“Go woke, go broke” is an increasingly prevalent mantra in film discussion. Popularized by conservative commentators such as The Critical Drinker and Nerdrotic, the catchphrase is used to criticize movie producers accused of prioritizing diversity and progressivism over quality, supposedly leading to a decline in box-office success. Likewise, the label “grifter” is trending, denoting critics accused of shallow commentary in favor of strong conservative messaging.
The prominence of these terms indicates an emerging trend: film discussion is growing more political. James Gunn’s “Superman” was criticized for allegedly emasculating the titular character; 2025’s live action remake of “Snow White” drew in a firestorm of controversy for casting Rachel Zegler, a Colombian-American actress, as the lead; “Star Wars” continues to face backlash for its hiring decisions; and Christopher Nolan’s upcoming adaptation of “The Odyssey,” despite only having released two official trailers, drew criticism for casting Lupita Nyong’o as Helen of Troy and Zendaya as Athena: two traditionally white roles.
Film and Animation teacher Jay Shelton attributes this political discussion to the growth of the internet and social media, noting that platforms such as YouTube, Instagram and X have democratized film criticism. Shelton contrasts this with 20th-century critics Robert Ebert, David Denby and Pauline Kael, all of whom were esteemed voices with rigorous film backgrounds.
“These people grew up researching film,” Shelton said. “They knew film history, and they knew literature history. Modern critics have no history; they all just want to be celebrities. All they care about is subscribing and liking. I don’t see the difference between the modern film critic and the modern reaction channel — they seem to approach film the same way, like a child.”
As someone well-versed in film production, Anika Mathur, MVHS alum ‘23 and dramatic writing major at NYU Tisch, adds that technology has also led to greater recognition of social movements, which, in turn, impacts film production. In 2021, for instance, the Black Lives Matter Movement prompted the creation of documentaries such as Amazon’s “The Underground Railroad” as well as growth in diverse casting, with chief diversity officer at NBC Universal Craig Robinson reporting that “we knew we had to seize the moment” in a Los Angeles Times article.
“When you’re pitching a project, the question is ‘why now?’” Mathur said. “The big things are that there’s stuff happening in society, and this film relates to that, and here’s why.”
Andrew Sunwoo, MVHS alum ‘25 and screenwriting major at Chapman University Dodge College, believes films often reflect the political climate of their time. In the past, Sunwoo made a habit of watching one movie every day. He cites one of his recent watches, “Project Hail Mary,” as a key example of implicit politics.
“Most movies do have some underlying theme that’s very relevant to the politics of society today,” Sunwoo said. “Even recently, with the movie ‘Project Hail Mary,’ the author of that book said it was not political. But in the movie, they were very focused on themes that certain groups would oppose today. Even though people do claim that things are not political, there is an underlying political tone to everything.”
Sunwoo recalls seeing ideological differences manifest in his film class: some of his classmates felt uncomfortable watching “Brokeback Mountain,” a film about queer identity, while others appreciated its place in the curriculum. When the debate is brought online, social media algorithms are known to reward charged, rage-inducing content. As a result, Sunwoo has recently observed more emotional film criticism that feeds into political polarization.
“Modern criticism creates outrage, so there are a lot of people on both opposing sides that are fighting all the time,” Sunwoo said. “The general consensus is that this affects how movies are made. So, since American society has gotten a bit more conservative, movies have also seen that shift in more mainstream media like ‘Scream 7.’ There are people creating movies at all times, so there’s always going to be opposing viewpoints too.”
Review bombing and scathing video essays are prominent tactics of politically charged criticism. While aggressive political reviews can damage the film industry, Shelton believes the response can be just as problematic, fostering a form of cancel culture that catches genuine criticism in the crossfire and leaves people afraid to join the conversation.
“In the 70s, people were more blunt in film, in the characters and in life in general,” Shelton said. “We weren’t so protective of everything, and people weren’t as worried about words. Now, there’s no real depth anymore. Modern critics can’t get past the little paradigms of the time.”
Mathur also sees this cycle negatively impacting the film industry. She cites the difficult production of “My Hero Balthazar,” a film that follows a rich, performative teenager who attempts to thwart a school shooting, as a key example, noting that major companies were hesitant to invest in the project because of its controversial premise.
“There’s definitely a feeling of what’s politically correct to tell in film today, and then there’s the other side of what will commercially work at a Netflix or Warner Brothers level,” Mathur said. “You need something really massive that will appeal to so many different types of people today to get everyone’s attention. I think films are getting less risky because of this.”
Ultimately, Mathur believes that excessive politics in film and film criticism distances the art from its core value: entertainment.
“A lot of people today just want to be connected to something, and you watch movies because of that,” Mathur said. “Movies were created for entertainment. We’re not like doctors saving lives. Especially in harder times when people are under pressure, they just want to laugh and have a good time.”
Having encountered varying perspectives in his film class, Sunwoo acknowledges that movie critics come from different backgrounds and hold diverse opinions. He stresses the importance of viewers forming their own ideas and judgments about movies.
“All reviews hold a bias that people should consider,” Sunwoo said. “This is somebody else’s perspective to look at, and it shouldn’t be the basis for somebody’s entire viewpoint of a movie. It should just be taken with a grain of salt, because movies have a story that everybody sees in a unique way.”
Shelton tries to familiarize his students with a large variety of differing perspectives in his Film and Animation class. For instance, students watch “Birth of a Nation,” a controversial yet important film in American history. Still, he is disheartened by the current state of film and film discussion, believing that politics diminishes the art of movies.
“I feel disengaged — I’m not excited about new movies anymore,” Shelton said. “There’s no home for somebody who’s just a genuine lover of film, who wants rational thought. On one side, you’ve got people who are afraid to speak openly and correctly and have all these rules all the time. And on the other side, you’ve got maniacs.”
