Avatar (2009)

[Datameister 2,041]

Horner is a very good composer. He steals from himself no more than Jerry Goldsmith did, and even John does it all the time as well.

Are you seriously comparing the understandable, infrequent, never-verbatim repetition in Williams' oeuvre to Horner's pathological need to build his scores based mostly on (mostly good) material he's already written? Williams reuses stylistic elements, with specific musical elements occasionally being echoed by other scores, albeit with noticeable modifications. Horner reuses whole freaking cues (cf. "The Machine Age" and "Kaleidoscope of Mathematics").

[Uni 306]

Brad Fiedel > John Williams.

Inflammatory statement + No explanation = Blatant attempt to provoke a response.

- Uni

[Charlie Brigden 7]

Edit: nevermind.

[Incanus 5,714]

Uni, a very well written review. It actually summed up my sentiments on the film as well.

As for the score, the strange thing is that I was able to forgive Horner for his self-plagiarisms, even though I have been very critical of them in the past. I noted the usage of the danger motif, the theme from Glory, the main theme from Four Feathers and the Aliens motif (which seems strongly a conscious borrowing in Aliens from Goldsmith but strikes as odd in Avatar). And then there are what I call "Horner theme/orchestration templates" which pop up in almost every score and are part of how he composes music but he just uses them too often. The fluttering stuttering flute for love scenes, the oboe with harp accompaniment which is exactly the same from film to film, the theme progressions all seem so familiar it is too familiar. Even I, who like the score we have, admit that it is sad that even when afforded 18 months to create something new Horner goes for his old bag of tricks with such guiltless ease. This all seems like damning evidence.

But for some reason I saw past these heavy criticisms this time. It could be that "ignorance is bliss" applies here as much as the small percentage of new and interesting material. For some reason this score clicked with me on emotional level, so much that it overrode the criticisms. I do not know much of Horner's ouvre in the 21st century because I have lost hope of him delivering something new to my ears so I was blissfully ignorant of for example Four Feathers' theme being one of the main themes of the Avatar score until someone pointed it out. I have not heard Horner's jungle outings from many scores so the percussion etc. sounded new to me. I have nicely and conveniently forgotten the dreadful Titanic score so I do not even note similarities between the love theme and the Avatar love theme. And I guess I have become immune to the Danger motif by now.

Horner's music for good or for bad is refreshingly old fashioned. He wears his heart on his sleeve. But there is still more skill in the man that he stands above the RC clones and many others in the business even when producing music that clearly balances itself somewhere between the old fashioned and the new (War is the most obvious cue, where Horner fuses the score with modern action sense with his own sensibilities and in my opinion comes off more succesfully than the Jablonskys and Djawadis of this day ever could). And most of all Horner's music is emotional. It may be predictable to film music afficionados because of its twists and turns and to the larger audience for its general style (the music most people expect from a film like this) but it still shows a more satisfying emotion than most scores these days. In my eyes and ears the music gave some scenes in the film the lift they needed even if the score does not have materials for an enduring film music classic.

And I think it works on the album and tells the story musically very well. If you can get over Hornerism of the score, as you have to get over it with any of his scores from the last 10 to 15 years, then you can enjoy a diverse Horner score in which he had to by his own word, use more disparate elements (ethnic, orchestral electronic etc.) together than on any other score of his career. True or false, it is an enjoyable if not hugely original ride in my book.

[Quintus 5,399]

Good review Uni, I pretty much agree. It was a ride for rides sake and the flaws are there to picked at the next morning, at the viewers discretion. But in a popcorn flick like Avatar I personally don't see the problems highlighted as 'flaws', but rather as insituitionalised givens of the genre. Cameron does indeed border on taking the piss a bit this time around, but only in comparison to his other movies. When judged against the usual Hollywood spectaculars though, there's nothing that unusual about the hand-feeding of Avatar. I did quietly cheer along during Avatar, just as I did during Braveheart and just as I did during Gladiator. So what's new?

Honestly, the moment which grated most with me was not the 'reveal' that her father was the chieftan or the sight of the male natives staring at the whiteman, but instead it was scene where the fella in charge of the mining operation took Weaver to one side to explain to 'her' what the mission was really all about. That was a moment of blatant exposition, dug-in deep within Lucas territory. Cameron does usually trust his audience to have a reasonable degree of intelligence, but for a moment there it felt as if he was making sure the deep south hillbillies sat at the back were catered for.

Incanus, I too am growing to really like the score, I've listened to it a couple of times now (unusual for me) and issues aside, the music is thick with atmosphere, it tells a story and for that it has my attention. But I keep hearing about this reuse of a theme from Horner's Four Feathers score - please tell me it isn't the lovely music for the natives of Pandora and the flying/love theme? I shall be disappointed if it is, because I was under the impression that Horner did bring at least a little bit of originality to the project.

And Joey, the score to The Terminator was hardly just 'adequate', it was perfect.

[Unlucky Bastard 7,782]

Brad Fiedel > John Williams.

Inflammatory statement + No explanation = Blatant attempt to provoke a response.

- Uni

And you responded.

[Incanus 5,714]

Incanus, I too am growing to really like the score, I've listened to it a couple of times now (unusual for me) and issues aside, the music is thick with atmosphere, it tells a story and for that it has my attention. But I keep hearing about this reuse of a theme from Horner's Four Feathers score - please tell me it isn't the lovely music for the natives of Pandora and the flying/love theme? I shall be disappointed if it is, because I was under the impression that Horner did bring at least a little bit of originality to the project.

The Four Feathers' theme is the one representing the Na'Vi people, the courage and honor. A very clear rendition can be heard 3;09-3;55 in Becoming One of "the People", Becoming One with Neytiri. Four Feathers' theme easily identifiable as inspiration for the Na'Vi theme even if it is not an exact copy. Ironically in Four Feather's the ending of the melody is derived straight from Braveheart which luckily enough is not in the Avatar counterpart. It is like a string of never ending evolving leitmotifs of Horner's life.

As far as I know the Love theme/Main theme is the main original contribution of Horner in Avatar but as I said I am ignorant of much of his post 2000 work.

[Quintus 5,399]

God he's a lazy git. I mean, I will forgive him for being bone idle on Avatar, but the man thoroughly deserves ALL of the criticism reaped upon him by others.

[Luke Skywalker 1,794]

Morn, Horner is a very good composer. He steals from himself no more than Jerry Goldsmith did, and even John does it all the time as well.

Thanks, i've been waiting for you to say one really, really, really wrong remark to use as my signature.

I pity for your if you really think that. My deepest condolences.

BTW, if avatar makes more money than Transformers 2 (vely likely) it is well deserved, it's a better movie.

[JoeinAR 1,949]

all you bitches are in denial that Jerry Goldsmith and John Williams steal from themselves all the time just as Horner does, and not just like Datameister pityfully trys to point out. Pull your fucking heads out of your asses and see the reality.

[Quintus 5,399]

But unlike James, Jerry and John didn't feel the constant need to ram their regurgitations down their listeners throats. There's the subtle reuse of orchestration and thematic ideas and then there's the blatant act of scoring a film whilst not giving a shit if anyone finds the music more than a little bit familiar to other, unrelated movies. I like the score to Avatar, but to suggest that Horner is no worse than the Masters is absolute codswallop!

[JoeinAR 1,949]

But unlike James, Jerry and John didn't feel the constant need to ram their regurgitations down their listeners throats. There's the subtle reuse of orchestration and thematic ideas and then there's the blatant act of scoring a film whilst not giving a shit if anyone finds the music more than a little bit familiar to other, unrelated movies. I like the score to Avatar, but to suggest that Horner is no worse than the Masters is absolute codswallop!

Oh come on GreatEye, Jerry's scores from the mid 70's to the mid 80's are a musical progression, they're like one gigantic score that you can here bits from each score past and future. I can hear Jaws in CE3k, Towering Inferno in Jaws. AotC in COS, wink wink. Everyone here says Hook is the same as Sorcerer's Stone! Ok I don't agree, I'm just trying to get people going. Avatar is the first score since Giachinno's failure called Star Trek to really get any ongoing discussion.

[Quintus 5,399]

Oh come on GreatEye, Jerry's scores from the mid 70's to the mid 80's are a musical progression, they're like one gigantic score.

Ha ha, I sort of hear what you mean there, but I suspect the actual movies themselves owe a significant contribution to your observation. It's true that people have always confused Star Wars' music with Superman's, but that is merely down to a familiarity with JW's orchestrational style, and the fact that his themes always had very strong bridge sections, easily as memorable as the principal melodies themselves. When someone sits down to watch Bicentennial Man and thinks to themselves hmm, I've heard that music before, it sounds familiar... it is because they have. They have heard the same music in Braveheart.

Horner is bum!

[Luke Skywalker 1,794]

i think joe is kidding...

Anyways, Goldsmith and Williams have not used the same evil theme throughout their entier careers.

Horner's use of the danger motif is as if every williams score had the imperial march as badguys theme. how wrong and critisized would that be?

Williams has, specially recently, action passages that he repeats in different scores, but they are not themes!

[Quintus 5,399]

Yes, to a point he was kidding, and I was humouring him. You should try it sometime, fanboy.

[Datameister 2,041]

Nothing like a good slew of profanity in lieu of a factual rebuttal. Brings a smile to my face every time.

[TheDarkOrb 0]

Loved the movie, loved the soundtrack. I think James Horner did an excellent job. I'm not an avid collector of Horner's work so alot of the "rip-off'" i didn't pick up.

I hope they release a "more music from" or complete soundtrack this year. I think if it gets best score this will have a good chance. There was still a few cues that I missed from the soundtrack release.

[BLUMENKOHL 1,068]

Gilderoy Lockehart's Theme seems completely fresh to me.Wait no, that's not what I meant to say. It's a lift straight form The Last Crusade! And The Quidditch Match is absolutely fresh in every way...minus every single musical element Williams has used ad nauseam throughout his career, topped off with an action motif from The Lost World. ;)And please don't get me started on Goldsmith.

[Quintus 5,399]

Goldsmith was second only to Horner in the self-plagerism stakes, truth be told.

[Charlie Brigden 7]

Never really saw it in Goldsmith myself. Certainly he went through several periods where his style changed and you have scores that sound alike, but I never picked up any real self-plagiarism. I admit there's probably the fact that I like Goldsmith a hell of a lot more than Horner. But if anyone wants to give any specific examples, I'll gladly listen.

[Luke Skywalker 1,794]

Gilderoy Lockehart's Theme seems completely fresh to me.Wait no, that's not what I meant to say.  It's a lift straight form The Last Crusade! And The Quidditch Match is absolutely fresh in every way...minus every single musical element Williams has used ad nauseam throughout his career, topped off with an action motif from The Lost World.  ;)And please don't get me started on Goldsmith.

Another kidding soul

Lockhart's theme is for a rushed-rehashed sequel score williams officially was not 100% involved with. The theme is 100% rehased though. But it's done twice, not in every single score since 1989. I hope you see the point.

And the quidditch match is not a theme. Is an action cue, which i already stated williams seems to repeat lately since 1997, not, lets say, 1974.

But as i say, you must be kidding, you dont usually say stupid things.

[Datameister 2,041]

Gilderoy Lockehart's Theme seems completely fresh to me.Wait no, that's not what I meant to say. It's a lift straight form The Last Crusade!

COS as a whole is an exception and an abomination, the product of a film that has no vision of its own in a year when Williams was after his prime and very busy. I've criticized it many times before - because Williams consistently does better than that. I would have expected Horner to approach the score with that level of self-plagiarism, even if he'd had a year or two to work on it.

And The Quidditch Match is absolutely fresh in every way...minus every single musical element Williams has used ad nauseam throughout his career, topped off with an action motif from The Lost World.

The motif from TLW definitely was Horner-level self-plagiarism. Again, exception, not the rule. And I don't hear much else in that series of cues that reminds me of other Williams pieces.

Williams has certainly reused elements, styles, and even larger melodic ideas in rare circumstances. But he's no Horner. With Williams, it's an unfortunate surprise. With Horner, it's a eyeball-rolling, grin-inducing cornerstone of his oeuvre. (And I absolutely love numerous works by both composers, mind you!)

[Uni 306]

As for the score, the strange thing is that I was able to forgive Horner for his self-plagiarisms, even though I have been very critical of them in the past.

Interesting how we're opposites on that count. I've forgiven him in the past for scores others have criticized vehemently. For whatever reason, this time it really bugged me.

But for some reason I saw past these heavy criticisms this time. It could be that "ignorance is bliss" applies here as much as the small percentage of new and interesting material. For some reason this score clicked with me on emotional level, so much that it overrode the criticisms.

I cannot, in any way, find fault with you for this. When it works for you, it works. Funny how often it does in Horner's case.

Horner's music for good or for bad is refreshingly old fashioned. He wears his heart on his sleeve. But there is still more skill in the man that he stands above the RC clones and many others in the business even when producing music that clearly balances itself somewhere between the old fashioned and the new. . . . And most of all Horner's music is emotional. It may be predictable to film music afficionados because of its twists and turns and to the larger audience for its general style (the music most people expect from a film like this) but it still shows a more satisfying emotion than most scores these days. In my eyes and ears the music gave some scenes in the film the lift they needed even if the score does not have materials for an enduring film music classic.

I absolutely agree with you on this. As I've said for years, Horner does plagiarize himself to the Nth degree--but at least he's copying what is, at its heart, wonderful music. He's capable of communicating fluid emotions without blanketing them over everything (like John Barry, for instance, has done too often over the years). He manages to remain lyrical and melodic even in his most melodramatic moments.

(War is the most obvious cue, where Horner fuses the score with modern action sense with his own sensibilities and in my opinion comes off more succesfully than the Jablonskys and Djawadis of this day ever could).

Again, beautifully said. I didn't catch as much of the score during the intense battle scenes (hard to hear the music over the IMAX sound of the world exploding), but I can't imagine I would prefer anything from Jablonsky over Horner, even in his weaker moments.

And I think it works on the album and tells the story musically very well. If you can get over Hornerism of the score, as you have to get over it with any of his scores from the last 10 to 15 years, then you can enjoy a diverse Horner score in which he had to by his own word, use more disparate elements (ethnic, orchestral electronic etc.) together than on any other score of his career. True or false, it is an enjoyable if not hugely original ride in my book.

All right . . . you've convinced me. I'm going to give the score a try apart from the film. (I probably would've anyway in the long run . . . just had to give him the cold shoulder for a few days, y'know, a sort of silent protest.) In all honesty, I really didn't pay close enough attention to the music except those moments when he went cookie-cutter on us. I can imagine that the score will probably present itself much better when heard apart from the film.

Honestly, the moment which grated most with me was not the 'reveal' that her father was the chieftan or the sight of the male natives staring at the whiteman, but instead it was scene where the fella in charge of the mining operation took Weaver to one side to explain to 'her' what the mission was really all about. That was a moment of blatant exposition, dug-in deep within Lucas territory. Cameron does usually trust his audience to have a reasonable degree of intelligence, but for a moment there it felt as if he was making sure the deep south hillbillies sat at the back were catered for.

OOOOooooo . . . what a phenomenal point, Quint. Now that I think about it, it itched me a bit at the time, too, and now it bothers me even more in retrospect. Of all the ways he could've gotten that message across to us, where the hell does he get off peddling that kind of indefensible exposition? You're absolutely right--he's always been better than that about bringing the audience in hand when it comes to necessary background material. (Consider a couple of examples: Reese explaining the future to an ignorant Sarah Connor; Burke revealing Ripley's long hypersleep in what turns out to be a nightmare; Bill Paxton bringing the audience up to date on his interest in the Titanic by means of a video documentary.) To explain facts to another character who already knows those facts is inexcusable laziness on a screenwriter's part--whoever he happens to be.

Great catch, Quint.

- Uni

[JoeinAR 1,949]

We saw Avatar again today.

I truely understand the magic of that film now. I don't even notice the effects, I just see it as the reality it is. I love the sequence when the helicopter lands in the grass and you can see everyone in the copter, and it looks like it could be a scene out of Mash.

Luke, I don't know if Avatar's grosses' in this new year count towards 2009. But Transfomer 2 will be passed by next Sunday, January 10th or Monday the 11th.

[John Crichton 4]

Luke, I don't know if Avatar's grosses' in this new year count towards 2009.

They should. Since it came out in '09 it all counts as '09 as far as I know.

[BLUMENKOHL 1,068]

Looks like this baby is hitting $1 billion worldwide in three weeks. AKA by Sunday...today. It took the fastest of the current 4 $1B WW films, TEN weeks to do that.

[Incanus 5,714]

After a few more listens the score keeps impressing. My latest find is the theme for the Pandora and the Nature of the planet which includes the Na'Vi.

Interestingly enough the first time we hear this Nature theme is in Jake Enters His Avatar World (0:00-0;14) as a fragment.

It is the beginning of Jake's journey to Pandora, to becoming a Na'Vi so it is quite fitting.

The best rendition of this theme, which actually is woven through much of the score, is on the Pure Spirits of the Forest track where it is subtly woven into the music in the beginning of the piece by high strings(0;37-0;49), then taken over by lower strings (0;50-1;11) and then repeated by high strings and again taken over by low strings from 1;49 onwards to 2;11. It is alluded by the native flute at 3;04-3;19. Then 3;58-4;46 it rises out of a bed of electronic effects on strings and continues subtly until the music goes into a rendition of the Love theme at 4;46->. The suddenly at 5;27-6;35 we hear a very low, heavy rendition of the Nature theme on brass and percussion as we see the Home Tree. Horner keeps changing the theme slightly from variation to variation, rhythm and melodic contour but it is clearly the same theme, this time depicting the majesty and size of the Hometree and perhaps Jake's initial feeling of slight fear of meeting the Na'Vi tribe.

Horner transforms this theme in Scorched earth into a brassy action motif (1;21) subtly under the wailing voices and then fully in brass at 1;35-1;50. He reiterates the motif accompanied by the choral chants at 2;18-2;2;55 where the theme goes from brass to strings continuing as an underlying string figure. The music fits the scene perfectly. The obvious anguish of the destroyed trees, the tension and pain of Jake who wakes up to this situation and the final death of the trees signalled by the Danger motif (Death motif in this film). The Nature theme and the Love theme weave in and out here with such natural flow it is a joy to hear.

In The Destruction of the Home Tree Horner uses the theme in fragments throughout the piece, clearly iterated at 2;47 in brass and continuing all the way through the track in tragic tones. At 4;12 Horner transforms this theme into a heavy dirge punctuated by the piano and timpani culminating to the chanting choir building and building and the Death motif interjecting in brass until this reaches a massive peak at 5;21. After this the Death motif takes over and the lower strings perform a new a tragic minor key variation on the Nature theme. This track shows a very subtle but brilliant manipulation of thematic material which you have to listen to very carefully to notice.

Shutting Down Grace's Lab features the Nature theme at the beginning 0;28-0;45 as a wistful remembrance.

Gathering all the Na'Vi Clans for Battle features a broken up version of the theme in solo trumpet in 1;39 to depict the dire situation.

War has rhythmic variations on this theme at least at 3;38 when the chanting choir starts. It is almost unrecognizable but Horner cleverly infuses the battle with this theme in many places in fast or rhythmically altered form so it is difficult to spot. 4;41 it is intoned by the brass in a clear statement.

[Luke Skywalker 1,794]

Luke, I don't know if Avatar's grosses' in this new year count towards 2009. But Transfomer 2 will be passed by next Sunday, January 10th or Monday the 11th.

It was koray who asked.

good, anyways.

[Koray Savas 2,251]

Luke, I don't know if Avatar's grosses' in this new year count towards 2009. But Transfomer 2 will be passed by next Sunday, January 10th or Monday the 11th.

It was koray who asked.

Was it? I don't remember asking that.

[Luke Skywalker 1,794]

Luke, I don't know if Avatar's grosses' in this new year count towards 2009. But Transfomer 2 will be passed by next Sunday, January 10th or Monday the 11th.

It was koray who asked.

Was it? I don't remember asking that.

asked or mentioned.

who cares anyway

[Quintus 5,399]

I do.

[indy4 155]

Actually, it was me:

Will TRansformers still technically be considered the highest grossing film of 2009 since the year is over?

[#SnowyVernalSpringsEternal 10,265]

Looks like this baby is hitting $1 billion worldwide in three weeks. AKA by Sunday...today. It took the fastest of the current 4 $1B WW films, TEN weeks to do that.

Jim is King Of The World again!

[Quintus 5,399]

Anyone know how much Titanic made during the same period of it's own release?

[crocodile 7,999]

Anyone know how much had Titanic made during the same period of it's own release?

Less.

Karol - who didn't see that coming...

[Charlie Brigden 7]

The best thing about all this is that it surely guarantees a theatrical re-release of JAWS 3-D.

[Quintus 5,399]

Anyone know how much had Titanic made during the same period of it's own release?

Less.

Karol - who didn't see that coming...

You will think I'm bullshitting you, but after seeing the movie I did see it coming, in that I suspected it. Mass audiences love this shit.

I shall be keeping a keen eye on this story.

[indy4 155]

In 17 days, Titanic made 157 million. I don't really think it's that telling of Avatar's future success. It seems the strength of Titanic was not amazing day-by-day grosses, but average ones that were collected for waaaaaay longer than any other film. If that makes sense.

[Charlie Brigden 7]

What's interesting is how long it's apparently booked in theaters for. I heard rumours of March at least, I'm not sure if that was a stipulation of exhibiting the film.

[JoeinAR 1,949]

the movie that stayed #1 at the boxoffice the most weeks is not surprisingly E.T. the Extraterrestrial with 16 wks at #1. Titanic was 2nd with 15.

[indy4 155]

I saw it! Here's my review:

First off, the SFX were amazing. That coupled with the artists imaginative ideas was easily the strongest bit of the film. The story was probably the weakest--first half was Pocahontas, second was Lord of the Rings, with a bit of other movie cliches thrown in along the way. And talk about predictability--

the tough, ugly military man turns out to be the bad guy, who knew!

The music was not very memorable. I did like the love theme, but I think it might have been taken from A Beautiful Mind, I'll figure it out once the soundtrack arrives. Weaver's character was probably the most interesting, I was

disappointed when they killed her off.

So yeah. Overall, it was a fun film to watch but nothing I'd want to see more than once, and nothing incredibly ground breaking except in the areas of SFX (in fact, I'd say it was plain unoriginal in most aspects). It was the first 3-D film I've seen, and I didn't think the 3-D added a whole lot, though it was kinda cool.

[Unlucky Bastard 7,782]

In 17 days, Titanic made 157 million. I don't really think it's that telling of Avatar's future success. It seems the strength of Titanic was not amazing day-by-day grosses, but average ones that were collected for waaaaaay longer than any other film. If that makes sense.

17 days?? I hate to rain on your parade, but this movie's not gonna last 17 hours!

[Uni 306]

17 days?? I hate to rain on your parade, but this movie's not gonna last 17 hours!

Those critics're gonna come in here, 'n' they're gonna come in here, 'n' they're gonna get us!

[BLUMENKOHL 1,068]

You know honestly...when Transformers gets 400 million, okay, it was pointless fluff, and it's because it did 50% of its business in the first weekend with massive drop offs afterwards.When a movie does as well as this, with such stunning repeat business and great word of mouth (things TF2 didn't have), I don't care what art-house punks say. This was a terrific film, and there comes a point where the amount of money, and more importantly HOW it makes it DOES speak to that.And tomorrow some schools and offices resume the show, and the talk in the buildings will be Avatar...which I'd wager will continue the movie's impressive performance despite pulling out of the Holidays.

[indy4 155]

It has terrific SFX...the rest is average.

[Unlucky Bastard 7,782]

Maybe I'm dense, but I can't quite work out why Avatar is doing such great repeat business. I mean it was okay, but not so earth-shatteringly fantastic and stupendous that I'd want to see it again. I can understand why Titanic did so well, since I love the film, but Avatar? Someone link me to an academic essay (or feel free to write one yourself!) that explains this movie's success, and with all due respect, many people's sudden blind love for it.

By the way, I never saw either Transformers movie.

[indy4 155]

I see it's been nominated for Best Picture at the Golden Globes...this is upsetting.

[Datameister 2,041]

Maybe I'm dense, but I can't quite work out why Avatar is doing such great repeat business. I mean it was okay, but not so earth-shatteringly fantastic and stupendous that I'd want to see it again....Someone link me to an academic essay (or feel free to write one yourself!) that explains this movie's success, and with all due respect, many people's sudden blind love for it.

Actually, my negative feelings caused by being somewhat disappointed with the film will likely work in my/its favor. I'll see the film again eventually, and all the time I'll have spent critiquing it in my head will cause it to seem inordinately amazing by comparison. That positive impression will probably last a lot longer than my current one. Happened with Star Trek, too, though I probably liked that film from the get-go somewhat more than I currently like Avatar.

Basically, it all boils down to this: I need to never hear anyone else's opinions about films for as long as I live. Especially positive opinions before I see the films. Either that, or I need to find a really well-respected but insanely negative film review site and use it for all my info...then I'll adopt a defensive attitude on behalf of every film I'll see, and I'll never be disappointed again!

[Quintus 5,399]

Seems like a lot of fuss just to decide whether or not you should like a movie. Honestly, the opinions of others matters for absolutely naught where my enjoyment of a film is concerned.

Just because everyone else seems to rave about a movie doesn't mean one should at least try to like it, upon a second viewing.

[Datameister 2,041]

You misunderstand me - none of this is conscious. I have no desire to feel differently about a film depending on what other people have said, but at this point, there's just no denying that I inexplicably enjoy new films less if everyone has told me they're utterly amazing first. It's annoying and dumb, but it's not something I have control of, unfortunately.