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Left Behind (#110 of 3)

The 10 Worst Movie Posters of 2014

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The 10 Worst Movie Posters of 2014
The 10 Worst Movie Posters of 2014

If the best posters of 2014 constitute a vibrant harmony between marketing and product, the worst ones merely amplify the already contemptuous elements present in the films being advertised. Of course, this isn’t always so, as with The Immigrant, which is more a case of the Weinstein Company attempting to market the film as something it blatantly isn’t, but on the whole, these posters are dreadful teases for grievous fare.

Oscar 2014 Winner Predictions Original Song

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Oscar 2014 Winner Predictions: Original Song
Oscar 2014 Winner Predictions: Original Song

The AMPAS was already embarrassed enough by the music branch’s lingering cronyism manifesting itself vis-à-vis the out-of-nowhere nomination for the theme song from Alone Yet Not Alone, a movie that somehow achieved eligibility despite playing almost exclusively in heartland venues appointed with pews. The Academy had every right to be mortified by whatever shenanigans allowed into the conversation what is, by all rational reports, an artless, self-righteous, racist remake of The Searchers told from the point of view of John Wayne’s trigger finger. But now that the Board of Governors has rescinded the nomination in an act of reverse-revisionism that forms an apt symmetry with the film itself, the egg on Oscar’s collective face is now also clearly visible in the sights of all those who have set their browsers’ homepages to the Drudge Report. Well, them and composer Bruce Broughton’s wife, who has taken to her almighty Facebook status bar to protest the mistreatment her husband was being forced to endure for allegedly abusing his position among his branch’s executive committee to engage in a little email blast electioneering. So sniped Belinda Broughton, in two separate posts:

Lost Recap: Season 3, Episode 15: “Left Behind”

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Lost Recap: Season 3, Episode 15: “Left Behind”
Lost Recap: Season 3, Episode 15: “Left Behind”

A common knock against Lost is how much of a boy’s club the show is.

With a production staff heavily comprised of men in their thirties and forties, Lost has become a weekly outlet with which to engage in such “male-centric” themes as asserting control, abandonment, and neglectful father-figures. Furthermore, the show has a peculiar habit of marginalizing its female characters, either by placing them in subservient, romantic-accessory role (see Sun of Sun & Jin fame and, to a lesser extent, Claire as the object of Charlie’s desire) or by promptly killing them off the second they start displaying any independence. How much this is a by-product of a predominantly male writing team is up for debate. In the comments section last week I made a point of addressing some of the women who have made creative contributions behind the scenes, but in my heart of hearts, even I knew the ladies of Lost were in danger of having their voices swallowed up by their time in the clubhouse.