Alice: I like the Walrus best because you see he was a little sorry for the poor oysters.
Tweedledee: He ate more than the Carpenter, though. You see he held his handkerchief in front, so that the Carpenter couldn't count how many he took: contrariwise.
Alice: That was mean! Then I like the Carpenter best, if he didn't eat so many as the Walrus.
Tweedledum: But he ate as many as he could get.
Alice: Well! They were both very unpleasant characters.
"Making every hero on earth as dark as Batman? That was your master plan? Great. So, after the audience gets bored to tears by every hero being just like every other hero, they'll be so depressed over how freakin' BLEAK they are, they'll KILL THEMSELVES!"
"Make it dark, make it grim, make it tough, but then, for the love of God, tell a joke."
"It's the monotone crapness of everything — governments, cultures, people, Exalts, gods, the cosmos, everything. No redeeming features, nothing worth fighting for, nobody who'd bother to get up off their ass or stop filling their pockets to do the fighting even if there were. Dark and shitty."
"So many terrible things happen in this comic: Roy ranking how good the girls he dated are in bed, beating a woman with an extension cord because 'she likes it rough,' impotence, heroin, and beating up junkies to protect a dead cat that Roy thought was his dead daughter. It's like the absurdity of the '90s fucked the grittiness of the '80s and then they both doubled-teamed decency until... you know, I could go on here but then I'd be getting as graphically vile as this title itself. "
—Topless Robot on Arsenal Rising, "The 5 Best and Worst Comics of 2010"
"Megan is another girl from Rock of Love who got her own show, only on this one, wealthy douchebags battle for the opportunity to buy her. Try to imagine how bad a millionaire has to be with women that he has to go on TV and humiliate himself for the CHANCE at paying for sex with a six. That's how awkward these guys are around girls. They couldn't get laid if their wangs cured yeast infections. I've seen Christopher Walken play games of Russian Roulette that were less nerve-wracking than watching these creepy assholes talk to a girl...One contestant built his fortune stripping; another wasn't even rich—he was just trying to buy Megan with the money he'll probably have when his dumb, stupid grandpa finally dies. This entire show is so amoral that it had to be pulled off the air after one of the contestants murdered and dismembered a woman who later had to be identified by her breast implants. And what's crazier than that is that given a choice, he wouldn't even be the first one you execute. Megan Wants a Millionaire is a Greatest Hits of man's inhumanity to man. They probably burned down an Indian reservation to build the set, and during a few scenes you can see the altar of panda bones where Megan has congress with the Beast."
"If you thought the all-heel commentary team and ring announcer mocking the babyfaces all night was juvenile, wait until you saw the matches themselves. The #1 problem with this pay-per-view, and probably the reason it had the lowest buy-rate of the nWo era, was that it featured crooked referee Nick Patrick in each match. To the surprise of Eric Bischoff, few people wanted to plunk down money to see a faction, no matter how cool or popular, be handed victories in three hours’ worth of farcical matches... The nWo, the badasses who had taken WCW by storm, were apparently no better than kids who played video games alone on two-player Vs. mode just so they could win every time. Now, the prospect of a glorified nWo circle-jerk still didn’t stop 5000 fans from buying tickets, but once the live audience figured out that the nWo was going to win every match, they pretty much gave up cheering… or booing for that matter. If you think wins and losses don’t matter in wrestling, watch what happens when you take away any semblance of competition. When you realize that the action in the ring won’t affect the outcome, you’re left to simply watch two guys trade moves with no rhyme or reason. "
"The death of Miracle Day is a death of a thousand little blows. There isn’t one big, resounding moment that can be pointed at to explain where the death narrative went off the rails.... In 'Categories of Life,' words like 'vivisection' and living 'petri dishes' are tossed around and we are meant to be horrified and disgusted that the governments would do this to living people but even the damn story doesn’t treat them as living people, they’re more props than anything else...And the one person who actually recognizes the personhood of the victims of the Miracle is Oswald fucking Danes. The goddamn pedophile and child murderer. The one whose glorious end involves calling out to all 'the bad little girls' that he is following to hell. He is the one goddamn person who actually speaks to the Category Ones or soon to be Category Ones with any shred of respect for their autonomy as a human being, with any sort of compassion or empathy for the pain and trauma they are going through only to end his goddamn speech exalting that they will all live forever. The only person who attempts to empathize with them is a sociopathic narcissist who is spitting out a byline to recover some modicum of popularity..."
"The characters have achieved nothing, learned nothing, and will hopefully now jump into a big black hole and return to nothing! Just as the visuals succeed too well at being deliberately hideous, the protagonists succeed too well at being deliberately wankers! There's nothing fun about the game, no light relief, just one piece of nauseating unpleasantness after another, like a roadside café breakfast special by Jeffrey Dahmer!"
"I get that we are establishing this to be a brutal world where no weakness can be shown. Fine. But you're still trying to create drama that appeals to an audience that does not live in that world. When a character kills like it's goin' out of style, do not ask me to sympathize when they themselves - or someone close to them - is being threatened with death. 'Cos that just makes them hypocrites. They're saying "This is the only death anyone should care about because this one adversely affects me."
"That things happen as they do in Shuttle I suppose is true, however rarely. But a film can have an opinion about them. This one simply serves them up in hard merciless detail. There is no release for the audience, no "entertainment," not even much action excitement. Just a remorseless march into the dark."
— Roger Ebert on Shuttle.
"People generally remember two things about the show Miami Vice: ridiculous, now-hilarious pastel suit jackets, and the warm, sometimes homoerotic, chemistry between Don Johnson and Philip Michael Thomas. Not only were the pastels removed, but thanks to Michael Mann's "style," the entire movie was so fucking dark and gritty, you could barely tell who was Crockett and who was Tubbs. Speaking of whom, the reassuring "buddy" feel that accompanied the show was completely absent from the movie Vice, and you got the impression that Farrell and Foxx genuinely hated each other. They didn't enjoy one another's company on screen and rarely made eye contact. You half expected them to turn their guns on each other. Not that you'd know which cop to root for if it did come down to that, as there was zero character development and the whole thing looked like it was shot through a rusty window screen."
"Is every single character in the film a loathsome cad?! Did Governor Schwarzenegger just designate Visalia [where the film is set] as a haven for assholes that were too assholian for greater Los Angeles? Is the town built over a hellmouth that attracts people who are less appealing than Richard III?! I don't want to sound callous, but... I want to see this place become a crater!"
An interesting interlude, but I’d just like to say, I hate your ending.
I’m waiting for the final interlude to make my final judgement, but Worm was a spiral of never-ending depression, every fight was worse than the last, and every moment of drama was more emotionally damaging, so really, in the end, I hoped we’d finally get to see the ray of sunshine. I waited for the final emotional payoff, the moment where it all became worth it.
And the sun never really rose. It never happened.
In other words, a masterful piece of writing, but depressing as hell from start to finish.
A bullet to the brain and an unmarked grave was so sadly predictable and depressing that when I finished Worm and while earlier chapters literally left me shaking with excitement and sweating at their climax- I felt nothing when reading the ending. I completely lost my emotional investment in the series. And while my investment is no doubt less than yours, I definitely noticed the loss.
I suspect the ten thousand incidents where generosity and kindness and genuine heroism were spat on, leading up to the ending, just finally struck me all at once as Contessa shot Taylor. For a moment, I just hated every single member of the cast.
"Both the story and the score were deliberately nerve-jangling and harsh; Grind was a show about violence, and it was frequently ugly and unpleasant. So Grind was not the kind of musical audiences took to their hearts."
— Ken Mandelbaum, Not Since Carrie
"Thunt hasn't shown much ability to make the audience sympathize with the characters by fleshing them out (certainly not with the "main" group of characters), so his only recourse is to constantly shit on them so that the audience sympathizes with their plight. In fact, Thunt is so adamant on this tack that he pursues it even when it results in phenomenally bad narrative decisions, like killing off a main character for no reason at all and with no payoff or flushing several months of character development down the toilet... And if the characters keep getting the rug pulled out from under them, what reason do I have to remain invested in their plight?"
"Watching cardboard characters meet horrible fates can be entertaining, but where's the fun in watching real human beings die in what you thought was going to be light entertainment? A certain plot development in one of the films mentioned here made me sob so convulsively it almost washed my contact lenses away, and, honestly, I'm not sure how much of that level of cinematic trauma I could take. The better-written the characters, the harder their deaths are going to hit us – but how grief-stricken do we really want to be?"
—Anne Billson discussing Godzilla (2014) in "Here's Why The Monsters Are More Important Than The Humans In Disaster Movies"
"Honestly, this is one of my major problems with the movie - it’s just downright unpleasant. I mean, yeah, the other films have creepy scenes and crazy visuals and such, but the whole middle of this movie is just dark caves, people being whipped and children in pain. Yeah, fucking sign me up for that, please! The other films could get grim, but there was a sense of fun and clever lightheartedness to set it off. [clip of Willie Scott complaining] I said clever lightheartedness! This is mostly just watching people suffer. It’s not fun and it doesn’t add to anything particularly dramatic, so it just seems sort of needlessly cruel."