Cuck the motion picture

[Pickle Dick]

some of you are bringing up joker in this thread, but let it be known cuck has a worse rt critic and audience score by a country mile

 

[The Littlest Shitlord]

That's a lot more than I thought there would be.

It's a movie called Cuck. Who honestly wants to go out of their way to watch that? Everyone knows by now that the kind of people who typically talk about supporting this kind of propaganda never actually puts their money where their mouth is, and they released it to compete with Joker, of all movies?

It honestly sounds like it was orchestrated to fail.

What I want to know is, who financed this garbage, and why? It was obviously never going to make much money, given that it opened in 12 theaters, was up against Joker, and followed a dislikable protagonist doing despicable things and ended on a down note. Who gained by deciding to flush their money down a toilet like this, and how? It's not even effective as propaganda if no one sees it. Was this someone's attempt at cultural relevance, or did they really make this utter shit thinking, "This is good, people will watch it"?

 

[Pomniman]

So....yeah the [INSERT CURRENT MEDIA HYSTERIA] turns impressionable young man into a murder crazed sex pervert like every example I listed in my previous post, and like just about every entry from the 80s era satanic panic canon come to think of it.
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If anyone is wondering why this specific "murder crazed sex pervert" combo has been the standard for scummy propagandists this past century, the explanation is simply that both cynical grifters looking to make money off a media panic and bitter fauxnatics looking to punish those who mock or defy them in public are very invested in trying to make normies hate the enemy of the now as much as they do, and the combination of "disgusting and contemptible and pathetic pervert" and "dangerous and mindless and delusional psychopath" effectively crams in all the fear mongering dehumanisation they want into one badly written package.

It tries to follow in that "tradition" but the movie goes to such great lengths to make Ronnie the cuck come off as pathetic and useless from start to finish that he's impossible to take seriously as a genuine threat even by the time he starts killing people in the final act. Those older movies tend to at least try making whoever they're trying to demonize seem competent and menacing in their capacity as threats to society. Cuck is so caught up in "owning" the target of its ire that it makes him look more exceptional than evil or dangerous. If the caricature is too pathetic it falls apart as a boogeyman the audience is supposed to fear.

 

[Pissmaster]

What I want to know is, who financed this garbage, and why? It was obviously never going to make much money, given that it opened in 12 theaters, was up against Joker, and followed a dislikable protagonist doing despicable things and ended on a down note. Who gained by deciding to flush their money down a toilet like this, and how? It's not even effective as propaganda if no one sees it. Was this someone's attempt at cultural relevance, or did they really make this utter shit thinking, "This is good, people will watch it"?

All of this just feeds into the thought that this movie was most likely made as some kind of dodgy money making scheme. Like, some countries have grants for the arts that you can apply for, and those tend to be abused by greedy assholes who'll take the grant, churn out total dogshit as cheaply as possible, and run off with the rest of the cash. There was a game developer that did literally that, Tale of Tales, who just churned out terrible walking simulators from time to time, and threw a public fit when Sunset didn't sell so well, to the point where they closed down and insulted GAMERZZZZ and went all SJW loony.

Turns out, they're based in Belgium and their games were largely funded by artistic grants, and only by then were they not raking in enough cash from the grants alone to keep going. They wouldn't have been a thing at all if they couldn't exploit that grant money.

I'm sure there are countless movie studios out there with this same M.O., but cinema's just not in my wheelhouse.

edit: fixed link, thanks @Iwasamwillbe

 

[Iwasamwillbe]

There was a game developer that did literally that, Tale of Tales, who just churned out terrible walking simulators from time to time, and threw a public fit when Sunset didn't sell so well, to the point where they closed down and insulted GAMERZZZZ and went all SJW loony.

Link doesn't work.

Try this.

 

[The Great Chandler]

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I love how far left of field of a conclusion the kid makes. It almost reminds me of Atreus from God of War were suddenly, he learns he's a god.

 

[MarvinTheParanoidAndroid]

Just gonna remind yall of the most jawdroppingly hilarious review of the movie from The Guardian in which this specimen...

....declares the movie infinitely better than the joker solely because it demonises the caricature of people he hates on the internet enough for his liking and has them properly humiliated and punished at the end, wheras the joker's cowardly refusal to end with a half hour lecture on why gamergate is hate proves that movie is forgettable and unworthy trash

I wish to deconstruct this cocksucker's review.

This weekend, a film about an unstable loner pushed to the edge by an uncaring society comes to theaters. This figure, a virginal loser whose only female contact comes from tenderly sponge-bathing his elderly shut-in mother, feels like he’s been cheated by a world out of order. He exudes rage outward in every direction: to the girl next door failing to reciprocate his crush, to the absentee father leaving him without a role model, to the celebrity idol he worships until he ends up the butt of their joke. With nothing to lose and a heart full of hatred, the angry white man finally snaps, smearing on some face paint and going on a shocking rampage of gunfire. For all its extreme subject matter, this film has captured one particularly toxic dimension of the national attitude, a vitally relevant work of popular art for better and for worse.

I am referring, of course, to Rob Lambert’s new motion picture Cuck. What’s that? They made another Joker movie?!

This faggot does know that Joker is a mentally ill child abuse survivor, yes? He has literal neurological damage from his violent childhood that cause ticks like uncontrollable laughter. Don't tell me this clearly stand-up individual isn't picking on the mentally ill of all people, that would be bigoted.

Honestly, any time a leftist talks shit about Joker, just accuse them of being ableist because that's the best way of cutting them off at the heels. It'd be interesting to see how lefties react to hearing their own terms of bigotry thrown back at them when completely warranted. How apropos and ironic that would be. It's like poetry, it rhymes.

The similarities between Lambert’s vision of alt-right virulence and Todd Phillips’ much-discussed take on the famed foe of Batman are so numerous and specific that one would almost certainly seem like a rip-off of the other if the films hadn’t been produced concurrently. They’re joined in an objective to burrow into the pathologies of an extremist, to take a close look and discover what drives a seemingly ordinary person to extraordinary violence. Many critics have deemed Phillips’ film a failure in its chosen creative mission, generally on charges of inadvertently glorifying the character it’s supposed to be critiquing. What luck, then, that this week’s cinematic offerings would also yield an illustrative counterexample to Joker’s crucial missteps. Lambert’s film makes its point by delving deeper into toxicity and committing to the most unattractive parts of itself. He’s willing to put his money where mouth is, and the result is more repellent, honest and astute than this week’s odds-on box office champion.

Joker's not an extremist nor is the movie a deconstruction thereof, it's a character study. This guy would shit his pants and curl into the fetal position if he ever watched A Clockwork Orange, because the movie ends on a high note that does celebrate Alex's debauchery and mayhem. This retard would take that as Stanley Kubrick giving gang violence his personal endorsement.

Our man is Ronnie (Zachary Ray Sherman), a self-described “patriot” disseminating racist invective from the computer room of his home in the California suburbs. Though he likes to wear his father’s fatigues around town, he failed the military’s psych exam and wouldn’t get far with his doughy physique even if he passed. He subsists on a daily diet of vlog rants stoking the fires of misogyny, xenophobia, homophobia and every other strain of bigotry one could think up. Ronnie’s taken to recording some of his own, going on awkward and inarticulate tirades laced with buzzwords native to his adopted peer group. Everyone’s either a “cuck”, a “libtard” or worse.

So it's a movie about Homer Beoulve, riveting.

There’s nothing even faintly sympathetic about Ronnie. Every time it looks like the film might be showing some compassion toward his loneliness, he turns around and does something vile to remind us that his plight is almost entirely of his own creation. He’s most likely diagnosable, and yet Lambert recognizes that mental illness isn’t the real culprit here, but rather one element of a volatile combination. However Ronnie may be mixed-up in the head, his decisions and surroundings exacerbate and amplify his dark lines of thinking, creating a feedback loop in which his alienation from the world compounds itself every time he tries to make a connection.

So it's not even a genuine character study, it's a character assassination. What I'm being told here is that Joker is bad and Cuck is good because Cuck is on no uncertain terms a completely biased agenda-driven propaganda film.

Lambert plays up the “incel” angle, first when Ronnie’s attempt to chat up a stranger spirals out into calling her a bitch, and again when he falls in with his neighbors. They make cuckold pornography, and in Ronnie, they think they’ve found the perfect guy to play the husband watching helplessly as a superior man goes to town on his “wife”.

Why would the guy who hates cucks want to be involved in a cuckolding porno?

During these scenes, in which the couple seems needlessly cruel and antagonistic enough to justify Ronnie’s eventual animosity towards them, Lambert overplays his hand. It seems for a moment like the world really is conspiring against Ronnie, when in actuality, he’s merely cast himself as a tragic hero while playing the fool. The director and co-writer Joe Varkle are sharp about the black comedy that necessarily, uncomfortably coexists with this strain of dim-witted terrorism; a meeting to restore white supremacist values in America takes place at a TGI Friday’s-style family restaurant, and ends with its leader musing that he’s been eyeing the chilli fries.

This sounds like Four Lions if you completely sucked out all the humor, satire and commentary and anything of substance.

That much proves essential during the chilling finale, in which Ronnie takes up arms against the many enemies existing largely within his fevered imagination. He turns out to be a pretty bad shooter, between his piss-poor aim and lack of a tactical plan. He clumsily picks off the few people he has anything personal against, then realizes he has nothing left to do with all of his anger, so he kills himself by pulling a gun on the police cornering him. It’s a coward’s way out of facing the consequences, and a surprisingly potent corrective to the end of Joker, which finds Joaquin Phoenix’s maniacal antihero having essentially gotten away with it as he continues to outrun the authorities chasing him.

The most indelible shots of each film speak volumes about their true belief in the content of their protagonists’ souls. The definitive image of Joker finds Phoenix in full clown get-up, power-striding down the street in slow motion as he revels in all the chaos he’s created, like a deranged perversion of the classic sequence from The Right Stuff. The most memorable bit of Cuck comes when Ronnie’s at his lowest, peer-pressured into letting a performer ejaculate on his face as the camera keeps rolling. The former can’t help but admire the character it claims to interrogate and dissect, and the latter ensures that that will never be possible.

Joker doesn't revel in the chaos, he revels in having agency, power and recognition. All of these are things he doesn't have ordinarily, which is the point. Ronnie, on the other hand, is a strawman by design. It obviously wants to paint everybody leaning right of Marxism with the same brush as one would paint Elliot Roger. This movie would've been a thousand times more effective if it were simply a straight retelling of Elliot Roger's life instead of a smear movie.

Lambert’s film pulls no punches in its efforts the show who Ronnie really is – neither hero, nor martyr, nor object of pity. He’s just loud, and small.

Much like this movie critic.

 

[Syaoran Li]

So Cuck made no money at all at the box office?

Damn...even for a limited release, that's pathetic.

I've heard of movies not selling enough tickets to make the movie profitable or even cover the costs, but if Cuck really does have a box office gross of zero dollars, then that must be some kind of record.

If that's true, then maybe Cuck will go down in the history books of cinema...but not in the way the filmmakers intended.

 

[Quijibo69]

So Cuck made no money at all at the box office?

It got Cuck by Corona.

 

[frozenrunner]

I'm skeptical of the $0 claim, but even so... who would be willing to go into a theater showing this film and say, "One ticket for Cuck, please?"

Fucking idiots who created this piece of trash...

 

[MarvinTheParanoidAndroid]

"One ticket for Cuck, please?"

The only thing worse than that is "Three tickets for Cuck, please. Actually, just make that one."

 

[Syaoran Li]

The only people who would willingly see Cuck in a theater are the same kind of people who'd get their tickets for free because they're movie critics.

 

[The Littlest Shitlord]

The only people who would willingly see Cuck in a theater are the same kind of people who'd get their tickets for free because they're movie critics.

That was actually what first came to mind when I saw the $0 total box office; that all the showings were promotional ones that did not charge admission, and therefore there were no actual ticket sales to collect.

 

[Zbk3VmLfujjzjxBd43tL]

I'm inclined to believe the claim that Cuck didn't actually make 0 dollars because limited release indie films don't usually report ticket sales, but considering it opened on only 12 screens and was nothing but a shitty "moral alternative" to Joker, this movie might actually have made 0 dollars.

Or did it? Certainly with a provocative title like "Cuck" someone had to have had the morbid curiosity to stumble into the theater and then had the right politics to not walk out and demand their money back. Right? Either way I'd be genuinely amazed to find out if this movie made more than $1,000.

 

[BrunoMattei]

All of this just feeds into the thought that this movie was most likely made as some kind of dodgy money making scheme. Like, some countries have grants for the arts that you can apply for, and those tend to be abused by greedy assholes who'll take the grant, churn out total dogshit as cheaply as possible, and run off with the rest of the cash. There was a game developer that did literally that, Tale of Tales, who just churned out terrible walking simulators from time to time, and threw a public fit when Sunset didn't sell so well, to the point where they closed down and insulted GAMERZZZZ and went all SJW loony.

Turns out, they're based in Belgium and their games were largely funded by artistic grants, and only by then were they not raking in enough cash from the grants alone to keep going. They wouldn't have been a thing at all if they couldn't exploit that grant money.

I'm sure there are countless movie studios out there with this same M.O., but cinema's just not in my wheelhouse.

edit: fixed link, thanks @Iwasamwillbe

I think it was engineered as a propaganda tool and possibly a tax write-off. The producers pulled a Springtime For Hitler. It could easily be both things. The director saw this as his passion project to own the Red State Trump supporters and the producers saw an easy way to hide their profits.

 

[CheezzyMach]

The movie is basically a modern day spin on the ancient "topical hysteria morality play" exploitation film that encompasses countless cringy late 30s-early 60s melodramas about every imagined threat to society from teenage delinquents and their inevitable descent into murder crazed sex perverts* to sinister hedonistic beatniks and their inevitable descent into murder crazed sex perverts** to even devilish reefer addicts and their inevitable descent into murder crazed sex perverts*** and of course the most vile creatures of all, smut peddlers and their dastardly plans to corrupt americas youth into delinquent, beatnik music loving, reefer smoking, murder crazed sex perverts****

This cycle of cheap hysteria baiting happens every couple decades, and is usually followed by an explosion of countercultural insanity that embraces every vice that was being demonised in the years before, and does so to an absurd and obnoxious extreme....so I would advise anyone allergic to dumb edgeright sargon tier antics to prepare themselves for that shit to blow up in ways none of us can even fathom in the not too distant future.

* all funded by the KGB
** all funded by the KGB
*** all funded by the KGB
**** all funded by....you get the drill

So the edgy 90s will return?

 

[Exceptionally Exceptional]

Let's face it, even if the Chinks never shat out the Coronavirus this movie would have fucking bombed. It's literally a movie called Cuck. Who the fuck wants to walk up to a cashier and hand them money only to have to grit your teeth and say "One ticket for Cuck, please." Even if you buy your ticket online, you're gonna have to hand that ticket to a human being. The title alone was market suicide.

Only an actual cuck would have so little pride and shame.