Only 28 percent of critics gave Sylvester Stallone’s Rambo: Last Blood a fresh rating at Rotten Tomatoes, compared to 84 percent of the audience.
And once again, as was the case with comedian Dave Chappelle’s latest Netflix special (35% compared to 99%) and Jennifer Garner’s Peppermint (17% compared to 72%), we see just how out of touch the Critical Class is with everyday moviegoers. Chappelle brilliantly mocked Woke Fascists and Peppermint was basically about one of President Trump’s Angel Moms getting revenge on the MS-13 gang that slaughtered her family. Gee, you think that had something to do with it?
Comedian Dave Chappelle accepts Best Comedy Album for ‘The Age of Spin’/’Deep in the Heart of Texas’ onstage during the 60th Annual GRAMMY Awards at Madison Square Garden on January 28, 2018 in New York City. (Kevin Winter/Getty Images for NARAS)
If that’s not proof enough of a vast divide, look at the 100 percent to 17 percent disparity between the Critical Class and everyday moviegoers for Netflix’s Knock Down the House, an adoring look at the avowed socialist Rep. Alexandria Ocasio-Crazy (D-NY). Every single critic who review it adored it. Real people not so much.
How about the 39 percent to 93 percent chasm for Angel has Fallen, the latest chapter in the Fallen franchise featuring Gerard Butler’s Secret Service Agent Mike Banning, which mocks the Russia Collusion Hoax.
Overcomer, another one of those “unexpected” Christian-themed hits at the box office ($32 million and counting), has a gap of 50 percent to 98 percent. For added lulz, Overcomer, which features no stars and had no studio-backed promotional campaign, trounced all the Woke fare, such as Stuber, Booksmart, Late Night, The Kitchen, and Longshot, at the box office.
The problem here is cultural and political. The elite Critical Class have a massive diversity problem, and I am of course talking about intellectual and cultural diversity.
A good example of this is last year’s The First Purge, which earned praise from 54 percent of critics (nearly twice Rambo’s percentage) when it’s objectively a huge disappointment — a preachy piece of snore. I happen to be a fan of the Purge franchise, but The First Purge is a crushing disappointment. It’s not only dull, but what had been a thematically-driven franchise decided to get overtly political (read: left-wing) and preachy (read: self-important), which took all of the fun out of the series.
I don’t have anything against left-wing movies per se, if they are well made. The First Purge is just terrible.
But it was The First Purge’s left-wing preaching, it’s Wokeness, that hit the Critical Class’s political sweet spot, so a whole lot of them gave an objective piece of garbage a passing grade … while only 28 percent of everyday moviegoers did the same.
By any objective measure — pacing, structure, story, acting — Rambo: Last Blood is a much better movie than The Last Purge, but critics are furious at Stallone for raising awareness about the horrific cost of our opens borders, how it enables Mexican cartels and gangs to enslave Mexican girls; so strictly for partisan purposes, they smear it as racist and claim it sucks. Believe me, it doesn’t suck. It’s no classic, but it hits the mark with satisfaction to spare. This is one of those movies that’s going to rerun forever on cable TV. It also opened to a perfectly respectable $19 million.
Click Here: Fjallraven Kanken Art Spring Landscape Backpacks
You don’t expect every critic to line up with the audience. I pan blockbusters all the time (never for political reasons). But there is an obvious pattern here, and one that proves everyday moviegoers cannot trust Rotten Tomatoes, especially if you are anything close to right-of-center culturally or politically.
Rotten Tomatoes and its cabal of left-wing critics are deliberately looking to deceive us and even tag us as racist for daring to enjoy a perfectly acceptable piece of entertainment.
The more insidious goal of these critics falls under the umbrella of blacklisting. These partisan attacks are obviously geared towards ensuring that any movie that explores truths inconvenient to the left, will take a media-beating designed to hurt its chances at the box office and tar the creators as racists.
These reviews are meant to have a chilling effect on artistic freedom and expression.
P.S. I’ll admit to being a minuscule part of the problem. I could probably join Rotten Tomatoes as a reviewer; but I’m not a big fan of joining, and one person is not going to make any real difference.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.