A Star Is Born’s hoary tale of a showbiz veteran (Bradley Cooper) being eclipsed by the ingenue (Lady Gaga) he mentors and falls in love with is now whorier than ever. It can challenge the 1932, 1937, 1954, and 1976 editions only by relying on audience ignorance of those versions and worshiping contemporary showbiz shallowness.

Lachrymose at its base, this version is just unabashed Hollywood merchandising. It sells a bald-faced PC checklist: white-male weakness, feminist bravado, servile and obsequious blacks, Latins and queers — none of this particularly enlivened by Cooper and Gaga’s competing narcissism.

“This is A Star Is Born for the American Idol generation, a movie so out of touch with the artistic expression of universal feelings (what was formerly the pride of entertainment adepts) that it winds up simply promoting the present-day system of showbiz crudeness.” — from Armond White’s 10.5 essay, “A Star Is Born Is Remade The Wrong Way.”