The biggest problem plaguing the film industry in 2021 is progressive filmmaking. The art of injecting progressive ideology in movies and television for the sake of conditioning audiences to the worldview of the far left. If you thought diversity hiring in order to fend off left-wing special interest groups was the problem, that is only a symptom of the disease that is progressivism.
Progressive screenwriting is not only insulting as it is condescending but it makes movies predictable. If you know who progressive hate and the ideas they wish to condition you with, you can pinpoint every plot twist and character motivation within minutes.
Take the film Chaos Walking for example. Disney studio sweethearts Daisy Ridley and Tom Holland star in Lionsgate’s latest attempt to cash in on properties they didn’t create. Whenever a film is stuck in developmental hell for10 years, you can best believe there is a reason studios don’t want the film to see the light of day. When a film is stuck in the development void AND the studio orders 15 million dollars of reshoots due to poor reception, you can bet the house that the film will be a disaster.
Chaos Walking begins in a dystopian future, a planet far from Earth is home to a group of men who are affected by “the Noise”. The Noise allows every man on the planet to have their thoughts on public display. One day, a girl from space (Daisy Ridley) crash lands on the planet to discover all the women were killed off by an alien race. A young boy named Todd (Tom Holland) finds her and is shocked to see that Viola is unaffected by the noise. Todd tries to protect her from the village of men who see her as a threat as together they must find a way to reach her people or else risk being stuck on the planet forever.
Chaos Walking fails as science fiction, an action, an adventure film, and a Western by giving fans of those genres NOTHING to invest in. Instead, the film spends its time pandering to intersectionality as progressives have strengthened their chokehold on the entertainment industry the standards of quality have plummeted across the board. To them movies aren’t about character, story, and action…in the progressive world, films are about controlling a narrative and pushing an agenda.
The film makes its audience known that we are in a world where no one follows religion anymore because it’s outdated. This anti-Christian narrative is confirmed when the “preacher” shows up and is a psychotic lunatic. If you understand the ideology of intersectional feminism then you know who are the bad guys, who are the good guys. It is here that the film injects every progressive trope you can think of.
Every man in the film is portrayed as a villain with the exception of our main character Todd and his “two adopted fathers”. Speaking of homosexuality, Tom Holland and Daisy Ridley might as well be gay characters because they have zero chemistry on screen. The lack of chemistry is also by design as Hollywood progressives see no intersectional value in a white heterosexual relationship. Todd is in love with Viola but she shows zero interest in him as a partner down to the final scene. The avoidance of a traditional relationship leaves you with two people who are less charismatic than a pair of old friends dipped in a side of Daisy Ridley’s wooden acting. Lack of chemistry leads to a lack of emotional investment in the characters making the pairing pointless.
Another causality of progressive screenwriting is the lack of a hero. One thing that progressives love to portray is a woman who doesn’t need a man. Viola shows on multiple occasions that she can deal with the threats of the film by herself rendering Holland’s character useless. As a hero is supposed to show courage and overcome adversity, this manifests itself in a character being heroic and putting themselves in danger for a greater good. But progressives are idiots who are offended by the idea that a woman has to be saved by a man so they write the story where a woman saves herself despite being too afraid to fight in the first act of the film. By robbing the audience of that arc they have no hero they can connect to, just a woman who is a poor protagonist.
The big twist of the film is waterboarded with foreshadowing. The film introduces an element of aliens who killed all the women because reasons but surprise, it turns out that the men killed the women the whole time because men couldn’t handle women knowing all of their thoughts. This twist turns a sci-fi film into a complete farce.
The film puts no effort into world-building the scenario they created. You get one half-assed CGI alien fight and you never see another Alien for the remainder of the film. The entire subplot was a red herring to sneak a line about how “we” are the aliens because they were here before us…subtle.
Nothing about this world makes it more intriguing than Earth, if the plot didn’t require Daisy Ridley’s character falling from space to advance the story, the settling could have been modern-day Tennessee and no one would have noticed. The tease of another settlement of humans turns out to be a small community of people who only serve the purpose of introducing us to its black female leader who is gone as quickly as she is introduced.
Chaos Walking is not a movie, it is a case study of what happens to the cinema when you give progressive hacks a budget of 85 million dollars and they skyrocket it to 125 million because they are so bad at their job, you need to spend millions patching the holes in the blimp in hopes audiences don’t realize that they are falling into an interstate.
Make no mistake, progressive storytelling aka anti-storytelling is the death rattle of a dying industry desperate for foreign money to keep itself afloat. If Chaos Walking isn’t a lock for the top 5 worst films of this year, God helps us because we are heading for a pile of dog crap so high that Kathleen Kennedy is going to demand an executive producer credit for it.