Is the Word Overrated Ruining Film Criticism? by Clarisse Loughrey
The Guardian’s new series “My Most Overrated Film” where guest columnists write about a film they think is overrated has gotten a lot of response from the critical community, and most of it’s not positive. Here’s a good essay on the issues surrounding a series like this; she also explores some reasons why people feel the need to declare highly-regarded films as overrated. Sam Adams at Criticwire goes even further, declaring that “overrated is a garbage word, and I can’t disagree. As is probably clear from my stance on evaluative criticism and positivity, I have little use for the concept of something being overrated, much less building a whole post series around it. Stuff like this is basically clickbait in this format; don’t give the Guardian your clicks.
And yet the problem with this overuse of ‘overrated’ is that such arguments tend to exist in a vacuum. It’s great to shake up the establishment, but if we challenge Hitchcock and Kubrick, are we then automatically burdened with offering up the alternative? The real issue is perhaps less to do with the attacks themselves, but with the perceived arrogance and cynicism of its author. Do critics always have the best intentions when they go after the “classics”? It’s hard to say, but we can safely assume there will always be those who deliberately set out to incite scorn and unhealthy debate, just as there will always be the attention-seekers, the click-bait sensationalists.
Nathan Rabin vs. the IMDb Top 250: The Best Years of Our Lives by Nathan Rabin at The Dissolve
Nathan Rabin has started going through the IMDb Top 250 in random order, which I think is a pretty fun series to do in general. He puts post-WWII classic The Best Years of Our Lives on top of the several he’s seen so far for the series, and it is a fantastic film, for all the reasons he talks about and more (Myrna Loy!).
Wyler’s film tells the story of an entire generation of lost men who came home from the greatest triumph of their lives only to discover that they had to fight a new war, for recognition, direction, self-respect, and for the wives, lovers, and jobs they assumed would always be there for them no matter what. It manages the singular quality of being at once intimate and epic. The Best Years Of Our Lives represents the studio age at its best. It’s adult, mature filmmaking that didn’t just feel important and socially significant, it was and remains important and socially significant, preserving the weary, uneasy mood of the moment that created it.