Rinel, a mí la película no me ha convencido y por supuesto, la he puntuado por debajo del 7. Pero creo que no puedes valorar si una nota es exagerada o no cuando cada persona puntúa según criterios distintos. Alguien puede puntuar según criterios técnicos más o menos objetivos (aunque siempre hay un margen de subjetividad), otros pueden puntuar según su disfrute viendo la película, que puede ser de 10. Yo intento tener en cuenta ambas cosas. Por ejemplo, si tuviera en cuenta mi disfrute personal, a Gladiator le pondría un 4 porque me gustó muy poquito, pero como técnicamente es bastante buena, la narración competente y los actores están muy bien, le pongo un 6. Pero cada uno puntúa lo que le apetece.
Y por supuesto, luego está la subjetividad de cada uno. Tú pones a parir el reparto y para mí casi todos están muy bien, incluyendo Will Smith.
Muy interesante. El artículo tiene un título que puede parecer "conspiranoico" pero los puntos que presentan son incuestionables. A los datos buenos de taquilla se les busca el ángulo negativo y se habla de desastre (cuando en realidad ha tenido varios records positivos), se hacen noticias de intervenciones anónimas en foros de internet (yo lo de la demanda a Warner me lo llegué a creer de las veces que lo he leído)... No denuncia conspiración, sino constata hechos y los relaciona con una actitud poco profesional de los medios.
También ha salido otro artículo en Forbes que detecta esa misma tendencia en la prensa a subirse al carro de la negatividad, a "comprar" cualquier historia mala, sin importar de dónde venga ni que tenga la más mínima credibilidad. E incluso es una tendencia que se refleja en una clara exageración en las críticas. Recomiendo su lectura porque es muy interesante. Algunos fragmentos:
Suicide Squad is falling victim to this typical press scenario not only because of the all the usual factors coming into play against it, but also because of a sort of inertia that overtakes the press once a line of thought has been established. “Gore the exaggerator,” the first U.S.-Iraq war when the media acted largely as cheerleaders for the White House, the McMartin Preschool abuse story and surrounding media hysteria, and many other examples exist of the press jumping onto hyperbolic or outright false bandwagon sentiments and hyping them for attention in order to attract viewers and increase revenue. It’s not just common, it’s a consistent aspect of modern mass media. There are entire press outlets dedicated to the pursuit of tabloid journalism, rumormongering, gossip, and muckraking.
Suicide Squad wasn’t liked by everyone, and that’s okay. It clearly wasn’t even liked by a majority or plurality of viewers, and that’s okay, too. The film — like most films — has flaws, and things that appeal to me might not appeal to you. If every single other review besides my own had been negative, that alone wouldn’t even prompt me to view the media coverage with skepticism. What does give me pause, however, is when I see headlines of increasing extreme assertions, claiming the film is one of the worst movies of all time, that it is possibly the most disappointing film ever made, that it is an insult to the concept of art and cinema, that it’s not even an actual movie, and so on.
Anticipation and expectation were so high for a super-villain comic book movie that it trumps those and other examples? Not “most disappointing this year,” mind you — most disappointing ever, in the history of cinema. Likewise, the claim that it’s not even a real movie, and that doesn’t have an actual story at all, is ridiculous to the point of seeming like mere satirization of precisely the sort of exaggeration it actually is. And anyone who honestly thinks it’s the worst film of all time or even on the shortlist of contenders needs to see more films, apparently.
So intense has the bashing become, the press was caught up in the grip of flop fever. Despite Suicide Squad opening to record-breaking numbers, media reports focused on the Friday-Saturday drop as the most important part of the weekend performance. When it set a record for the biggest first Monday in August, the reports noted it was a larger percentage Sunday-Monday decline than a host of other films, ignoring the fact most of the comparisons were to movies opening in earlier summer months when weekday box office tends to be much higher or on holiday weekends where Mondays enjoyed an added boost from vacationers.
As it set new records later in the week, as its foreign numbers rolled in to record-breaking heights, the media simply couldn’t shake the feeling that the real story was all of the things that could go terribly wrong and sink the film. The potential implosion of the DCU became the talking point, rooted squarely in the negative professional critical reviews, and this negative narrative piggybacked on the existing media animosity toward Batman v Superman. For several days, the box office news continued to be rosy while the media played up any possible negative angle they could find. New reports of even worse supposed tensions and trouble with the film’s production surfaced, including the infamous “$800 million is the break-even point” claim.
http://www.forbes.com/sites/markhugh.../#70f559796f4e