imdb rating

anonymous asked:

what do you think of imbd's "rated f" thing?


Today (March 7, 2017) IMDb rolled out their F-rated system which tags films with women in prominent roles in front of the camera, but also behind the camera like directors, screenwriters, composers etc. 

You can use it to search for films by women directors but also you can filter by genre, year, user rating etc. 

Given how huge IMDb is this is a completely invaluable resource. I literally screamed when I heard the news, it’s going to help me so much with the research I do for this blog. 

I HIGHLY encourage people to go to IMDb and play around with it. You can check it out HERE

Y'all. I just realized I will be truly devastated if The Bold Type gets cancelled.
Genocide Denial Goes Viral: 'The Promise' and the IMDB

Eighty years ago the Turkish government forced Hollywood to drop a movie project based on The Forty Days of Musa Dagh, then a best-selling novel on the Armenian Genocide by German-language author, Jew and outspoken Hitler opponent Franz Werfel. The Forty Days of Musa Dagh, originally written as a warning against Hitler through the prism of the Armenian Genocide, never saw the silver screen. Such a movie could have also raised awareness of the fate of the Jews in Nazi Germany at the time and later of the ongoing Holocaust. It could have shaped the “narrative” of the struggle against Hitler. Many have since been interested to finally turn the novel into a major production, but Turkish opposition and obstruction seemed insurmountable.

It had taken years — and the passionate support of Armenian activist Kirk Kerkorian, who financed the film’s $100 million budget without expecting to ever make a profit — for The Promise, a historical romance set against the backdrop of the Armenian genocide and starring Christian Bale and Oscar Isaac, to reach the screen. Producers always knew it would be controversial: Descendants of the 1.5 million Armenians killed by the Ottoman Empire shortly after the onset of World War I have long pressed for the episode to be recognized as a genocide despite the Turkish government’s insistence the deaths were not a premeditated extermination.

The Promise, which opens April 21, finally would bring the untold saga to a mass audience. But at the Toronto Film Festival premiere in September, producer Mike Medavoy watched the late billionaire’s carefully laid plans upended by a digital swarm that appeared out of nowhere.

Before the critics in attendance even had the chance to exit Roy Thompson Hall, let alone write their reviews, The Promise’s IMDb page was flooded with tens of thousands of one-star ratings. “All I know is that we were in about a 900-seat house with a real ovation at the end, and then you see almost 100,000 people who claim the movie isn’t any good,” says Medavoy. Panicked calls were placed to IMDb, but there was nothing the site could do. “One thing that they can track is where the votes come from,” says Eric Esrailian, who also produced the film, and “the vast majority of people voting were not from Canada. So I know they weren’t in Toronto.”

The online campaign against The Promise appears to have originated on sites like Incisozluk, a Turkish version of 4chan, where there were calls for users to “downvote” the film’s ratings on IMDb and YouTube. A rough translation of one post: “Guys, Hollywood is filming a big movie about the so-called Armenian genocide and the trailer has already been watched 700k times. We need to do something urgently.” Soon afterward, the user gleefully noted The Promise’s average IMDb rating had reached a dismaying 1.8 stars. “They know that the IMDb rating will stay with the film forever,” says Esrailian. “It’s a kind of censorship, really.”


Death is the enemy. The first enemy and the last. The enemy always wins, and we still need to fight him. That’s all I know. You and I won’t find much joy while we’re here, but we can keep others alive, we can defend those who can’t defend themselves. Maybe we don’t need to understand any more than that. Maybe that’s enough.

s e a s o n  7  +  imdb ratings
Taika Waititi Ensured Indigenous Representation on the Set of "Thor: Ragnarok"
Thor: Ragnarok is not your average superhero movie – with a budget of $180 million and a star-studded cast featuring Cate Blanchett, Chris Hemsworth, and Tom Hiddleston, it was one of the most anticipated blockbusters of the year. Normally, such projects are automatically assigned to white male directors but this time Disney-Marvel decided to opt for Taika Waititi, an indigenous New Zealand filmmaker, hitherto known for critically acclaimed indie comedies such as Hunt for the Wilderpeople (2016) and Eagle vs Shark (2007).

Box office figures and audience responses show that Waititi was definitely the right choice - Thor: Ragnarok raked in $650 million globally (more than the previous two Thor films), becoming the ninth biggest international release of 2017. Furthermore, it currently has the very impressive 8,2 rating on IMDB, as well as 73% on Metascore – a remarkable feat for a superhero film.

In addition to helming the hugely successful multimillion project, Waititi worked hard to include indigenous representation, while also securing opportunities for aspiring local filmmakers. The shooting for Thor: Ragnarok commenced in New Zealand over the summer and Waititi ensured that the local indigenous people were involved in the production as much as possible, and treated with respect by the cast and crew. He invited members of the Yugambeh mob to perform a “Welcome to Country,” and explained that one shouldn’t “start a movie in New Zealand without asking the local tribe to come in and bless you and send you to work with some good mojo. Especially if you’re on their land, you’re in their backyard.”

He also hired an indigenous company to supply water for the set and created opportunities for native moviemakers to participate in the filming process, either by observing the shooting or by getting actual on-set work experience. As a result, eight indigenous interns were recruited in fields ranging from stunt work to set design. Māori and native Australian actors were also included in the film, and Waititi encouraged the costume designers to use local native art as inspiration, while taking care that they do not cross the line into appropriation: “You need to follow-up by saying ‘don’t copy that, but use it as inspiration’, he explained, ‘because the next thing you know you have 50 people who have appropriated all these like beautiful ancient designs without asking what they mean, or who owns them, or for any permission.”

Waititi also made sure to include plenty of subtle Easter eggs which are obvious only to those familiar with indigenous culture. One example is the color scheme of two aircrafts used in the film - they are painted with the colors of the Aboriginal flag and the Tino Rangatiratanga flag.

‘I wanted to fill it with a few in-jokes and things for Kiwis and Australians,’ Waititi explained. ‘For me, anyway, it would just ground me…so while I’m making this giant Marvel movie I could look around and go, ‘That spaceship – that’s painted with the Aboriginal flag colors. No one else knows that but us.’