![]() The film has taken its bird-brained brand-nouns and verbs and an adjective, unsullied by sentences-and used it to construct characters and plots that are certainly serviceable, and possibly even inspired. ![]() In this case: Sure! The Angry Birds Movie is really not bad. ![]() ![]() Can the result of that be any good at all? Can capitalism, so unfettered, produce anything of artistic value? Here are the basic stakes of the cash grab-cinema-for-the-spreadsheet and cinema-for-the-soul-colliding, in the form of a movie that came from a game that is best known not for entertaining people so much as distracting them. Here is a movie with such pretensions toward global universality that it does away with humans entirely. In that sense, there’s something wonderfully pure about The Angry Birds Movie, which is a cash grab of the most nakedly cashgrabby strain: Here is a movie that is itself a brand extension, and one that’s been extended from a brand that got popular entirely on the basis of its own whimsical nihilism. It’s also possible, of course, that a movie might prove popular and thus lucrative precisely because it has artistic merit, just as it’s possible that the factors at play in a Hollywood cash grab-an increasingly globally minded studio system making movies that are as broadly human and relevant as possible-might actually be a good and democratizing thing. Why You Should Wait Out the Wild Housing Market Derek Thompson ![]()
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