F
ew names raise the ire of gamers as much as Uwe Boll's. The mere mention of his name in certain circles is sure to cause great anguish and a gnashing of teeth. He is as reviled among video game enthusiasts as Jack Thompson. Boll makes movies, famously terrible movies, that transcend their mere affiliation with video gaming in their universal dislike. It's not just gamers who hate his films, but everyone. It's gamers, however, who harbor the purest of hatred. His highest rated film on film-review aggregate site Rotten Tomatoes is 11% fresh. His lowest is 2005's Alone in the Dark, which has a 1% fresh rating. That's one percent. Anyone with good taste, or any taste for that matter, is put off by the mind-numbingly terrible movies Boll is somehow able to churn out with a surprising regularity. Video gamers hate him particularly because of his films like Postal, Far Cry, and BloodRayne.
But is the unmitigated hate warranted? Is there some redeeming nugget of genius hiding within these pictures, some sly subversiveness that we're all missing? To find out if perhaps Boll's movies are redeemable when viewed with a skeptical eye, I decided to put myself to the test by watching a few.
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