There’s a general longstanding tendency among film critics to go easy on expensive big studio films. Turn the other cheek, avoid sharp judgments or tough terminology, describe them as half-full glasses of water rather than half empty.
But critics always feel free to say whatever in the case of smaller, indie-level films. They’ll stand back if the filmmaker is well-respected. Or, in today’s context, if the film has the Good Wokester Seal of Approval, in which case everyone puts on the kid gloves again. This is just human nature.
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