I watched The Ides of March tonight, and so I’m doing my customary activity of reading user reviews on the Internet Movie Database just to see how my appraisal holds up against other common men and women. I found it to be a fairly well-layered story, by the way, that I’m still working to fully peel apart in my mind. I liked it.

Anyway, what follows is amongst the most obnoxious reviews I’ve read in my entire life. There isn’t a single line within that is actually coherent, but the hilarious thing about it is how goddamn awesome this guy thinks he is because of his facility with a thesaurus. It’s so god-awful, it must be shared. And no, I’m not going to cut him any slack just because he’s from Prague. This shit reeks with the arrogance of stupidity in any language.

The Ides of March, 6 March 2012


Author: junkielee from Prague


Political thriller is generally favored by the orthodox mass, as it hinges on an abiding gist: the pitch-dark side of politicians and their marionettes. But as a fact it will never own the impact on an social level to substantially transform the framework, so it only function is to appease the jealousy and complaint from our average joe with a fawningly condescending feeling as such “you know, it’s not easy to be a politician, so give them a break, they are literally assholes, you are much better than them!”. Of course, initially we all gloat to hear that, but time and time again, it may run to the other pole and intrigue an even more essential dislike towards the rotting upper structure and films that endorse the indulgence.

George Clooney’s directional work is on a par with his acting knack, so excellency might be overstated, but he can fabricate an arresting film without any difficulties (GOOD NIGHT, AND GOOD LUCK. 2005, a 7/10, is stylishly chic while the plot line can shun many entries from a wide audience). In THE IDES OF MARCH, the entire exposition is more feasible to understand while a fatal setback is the corny tenor wrapped with a feather-weight crowd-pleasing script (adapted from Beau Willimon’s play FARRAGUT NORTH). An over-simplified approach to elaborate a political puzzle, it does hurt the film.

The acting is high-end and Ryan Gosling has again triumphantly invaded into anther genre to broaden his bent to be the next virtuoso. Inside the supporting group, Philip Seymour Hoffman and Evan Rachel Wood are my pick of prominence, Clooney himself, Paul Giamatti and Marisa Tomei are all dedicated without any glitch. And a big thumb to the unswervingly composed camera-work!