review is just one long crowning moment of awesome, from beginning to end?
I think the fact that he got freakingBrentalfloss speaks for itself.
The fact that the two reviewers he's actually in the room with for their appearances are both people who like the movie, showing he walks the walk on his statement in the "movies I hate that everyone loves" video that your opinions on movies don't say anything morally about you as a person, and all that matters is how well you can explain that opinion.
Doug's acting during Critic's Heroic BSOD. He could have spent it like the Bad Bad Acting he did when he shot brentalfloss, but nope, he can't resist looking and behaving like Critic's world just caved in (for about the fifth time this year).
In the commentary, Lindsay calling out the people who didn't even want to watch the review because they were scared of something they liked potentially getting bashed.
The Critic doing the entire The Grinch review IN RHYME.THE. ENTIRE. THING. He even edits the non-sequitor movie clips properly so they rhyme along with his own lyrics!
In the commentary, Doug (fairly humbly, as is his way) states the episode didn't take longer than usual and he's pretty good at rhyming. You must admit that's impressive.
His imitations of all the Grinch's postures from the cartoon.
Doug pulled quite the Magnificent Bastard move by making this one of the reviews he announced ahead of time, just because he knew some of his fans liked it, so now they would spend the week leading up to the review talking about it, and he could put those comments in the video.
Santa Christ deserves some kudos for getting through three snowstorms, two tornadoes and a tsunami alive and with no injuries.
The Sci-Fi Guy acting completely accepting that the Critic's about to kill him, before turning the tables on him.
In a nice, mature moment during the Star Trek V review, admitting without regret that "pain makes us what we are". Especially seeing as he's had more pain in his life than most.
His disgust that the "dangerous journey" was less "to boldly go where no man has gone before" and more "everyone else was a coward and feared anything that was different".
He gets in a few nice digs about Shatner's giant ego over the course of Star Trek month.
He's also fair to all the movies, detailing if anything works and not acting like the stereotypical fan who just dismisses the odd ones as shit.
The Star Trek: Insurrection video starts with a subversion of the expected joke of Linkara interrupting the Critic gloating over having escaped him. Linkara then pops up on the TV.
Not impressed with how Star Trek has now made the ethical battles between in right and wrong into cold facts, Critic gives us this:
Critic: Hey Data, which of these is ethically sound? Abortion. Stem Cell Research. The Death Penalty.
*Data's head explodes*
Critic: That's what I thought.
In Thomas the Tank Engine, he sings once again. And for a parody entitled "Generic Song", it actually sounds quite pretty and soothing.
Three-in-one in the Patch Adams review, when he calls back to his Haunting review and discusses how badly written women were in the nineties:
Mocking how they weren't strong and competent for the reasons of strong and competent, but they were a Broken Bird inside and needed to put up their defenses.
Critic: Ohh, I don't want to think, I just want to be loved!
Pointing out the fact that Patch is the master of insecurity, but unlike the "fragile" woman love interest, he doesn't need to be sorted out because he's a man and makes us laugh. "And that excuses everything in this movie."
Literally whipping the movie for disrespecting the murdered-in-real-life male friend of Adams so much that they changed his gender, put in a child molesting storyline and made "her" fall in love with Robin Williams.
While it might seem small to others, but to his genderqueer and trans fans, his consistently using the correct terminology (gender instead of sex) in the following rant. Not a whole lot of white, cis, middle-class men do that.
His sickened outrage at the movie including him defending the real Patch Adams is both this and heartwarming
Critic: People, this movie is disgusting.
At at the end of the review, he not only recommends actually looking up Patch Adams, he looks him up himself and discovers that the real Patch Adams works hard with each of his patients and takes his work seriously, AND ends the review urging viewers to look up his website, and even donate if they like what they see.
Pointing out that the movie's version of Patch Adams would be better off forgetting about being a doctor, and just hiring himself out to hospitals to entertain the patients.
Demonstrating how Patch's way of "act like clown = make people feel better" wouldn't help for someone admitting that they were molested.
He even gets one a minute in, by explaining that he's not against new forms of medicine, he's just against them being promoted in this strawmanny, incompetent way.
Agreeing with Patch that the catatonic person should be treated like an actual person instead of a punchline, and looking almost catatonic with rage himself when Patch makes nazi jokes about the patient instead.
His disbelief that even in the sixties, no doctor figured out the difference between not getting too emotionally involved and being a dick who talks to patients like they're not there.
When it comes to the "Patch is never seen studying" Strawman Has a Point of the movie, he compares it to Amadeus and how they set up that Mozart was a prodigy who was obsessed with music. PA, on the other hand, never gives an explanation for why he did so well.
"Let me tell you something, movie! Maybe you should have been 'emotionally invested' when you decided to make a movie about a man, his beliefs, his dreams, and his actual hard work!FUCK you!".
After Patch gets expelled after his little gynaecology gag, just for 'asking a group of doctors to have a sense of humour about themselves':
Critic: No, that wasn't asking, that was forcing. As a comedian, you should know the difference. Bad clown!
The cameos for the Ponyo review: Little Kuriboh, Spike Spencer, and Uncle Yo!
Managing to convince people that a) he likes the movie, but b) it's not above critiquing and analyzing the flaws.
Not letting the movie slide on the issue of bad parenting just because the general product is cute and enjoyable.
Doug is actually being held up by the foot and throat in one of those pictures at the end. Also, the fact that he immediately trusted a total stranger (and doesn't have any regrets about it despite having been in pain) shows again what a nice guy he is.
One more meta: Doug had the balls to let his fans, people he didn't know in the slightest, climb all over his body and pretend to torture him in an occasionally suggestive way. Anyone else would have been scared about letting themselves be too vulnerable.
Because it apparently needed to be repeated even in-review, telling the people who complain about how he should watch the shows before he reviews the movies based on them to calm down because a) he didn't say anything bad about the actual shows if he didn't see them and b) adaptations fail if they aren't able to stand on their own.
In Richie Rich, his argument that because Richie is such a Flat Character, the jokes can't work because we don't know anything about him.
For about the millionth time in his show, bitching out the parents for not caring about their child or learning anything, and comparing the standing guard mother to a someone sending a canary into the coal-mines first.
He also displays more knowledge about economics than you'd expect of him.
His idea for a deconstruction movie about a hero who crashes and burns his company actually sounds pretty cool. It helps that he recut the Moneyball trailer for this purpose.
"Like a motherfucking boss, sir."
He notes that Richie gets his own when, after his parents go missing, the villain offers him a seat in the family office and he instead silently sits in the CEO's chair.
He manages to never change from his calm, David Attenborough-type voice. For a guy who's such a brat normally, that must have been quite a challenge.
The pet-owners throwing knives at him when he kills their animals happens to be rather satisfying.
On the third DVD, he rips Doomsday Machine to shreds for its mass amount of Stay in the Kitchen sexism.
Here's some Fridge Awesome; to give but two examples, he can order the Death Star to destroy a DVD in his backyard and helicopters fly out giant bottles of alcohol for him. Yet he still thinks he has no power over anyone.
While comparing the two adaptations of Red Dragon, he naturally decides that Anthony Hopkins' Hannibal Lecter is better than Brian Cox's. But rather than take the easy way out and just say that Hopkins' iconic performance is naturally the better one, he actually makes a serious effort to compare the two and justify his choice.
His Hopkins impersonation near the end is pretty impressive too.
Critic managing to get through a crossover review with Sage without too much falling apart. Even Sage was impressed, and that has to be worth something.
Critic doing the entire Transformers (Raiders of the Story Arc) review in a Peter Cullen impersonation. While cosplaying as Optimus Prime.
Prime gives an epic speech regarding how the original cartoon may not have been perfect, but it at least tried its hardest to entertain kids, before asking the crowd that once seemed completely in love with the movies if they just want to watch some of the original show. THE CROWD GOES ABSOLUTELY BALLISTIC. Hell fucking yeah, indeed.
After a whole episode of the Critic bitching about her Old Shame, MARA FUCKING WILSON utterly destroys him by playing ridiculously embarrassing movies he did as an early teenager.
The fact that he got Mara Wilson to make a cameo is awesome in itself.
Note that this is after Wilson was quite vocally displeased about his fans constantly bringing up the fact that the Critic apparently hated her, so both of them are being incredibly good sports here.
One for Critic himself: the sheer sarcasm when he's telling Murray off for his 'men's rights' moment.
Murray: Oh, you... You mean the whole guy thing. Can I ask you something? What difference does it really make where the magic comes from?
Critic: Indeed, as a middle class white American male, we have been oppressed for too long.
A small one to their fans- in the Heavy Metal review, the Critic teasing at a potential upcoming review with Jesuokatu.
The Critic goes off to beat up Mr. Magoo, and the old man sadistically kicks his ass.
In the Digimon movie review, the Take That to Toddlers And Tiaras for how it sexualizes little girls. The best part is that it's not him directly calling out the show, it was just him making a very funny joke.
Editing "Riders of Doom" into a more appropriate scene - an action scene from Braveheart.
Most of his ire for Indiana Jones and the Temple of Doom gets saved for Willie being completely useless and an insult to women, with some left over for how cruel the movie is, especially to children. Especially awesome when you do the research and learn that the actress herself was a feminist who hated the way her character was portrayed.
He also points out how people never complained about how unrealistic it was that Indiana Jones used an inflated raft to survive a fall from a plane but did complain when he survived a nuclear blast by hiding in a fridge.
The review of The Wiz was filmed and edited within 24 hours, yet looks just as good as his usual work. Roger Corman would be proud.
Critic making it very, very clear that he's making fun of Joel Schumacher because he's done some awful movies, not for being gay. And after all the homophobic bullshit the Chick's review of Ender’s Game got, it comes off as Doug cutting off those people before they can spout anything wretched.
Doug's acting. He's been great before, but here he sells everything from the self-loathing venom of the beginning to playing three separate characters for twenty minutes to Critic realizing he needs to actually work for the happiness he wants.
The delightful subversion of Competence Zone. Our Critic is broken and bitchy, young!Critic is a pretentious badbutt and old!Critic is shakier-voiced with memory-loss, but the writing gives them all intelligent complaints that suit their personalities.
The fact that the inclusion of Young, Modern and Old Critic wasn't just a gimmick or an overly long gag, but was a way for Doug to point out how the movie failed to entertain several types of fans.
Doug and Hope's commentary on Digimon reveals that the episode was really rushed- JO was at an anime con, Doug was editing To Boldly Flee, JO wasn't even in her house while filming (She's at Jew Wario's house, hence the cool background), and she also had to write the entire script. Despite this, the episode looks and feels as high-quality as many other crossovers Critic's been a part of, and you'd need to hear the commentary to know how rushed it was.
Doug's acting in The Review Must Go On, playing the Jekyll & Hyde angle of himself and Critic realistically instead of OTT like he complained about in "The Top 11 Dumbest Superman Moments".
It doesn't work out, but Donnie refusing to go quietly and lampshading how terrible the ending is for himself and his friends.
When he says that February is being dedicated to the love one has for a child, a NAMBLA ad flashes on the screen.
"No, no, and your jacuzzi of barbed wire in Hell is waiting for you."
There's something downright inspiring about his final sum-up on whether Twilight is the worst thing in history. In the end, it's just a little stupid in the long road of entertainment, and it isn't going to have a long impact on our lives.
The entire video is a big CMOA. Because it's a mature editorial, the Critic gives a rather well-explained and rational explanation as to why people have such a hatred of the Twilight franchise. He also points out that people have strong reactions (negative or positive) to all sorts of pop culture phenomeon, but they eventually move on and learn that there's no need to make such a fuss over something as insignificant as a book/movie series.
A) It looks and feels like an actual movie at points.
B) It ultimately doesn't paint Bay as a bad person, but rather a good, albeit naive person with a limited skill set and limited world experience who proves that he's very creative with what he has.
c) While it did lampoon and make fun of Bay, it did it in a sub-textual way. The way it's presented, it feels like your usual "rise to glory, fall from grace, and rebirth" story. It makes Bay out to be a hero... for all the wrong reasons.
The culmination of his rant, a genuinely agonized shriek of "YOU SON OF A BIIIIIIIIIIITCH!" kind of has to be heard to be believed.
Plus, his accepting the cliched scene of FDR getting to his feet after being told retaliation is impossible, since the guy is one of history's greats, and he actually wishes it was more over the top, like his wheelchair turning into a robot.
His dissertation on Romeo and Juliet, being able to convey more about the story's themes and innate tragedy in six minutes than some high school teachers can in a month.
Malcolm as the Devil in the 'Son of the Mask' review is a mix of this and Moment of Funny. He looks sharp as all get out and his acting is like a sinister Large Ham.
His analysis of the movie Where the Wild Things Are, which deconstructs the movie expertly and demonstrates a deep understanding of how a child views the world.
For The King and I, rather than just mock the movie itself, he shows a deep knowledge of the history behind it, and we even see he owns a copy of the book Thailand put out to give their own take on King Mongkut.
The very well deservedTake That he gave to his fans complaining about the fact that his wall is a different colour.
The editorial video "What's with the Princess Hate?", which is an examination of the role of princesses in stories and why they get so much flack from the audience. His conclusion? The hatred comes from the fact that male characters are always "kings", while female characters are "princesses" because queens have a certain connotation to audiences (implying that women shouldn't desire complete power).
Demonstrating how Cinderella and Ariel really were good role models and how their original purpose has been distorted by future generations. Cinderella was a hard worker waiting patiently for life to give her an opportunity (and Walt Disney's own role model), and Ariel was proactive and daring.
His speech at the end, where he talks about how the roles of women in media are constantly changing, and people should step back and think to move away from emphasizing youth and lack of desire for power as virtues in women. While he says this, he shows clips of Katnis Everdeen, Natasha Romanov, and Kim Possible.
While reviewing Catwoman, NC calling it out for instead of being the "empowering film" it claims to be, it is actually an incredibly sexist movie:
That the whole plot hinges on makeup:
NC: ... Where she tries to stop her evil makeup from taking over the world! And, you know, saying that out loud makes me realize just how fucking sexist this "empowering women" movie sounds.
Also the Critic not putting the blame on Halle Berry (whom he admitted did fine with the script given to her). And when the Catwomen start to attack him for not insulting Berry, he points out they should all be happy they weren't part of such a horrible movie.
After the Critic finishes up his review of the live-action Cat in the Hat, Peter Souless tries to justify that the changes made in the movie made the story better, but NC points out how the adult jokes, pop culture references, and straying from the source material only made it worse. Then, when Souless refers to the Seuss Books as "simple kids' books", NC delivers a speech on what's wrong with Hollywood Producers and Focus Groups not taking the proper care and attention when adapting beloved childhood stories and pieces. The entire scene goes as such:
Souless: But! By having grown up humor, we make it more adult. By modernizing the dialogue, we make it more timeless. And by changing the source material, we show how much we want to make it even better!
NC: No! Every single thing you said, you got backwards. By having grown up humor, you make it more childish. By modernizing the dialogue, you make it more dated. And by changing the source material, you show how much you don't respect what's already perfect. I'm not going to act like everything Dr. Seuss wrote was a masterpiece, but when he got it right, he got it right. They don't need to be updated. They don't need to be fixed. They don't even need to have movies made about them. But if you're going to do it, the very least you could do is understand the source material.
Souless: Well, of course I understand the source material. They're just simple kids' books.
NC: "No. They’re not just simple kids’ books. They are stories that we are continuing to read even today. They’re stories that we remember years later, even when other stories fade from our memories. They’re stories we will never forget, and for good reason! They’re stories that helped shape our childhoods, through well thought-out writing, imaginative drawings and endearing morals. And the idea of THIS shaping somebody’s childhood—the fact that it even has the same NAME—just makes me sick to my stomach. Maybe these “simple kids’ books” are far more adult than you give them credit for. And I guarantee you that’ll show: years from now when kids AND adults will still be reading these “simple kids’ books”, while pandering bullshit like this disappears out of people’s consciousness. Also for good reason. Good art doesn’t come from focus groups and statistics! It comes from people who share how they see things in their own unique way."
The Critic dismisses the Analysists' narrow-minded viewpoint of Focus Groups by arguing that Dr Suess wrote what he wanted to see, putting them on the spot about how this may be damaging to audiences.
His #1 best South Park episode and his reasoning for it: "Osama Bin Laden Has Farty Pants" because it came out shortly after 9/11 at a time where America was being controlled by fear and paranoia and needed a reason to laugh again.
In his A.I. review, he infiltrates TMZ, and ultimately, attacks them by gaining footage of them doing embarrassing things. He follows up this by saying he's the biggest idiot of all for hating A.I. instead of considering what it meant for Kubrick and Spielberg.
Not only that, he also manages to shed some light on the infamous ending, in that it was Kubrick's vision, and that Spielberg was just trying to accomplish this one dream. It becomes a Crowning Moment of Heartwarming as well. This actually indirectly led to the above events, as some choice words from the Critic caused some Alternative Character Interpretation to happen and causing TMZ to think the duo are gay, pressing the Critic's button and causing him to perform the above.
In Turbo, actually making a better Zordon effect than the show/movie had.
Also the sheer effort put into the review. Adapting the original theme, making the different backgrounds, making the costumes.
While bringing up Legolas' absurd awesomeness in The Lord of the Rings, we get a skit where he simply shoots the One Ring tied to an arrow all the way into Mount Doom. Which is then topped by a later version where Gimli catches it while riding an eagle before throwing it in.
Do you hear the critics sing, Sing about how they don't agree? It is a metaphor for life, Where mouths are big and speech is free! When the pundits all concur, You'd better pinch yourself because You must be dreaming if that happens. It never does! Will you draw your own conclusions, Or give up and follow me? It's all subjective! Just don't be Pretentious — that's the key! There's even some people who didn't like Toy Story 3!
The Critic's review of The Last Airbender is detailed in contrasting the series to the flop of an adaptation and boils the flaws of the movie down to two major problems: 1) Every character in the movie has little to no emotion and spouts exposition (which goes against the rules of basic storytelling) and 2) a lot of the changes don't make sense (ie keeping the earthbenders in a quarry instead of a metal ship)
When he compares the actions sequences, he brings not only are the movie's effects bad, but it takes a series of repeated movements just to do one trick like throwing a rock when the show's were fast paced and could do things like that (and a LOT more than that) with single movement.
Tearing into Shyamalan's Creative Sterility regarding the poor implementation of bending was a particularly stand-out moment.
"Is that... really the extent of your imagination, Shyamalan? Is that really the wide range of possibilities that you could pull off with this scenario? [...] Have you no passion for possibility? Have you no understanding this... barrel of Miyazaki that you could unleash with this creativity? Earth! Ea— *thumps against table and back wall violently* EARTH! Bending! Taking the elements of EARTH! ... The fucking PLANET! ... And shaping it to your will! ... and this is the poor, fuck-ass piece of shit you can come up with? (Recomposes himself) Lemme give you a crash course, or a "reminder"—as someone who has clearly seen the show—what just one, one Earthbender ... can do. (Shows a montage of Earthbending powers from the show, which have individual Earthbenderscausing earthquakes and tidal waves of rocks) One. That was all one Earthbender, in every single one of those scenes."
States that in the end, even if the movie is bad, it has NOT put the franchise in any danger, and in fact, one bad adaption still doesn't ruin a franchise.
His Take That at Shyamalan for making such a poor adaptation after proclaiming himself to be a huge fan of the show.
The Critic sums up why he hates The Last Airbender so much after demonstrating that the whole movie and its characters are pretty much nothing more than vehicles driven by Info Dumping:
"This isn't me being angry that it's different from the show, this is me being angry that it's missing the most essential element of telling any story: if the character can never express any emotion, why should the audience ever express any emotion? But yes, while we're on the subject, that does make this possibly one of the worst adaptations of all time. A show that created such memorable characters, characters you almost believed were real, you wanted to be real, you wished they were real. Being portrayed as the most stock, boring, empty vessels of just explaining more plot is about as insulting to an adaptation as you can get. By God, it's one of the few times I'm glad the characters I love so much aren't real. Could you imagine them actually seeing how they would be represented in movie form? I fucking cringe!" (Shows a clip from "The Ember Island Players" with the Gaang reacting to footage from the movie in place of a play.)
His outrage at a bully in Bridge to Terabithia mocking Leslie's death, and telling Jess that, this time, violence is the answer.
The new stop-motion Nostalgia-Ween opening for 2013 is EPIC.
Doug and Rachel's uncannily accurate recreations of Jack Nicholson and Shelley Duvall's performances in The Shining.
Hell, Rachel in general. She's basically the heroine of the whole review, figuring out what's wrong with Critic, dealing with his crazy ass, and then snapping him out of it by explaining how the mini-series portrayed Jack better than the film.
The Devil himself reveals he was disguised as Santa Christ, and takes out Shyamalan.
In the fourth Nostalgic Commercials episode, Greg Sestero (Mark from The Room) makes an appearance! This marks the third main actor from The Room to endorse NC (the actors playing Lisa and Denny have both stated that they really enjoyed the Critic's review in the past).
Considering how the Critic's mother is like, it was pretty awesome that Critic told her to shut up without any repercussions when she asked him when he was getting a job. Also a Crowning Moment of Funny.
Whether you like Man of Steel or not, Angry Joe's argument in favor of the movie defending its most controversial moments like John Kent's "maybe" line or Superman killing General Zod. In the former's case, it shows that Jonathan Kent is a normal parent in an extraordinary position, and doesn't have all the answers. In the latter's case, Superman still isn't perfect and he is more human than the Silver Age's supposedly morally perfect Superman, especially when compared to Superman II where he also kills General Zod, albeit via Disney Death and with noticeably less remorse.
His EPIC speech after "The Worst Christmas Special EVER" review, where he lets his parents, Rachel, Malcolm, and Jim Jarosz give their opinions on Christmas.
At the end of the The Wicker Man review, it cuts to a bar where we see Brad Jones having a discussion about Nicolas Cage movies with someone. The camera pans over to reveal it is Spoony, in his first video with the Critic since he left the site.
You have to admit, before he was forced to do so, you have to give Critic props for his rant about not wanting to talk about the "NOT THE BEES!" scene.
And even when it happens, rather than just make the usual jokes, he goes into a serious analysis of why people responded to the scene so much, when there's so many other wacky things in the film and it didn't even appear in the theatrical release.
More specifically, featuring Ghost Rider Pony and Flutterbat as the equivalent of Blade!
After an episode of getting humiliated, Tamara torturing Critic offscreen ("making him wish he was dead") in Ghost Dad while singing "Somewhere Over The Rainbow". Both for the singing and Critic actually getting punished for awful behavior.
Malcolm's completely spot-on impersonation of Sam deserves special mention.
Critic: This leaves Alice with a mother who is certainly a product of the times, who isn't willing to accept Alice because, of course, she's ahead of her time. And doesn't realize that the "ahead of the times" cliche has been done do many times that it actually makes it behind the times... "Bad Screenwriting 101", guys: a good writer focuses on what a character is, not on what a character isn't. We know that Alice isn't following the norm, isn't as submissive as her peers, and isn't going to be told what to do. Well, okay, that's all fine and good, but what is she, then? Um... blander than bread?
His revenge against Jar Jar Binks upon realizing he was the director of Foodfight!.
Defending Hayden Christensen's portrayal of Anakin Skywalker by pointing out that Christensen's bland performance is probably more due to bad directing than bad acting (citing the other actors performances as well), as the times he's allowed to act with just facial expressions are actually well done.
Bringing up the Nostalgia Filter with the original trilogy more then once throughout the review, he points out that many of things that people complain about in the prequels were present in the original trilogy, but people tend to look the other way to them, including that the acting back then wasn't always great either.
Similar to The Last Airbender review's message of 'how a bad adaptation doesn't ruin a great franchise', in The Lorax, we have the Critic calling out the movie for showing nothing that respects the audience as thinking people and how people will be coming back to the books, culminating in:
Critic: I don't care how many movies you make, how popular they are for the moment, or how often you keep missing the spirit of these great stories, because no matter what you do, people are always gonna keep returning to the books of Dr. Seuss. Not only because they remember them, but because they're worth remembering.
He also points out that giving the film a Happy Ending destroys the ambiguity of the original book, akin to revealing that Bambi's mother didn't die, or similar moments left to interpretation like whether or not the top fell down in Inception, what Bill Murray said to Scarlett Johanssen in Lost in Translation, or revealing what was in the briefcase in Pulp Fiction.
The new live-action opening for "Old vs. New" starting with Spider-Man.
The Fangirl completely turning the Critic around on the subject of the films' villains, simply by asking him to quote one line of their dialogue from the Webb films.