I have lost faith in the modern moviegoer. I’m not sure precisely when my disillusionment occurred. My distaste has simmered cooly, griping quietly in response to the various cinematic shenanigans I’ve witnessed through the years. It occasionally seeped into conversation, but typically went no further. But it made itself known in full force during a particularly annoying viewing of crime thriller ‘The Lovely Bones.’ During this viewing, I had the pleasure of sitting next to a lovely group of young ladies who saw it fit to circuitously regale me with their inane commentary about the movie’s happenings. Alternately whisper-screaming about how they ‘didn’t get it’ and giggling inappropriately during the murder scene, they were the perfect manifestation of our society’s values concerning what we value in entertainment. This attitude has a simple rule: anything remotely metaphorical always eludes comprehension. This trend was reflected in the professional realm as far as ‘The Lovely Bones’ is concerned. According to Rotten Tomatoes, critics panned it with an abysmal 36 percent approval rating, surprising those who were familiar with the story. I found this disappointing – if not interesting – because a critic will typically sing praises of any film that seems even remotely morbid in his or her desire to appear deep or otherwise emotive. Critics will typically do this regardless of cohesion in the movie’s plot – morbidity, vagueness and euphemisms are all they require to draw from, because these elements usually enable the critic’s own pretentiousness. ‘The Lovely Bones’ in particular was quite disturbing, and thus the perfect opportunity for critics to capitalize on their usual penchants. For that reason alone, it should have caused universal salivation by critics eager to prove their clout by displaying fondness for something so utterly disturbing. But judging by their reviews, even they seemed to miss the point this time. I was prepared to consider this a fluke until I noticed the high marks awarded to movies I conversely despise – ‘Avatar’ being the most notable one at the moment after being granted an undeserved 82 percent fresh rating on Rotten Tomatoes along with $1.8 billion in profits, making it the second-highest grossing movie of all time. And perhaps the most overrated. I do not intend to say liking or disliking these movies are indicative of intelligence level. Understandably, the films I mentioned will not suit everyone, as we all have tastes that do not necessarily reflect brain power. But the problem lies not in merely enjoying these films, which is harmless, but rather placing certain movies on a pedestal they do not deserve. Society is allowed to have its guilty pleasures – which are by no means inappropriate – but allowing them to become the focal point is unacceptable. To suppose a movie that cost the equivalent of the gross domestic product of a small country can be excused from hiring decent writers (‘Avatar,’ I’m looking at you, again) is ridiculous. Sadly, when the best the industry has to offer is the deformed brainchildren of Michael Bay and the surprisingly stale’ ‘ afterthoughts of James Cameron, this trend – that is, appearance over substance – is to be expected. Skilled writing will be shirked for canned dialogue and mildly offensive clich’eacute;s, the plot will feel like an obligatory afterthought rather than the focal point.’ More inane than such movies are their ensuing success, a clear ordering of values which highlights our culture’s preference with spectacle over substance and throws our priorities into an embarrassing relief. And why must we be this way, I wonder? Probably because thinking simply hurts too much. ‘ Linnie Leavines is a 19-year-old mass communication sophomore from Central City. Follow her on Twitter @TDR_lleavines. —– Contact Linnie Leavines at [email protected]