Comments by "Morgan King" (@MorganKing95) on "Top 10 Movies of All Time" video.

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  14. Well in short, it mainly talks about the escalated rivalry between the story's five Mafia families and the war between them, as well as Michael Corleone's transition from being a family outsider to become a Mafia head. The story was meant to be an allegory of capitalism, so much of the conflicts and intrigues are the other families wanting to make the Corleone family weaker so that they can grow stronger in the Mafia business. The rivalry turns into a war between them, then a seemingly peace between them, and then finally an attempt to assassinate Michael Corleone since he is the strongest link of his family after Don Vito passes away. However, Michael manages to think two steps ahead and has his associates kill the other family Dons, and then officially becomes the new Don of the Corleone family. Besides the layered story, I like the film for the following reasons: - The acting performances - The music - The art direction - The variation in settings and nuance in atmosphere - The art direction - Every scene affects the next one and is well-thought-out - The garden scene with Don Vito and Michael because it doesn't only talk about the former telling the latter about the plan of assassination attempt by the other Dons, but also about his (Don Vito) ambitions and wishes of him (Michael) achieving greatness even though it wasn't enough time (relatable). It also revealed their father-and-son relationship a lot - The baptism murders because of the intensity and the creativity and nuance in the murders
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  90. +Freckles Fer You seem to be inexperienced with both argumentation and aesthetic judgment, so let me take you back to school: - An opinion is by definition a normative statement, and any statement is automatically invalid without proper arguments, so the fact that you're answering a statement with statements already nullifies your credibility, and it also makes everything you've said invalid. - Movies are autonomous and independent art forms with their own norms and principles for what make them aesthetically pleasing to the average viewer, and they're not complete imitations of reality, so the fact that you're wishing for 100% realism already implies that movies are not for you. Stick to documentaries if you want complete realism. - You haven't said anything that is relevant for the cinematic core. Are stunts the cinematic core? No. Are story and acting the cinematic core? No! What is the cinematic core? Context! Everything that has to do with environments, themes, conflicts, culture, target audience etc., as well as how the cinematic elements affect and work together. Some unrealistic executions (again, I don't see how movies should be completely realistic in order to be aesthetically pleasing) have no effect on how the cinematic elements work together as a whole. You basically took 1 irrelevant dead fish and suddenly claim that the entire ocean is polluted. The fact that you won't give me a proper assessment and now refuse to discuss the movie already make you lose this discussion, so your statement about "The Godfather" is now invalidated
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  91. +Freckles Fer Again you start forcing an irrelevant dead fish down my throat and claiming that the entire ocean is polluted, and you still don't show any real knowledge about how art works. Also, if I have to choose between a photography and an oil painting, I'll definitely pick the latter. You picked some few action and stunt scenes that have no relevance for the movie as a whole, and it is only nitpicky to even point them out in the first place (they're not facts either since you're evaluating them). You haven't said anything about the story, the acting, the analogies, metaphors, and symbolism, the music, the dramaturgy, the cinematography, or even the aesthetics. Your entire assessment is completely void of any proper evaluations about the context and the cinematic elements, and it's completely void of any real analysis. You're just like the critics in the local newspaper where I live; looking into every minor detail looking for a flaw to judge the piece of art for, and then basing 80% of the assessment on that minor flaw. And when I tried to debate with them about their flawed aesthetic judgments, they weren't even trying. After a month of discussions with them, they haven't written a single review in almost 6 months. There was also an old wanker who tried to criticize Robert Wilson, but obviously had no real knowledge about Avante-Garde and post-dramatic theatre, so I wrote an essay in the local newspaper criticizing him for his flawed judgment. Nothing provokes me more than someone who hates on something without arguing for it properly.
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