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** He calls out Holdo's [[MyWayOrTheHighway iron-fisted leadership style]], finding it quite unbecoming of a heroic rebellion and thinking that it falls more in line with the strict, authoritarian, and hierarchical First Order. He then compares Holdo to [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing clip after clip of Picard consulting with his crew and seeking their input before making a decision, and even allowing them the space to interject and volunteer their opinions.
to:
** He calls out Holdo's [[MyWayOrTheHighway iron-fisted leadership style]], finding it quite unbecoming of a heroic rebellion which is supposed to represent democratic and egalitarian ideals and thinking that it falls more in line with the strict, authoritarian, and hierarchical First Order. He then compares Holdo Holdo's style of command to that of [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing clip after clip of Picard consulting with his crew and seeking their input before making a decision, and even allowing them the space to interject and volunteer their opinions.
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* The review of ''Film/ThePhantomMenace'' was considered groundbreaking in part because of the use of the Plinkett character to provide actual film school-level analysis in an understandable and digestible way. Nowhere is this more evident than in his comparison of the opening scenes of ''The Phantom Menace'' and ''Film/ANewHope'' -- the former is chock full of exposition and boring dialogue, whereas the latter has no dialogue at all and manages to tell the viewer everything they need to know. Plinkett notes just how brilliant the latter scene is for accomplishing that and is angry that ''The Phantom Menace'' didn't even come close to living up to that example.[[note]]Even Plinkett's contention that George Lucas probably didn't get the scene's brilliance and fought against it being in the movie goes to the point of how ''The Phantom Menace'' doesn't measure up. The film history nerds will point out that Plinkett was wrong; Lucas ''did'' know exactly how important that scene was and agonized over getting the special effects right. But this further goes to the brilliance of combining a silly character like Plinkett with the film school analysis; Plinkett the character just cannot fathom that the same director who gave us the shot in ''A New Hope'' would forget everything he knew for ''The Phantom Menace''.[[/note]]
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** Mean as it is to say, Plinkett supplies convincing evidence that the prequels -- and particularly ''Revenge of the Sith'' -- were shot in such a way that George Lucas could direct the film [[LazyBum without getting up from his chair]]. He notes the nearly identical blocking of the dialogue scenes -- ShotReverseShot, with characters sitting down or walking a short distance -- and contrasts it with the much more varied and adventurous CGI shots. He has clips of Lucas describing his two-camera setup. And he singles out the scene where Anakin tells Mace Windu that he thinks Palpatine is the Sith lord they've been looking for all along; Windu reacts with urgency and rushes for two steps before slowing down, suggesting that if the actors were to run any further Lucas would have to get up from his chair so that the camera could follow them. It perfectly fits Plinkett's mantra of "you didn't notice it, but your brain did".
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* The ''Film/AttackOfTheClones'' review provides an excellent deconstruction of Anakin and Padmé's "[[StrangledByTheRedString romance]]," and it gives really accurate dating advice.
* The clip at the end of the ''Film/RevengeOfTheSith'' review that juxtaposes Luke's decision to trust in his own abilities and the Force rather than fancy targeting computers in ''Film/ANewHope'' with Creator/GeorgeLucas's increased reliance on CGI and technical wizardry while filming the prequels. The entire comparison is incredibly clever and the editing brilliant. The whole moment manages to be, frankly, emotionally affecting.
* A brief moment in the ''Revenge of the Sith'' review:
-->'''Plinkett''': I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's [[TrueArtIsAngsty dark]]," no.
* His comparing ''Film/CitizenKane'' to ''Revenge of the Sith'' and making it work, using their similar plots to point out WHY Citizen Kane is a well loved film (because it uses clever acting, scripting and angles to convey its plot) and why Sith is so bad (because it uses stale shots and wooden dialogue that says the plot instead of allowing it to happen naturally).[[note]]Plinkett admitted that an actual comparison wasn't fair, because they had different goals, but he did point out the similarities in the plot not only between the two films, but the creators (Creator/OrsonWelles, Creator/GeorgeLucas) themselves, too.[[/note]]
* When ''Film/TheForceAwakens'' review finally dropped, he spent the first half of the running time taking the entertainment industry to task on a few things:
** First, he took Lucas to task for his passive-aggressive comments since selling the franchise to Disney.
** Then he takes to task writers of internet click-bait articles that still defend the ''Star Wars'' prequels and try to find narrative themes that aren't there (though he is complimentary to one that talks about circular story-telling, he just thinks Lucas isn't a good enough writer to have thought that far ahead and brushes off most of the observations as coincidence).
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since they all seem to be telling the same stories about doomsday weapons and villains seeking revenge.
** When he finally talks about ''Film/TheForceAwakens'' itself, Plinkett actually isn't too harsh at first -- he does point out some very mild continuity or logic errors, but purposefully exaggerates to show how silly that line of critique is. What he does take umbrage with is tons of missed story opportunities (like actually seeing Kylo Ren turn evil and the rise of the First Order) in favor of just retelling ''Film/ANewHope'' again but with a new cast.
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He went on to wonder why the white girl wasn't having a romantic arc with the black co-star.
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Creator/PaulFeig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.
** One of Plinkett's main complaints is that the [[FillingtheSilence SilenceFilling]] brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
* The clip at the end of the ''Film/RevengeOfTheSith'' review that juxtaposes Luke's decision to trust in his own abilities and the Force rather than fancy targeting computers in ''Film/ANewHope'' with Creator/GeorgeLucas's increased reliance on CGI and technical wizardry while filming the prequels. The entire comparison is incredibly clever and the editing brilliant. The whole moment manages to be, frankly, emotionally affecting.
* A brief moment in the ''Revenge of the Sith'' review:
-->'''Plinkett''': I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's [[TrueArtIsAngsty dark]]," no.
* His comparing ''Film/CitizenKane'' to ''Revenge of the Sith'' and making it work, using their similar plots to point out WHY Citizen Kane is a well loved film (because it uses clever acting, scripting and angles to convey its plot) and why Sith is so bad (because it uses stale shots and wooden dialogue that says the plot instead of allowing it to happen naturally).[[note]]Plinkett admitted that an actual comparison wasn't fair, because they had different goals, but he did point out the similarities in the plot not only between the two films, but the creators (Creator/OrsonWelles, Creator/GeorgeLucas) themselves, too.[[/note]]
* When ''Film/TheForceAwakens'' review finally dropped, he spent the first half of the running time taking the entertainment industry to task on a few things:
** First, he took Lucas to task for his passive-aggressive comments since selling the franchise to Disney.
** Then he takes to task writers of internet click-bait articles that still defend the ''Star Wars'' prequels and try to find narrative themes that aren't there (though he is complimentary to one that talks about circular story-telling, he just thinks Lucas isn't a good enough writer to have thought that far ahead and brushes off most of the observations as coincidence).
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since they all seem to be telling the same stories about doomsday weapons and villains seeking revenge.
** When he finally talks about ''Film/TheForceAwakens'' itself, Plinkett actually isn't too harsh at first -- he does point out some very mild continuity or logic errors, but purposefully exaggerates to show how silly that line of critique is. What he does take umbrage with is tons of missed story opportunities (like actually seeing Kylo Ren turn evil and the rise of the First Order) in favor of just retelling ''Film/ANewHope'' again but with a new cast.
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He went on to wonder why the white girl wasn't having a romantic arc with the black co-star.
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Creator/PaulFeig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.
** One of Plinkett's main complaints is that the [[FillingtheSilence SilenceFilling]] brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
to:
* The ''Film/AttackOfTheClones'' review provides an excellent deconstruction of Anakin and Padmé's "[[StrangledByTheRedString romance]]," and it romance]]". It even gives really useful and accurate dating advice.
* Theclip at the end of the ''Film/RevengeOfTheSith'' review that juxtaposes Luke's decision to trust in his own abilities and the Force rather than fancy targeting computers in ''Film/ANewHope'' with Creator/GeorgeLucas's increased reliance on CGI and technical wizardry while filming the prequels. The entire comparison is incredibly clever and the editing brilliant. The whole moment manages to be, frankly, emotionally affecting.
* A brief moment in the ''Revenge of the Sith''review:
-->'''Plinkett''': ** Plinkett takes only a scant few seconds to dismiss the idea that TrueArtIsAngsty:
--->'''Plinkett:''' I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's[[TrueArtIsAngsty dark]]," no.
* His comparing ''Film/CitizenKane''dark" -- no. ''(moves on to ''Revenge of something else)''
** Plinkett compares theSith'' and making film to, of all things, ''Film/CitizenKane''. He admits straight up it's not a fair comparison. And yet it work, using their ''works''. The two films have remarkably similar plots to point out WHY Citizen Kane is a well loved film (because it uses plots, and were both made by stubborn directors with an AuteurLicense who eventually became "[[ReclusiveArtist weird recluse(s)]]". But their executions were totally different; Plinkett contrasts ''Kane''[='=]s clever acting, scripting scripting, and angles to convey its plot) and why Sith is so bad (because it uses camerawork with ''Sith''[='=]s lazy blocking, stale shots shots, and wooden dialogue that says dialogue. Creator/OrsonWelles manipulated his cinematography to allow the plot instead of allowing it story to happen naturally).[[note]]Plinkett admitted that an actual comparison wasn't fair, because they naturally, which made it one of the best films of all time; Lucas simply had different goals, but he did point out the similarities in the his characters narrate his plot not and expected the film to follow.
** The ending is a clever, brilliantly edited, and frankly emotional juxtaposition -- the final trench run from ''Film/ANewHope'' interspersed with behind-the-scenes footage of Creator/GeorgeLucas making the prequels. It shows Luke Skywalker, the character Lucas created once upon a time, shutting off his targeting computer and trusting the Force and his own abilities, onlybetween the two films, but the creators (Creator/OrsonWelles, Creator/GeorgeLucas) themselves, too.[[/note]]
to show Lucas fall back on CGI and technical wizardry rather than write a story.
*When ''Film/TheForceAwakens'' The review finally dropped, he spent of ''Film/TheForceAwakens'':
** Plinkett spends the first half of therunning time review taking the entertainment industry to task on a few things:
** First, he took Lucas to taskfor his passive-aggressive comments since the film's existence. He blames Creator/{{Disney}} for seeking out a CashCowFranchise. He blames Creator/GeorgeLucas for knowing ''exactly'' who he was selling to but not caring because he got paid a shitload of money. He rails against Hollywood's obsession with {{merchandis|eDriven}}ing. He decries the prevalence of the SoftReboot as a cheap way to repeat the success of an existing franchise to Disney.
** Then he takes to task writers of internetwithout pissing off the fanboys by deleting existing continuity. He even goes after Internet writers, calling them out on writing click-bait articles that still defend praising the ''Star Wars'' prequels and try to find narrative themes that aren't there (though he is complimentary to one that talks about circular story-telling, he just thinks making Lucas isn't out to be some sort of misunderstood genius[[note]]Even one writer who describes "circular storytelling", a style Plinkett kind of doesn't hate, gets shot down for saying Lucas actually ''did'' it with the prequels -- all the "evidence" of it in the films is shoehorning or coincidence, as Plinkett doesn't believe that Lucas is a good enough writer to have thought that far ahead and brushes off most of the observations as coincidence).
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since theyahead[[/note]]. It's only after all seem to be telling the same stories about doomsday weapons and villains seeking revenge.
** When he finally talks about ''Film/TheForceAwakens'' itself,this when Plinkett gets around to actually isn't too harsh at first reviewing the film itself.
** Plinkett starts off his review proper by making fun of ''other critics'' --he does the kind who would just point out some very mild how unrealistic it is or attack the smallest of continuity or logic errors, but purposefully exaggerates to show how silly errors. He decries that line of critique is. What he does take umbrage with as silly and notes that the film is tons of missed story opportunities (like actually seeing Kylo Ren turn evil and the rise of the First Order) in favor of just retelling ''Film/ANewHope'' again but with a new cast.
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He wentwell made on to wonder why the white girl wasn't having a romantic arc with the black co-star.
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Creator/PaulFeig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.technical level.
**One Plinkett details his ''real'' problem with the film: missed opportunity. Disney was so scared of Plinkett's main complaints is taking chances with the film that they completely rehashed ''Film/ANewHope'', just with different characters (whom we have less of an opportunity to get to know). Plinkett argues that this prevented Disney from showing plotlines that could have been interesting, like Kylo Ren's FaceHeelTurn and the [[FillingtheSilence SilenceFilling]] brought on by rise of the First Order. He even comes up with a hypothetical storyline around that that's genuinely sad and compelling, including a tragic final encounter between Han and Luke and the Senate being the ones to build a superweapon (with Leia's unease about the whole thing being a more nuanced incorporation of contemporary social issues than the prequels ever did).
** He wonders why the film has so little romance. The original trilogy oozed sexuality, and even the prequel trilogy had it (for [[RelationshipWritingFumble all its faults]]) -- but nothing in this film. He calls it a sign of creative sterility, in thead-libbing doesn't let sense that Disney was so afraid of getting the wrong reaction from its audience that it wouldn't allow any of the horror sink in, and protagonists to fall in love with each other.
** He also chides the filmmakers for their obsession with diversity -- not for diversity in itself, which Plinkett acknowledges is a good thing, but for howeven just a few moments they went about doing it. He notes that the film's target audience consists largely of quiet would have made little kids who won't care about diversity (or rather, they'll like seeing people who look like them on screen, but aren't going to give the filmmakers kudos for making it happen). He also noted that the film creepier. didn't seem as diverse as it ''could'' have been, as if the filmmakers were scared of going too far with it; their female protagonist is still a posh white British-accented woman, and in keeping with his observation about sexuality, the likely main pairings would either be an interracial couple or an interracial ''gay'' couple.
* In the ''Film/{{Avatar}}'' review, Plinkett takes Creator/JamesCameron out to the woodshed over his alarmingly straight use of BeautyEqualsGoodness. He derides Cameron's simple-mindedness, and to make his point, he shows a clip from ''Film/TheGarbagePailKidsMovie'', considered one of the worst movies of all time, to show that even the makers of ''that'' film had a better sense of reality than Cameron.
* His ''Film/Ghostbusters2016'' review:
** Most of the criticism of the film disparaged the cast, suggesting they were chosen solely to achieve a GenderFlip and otherwise weren't talented enough to carry the film. Plinkett thinks otherwise; he believes the cast ''did'' have genuine comic talent and had shown it in other projects, and nothing they did could have salvaged the film. He instead directs the bulk of his criticism toward director Creator/PaulFeig and Creator/SonyPictures.
** He shows his attunement to the film's ProductPlacement. He highlights how audacious it was in this particular film, with its plugs even in the background of the climactic final battle. He goes into how many ads accompanied the DVD release. He even notes one scene where there ''isn't'' product placement where you'd expect it as a glaring example ''of'' product placement -- the characters are all eating Papa John's pizza, but they're drinking soda from generic cups, because Sony Pictures has a deal with Coca-Cola, but Papa John's only serves Pepsi products, and that creates a conflict of corporate interests.
--->'''Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He complains about the widespread FillingTheSilence and how it prevents the film from ever letting anything breathe, whether it's humor or horror. To illustratethis, he recuts his point, Plinkett displays a scene of the Ghostbusters walking down a creepy tunnel, using tunnel and constantly spouting dialogue, then shows his own recut of the exact same scene with no dialogue, only ambient music -- and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already you can see how it's ''much'' scarier and more atmospheric atmospheric.[[note]]There's even a brief shot of Holtzmann pushing a cart down the tunnel with a little grin and a maniacal look in her eyes, which contrasts well with the other characters' trepidation and tells you more about her than most of her dialogue ever could -- except you wouldn't have noticed it with the other characters talking.[[/note]] And then he ''further'' illustrates this point with an "unrelated" scene from the original ''Film/{{Ghostbusters|1984}}'' that does exactly what Plinkett suggests -- no dialogue, just setting and ambient music.
** He does something pretty ballsy, especially on theactual filmmakers went with. Internet: assigning a big share of the blame on Creator/BillMurray. His argument is that Murray is a major reason why the film exists, as his resistance and indecision prevented a third ''Ghostbusters'' film from being made while Creator/HaroldRamis was still alive, meaning that this reboot had to be done instead.
* The
* A brief moment in the ''Revenge of the Sith''
--->'''Plinkett:''' I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's
* His comparing ''Film/CitizenKane''
** Plinkett compares the
** The ending is a clever, brilliantly edited, and frankly emotional juxtaposition -- the final trench run from ''Film/ANewHope'' interspersed with behind-the-scenes footage of Creator/GeorgeLucas making the prequels. It shows Luke Skywalker, the character Lucas created once upon a time, shutting off his targeting computer and trusting the Force and his own abilities, only
*
** Plinkett spends the first half of the
** First, he took Lucas to task
** Then he takes to task writers of internet
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since they
** When he finally talks about ''Film/TheForceAwakens'' itself,
** Plinkett starts off his review proper by making fun of ''other critics'' --
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He went
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Creator/PaulFeig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.
**
** He wonders why the film has so little romance. The original trilogy oozed sexuality, and even the prequel trilogy had it (for [[RelationshipWritingFumble all its faults]]) -- but nothing in this film. He calls it a sign of creative sterility, in the
** He also chides the filmmakers for their obsession with diversity -- not for diversity in itself, which Plinkett acknowledges is a good thing, but for how
* In the ''Film/{{Avatar}}'' review, Plinkett takes Creator/JamesCameron out to the woodshed over his alarmingly straight use of BeautyEqualsGoodness. He derides Cameron's simple-mindedness, and to make his point, he shows a clip from ''Film/TheGarbagePailKidsMovie'', considered one of the worst movies of all time, to show that even the makers of ''that'' film had a better sense of reality than Cameron.
* His ''Film/Ghostbusters2016'' review:
** Most of the criticism of the film disparaged the cast, suggesting they were chosen solely to achieve a GenderFlip and otherwise weren't talented enough to carry the film. Plinkett thinks otherwise; he believes the cast ''did'' have genuine comic talent and had shown it in other projects, and nothing they did could have salvaged the film. He instead directs the bulk of his criticism toward director Creator/PaulFeig and Creator/SonyPictures.
** He shows his attunement to the film's ProductPlacement. He highlights how audacious it was in this particular film, with its plugs even in the background of the climactic final battle. He goes into how many ads accompanied the DVD release. He even notes one scene where there ''isn't'' product placement where you'd expect it as a glaring example ''of'' product placement -- the characters are all eating Papa John's pizza, but they're drinking soda from generic cups, because Sony Pictures has a deal with Coca-Cola, but Papa John's only serves Pepsi products, and that creates a conflict of corporate interests.
--->'''Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He complains about the widespread FillingTheSilence and how it prevents the film from ever letting anything breathe, whether it's humor or horror. To illustrate
** He does something pretty ballsy, especially on the
Changed line(s) 20,21 (click to see context) from:
** Plinkett brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
** He then unfavorably compares Holdo's [[MyWayOrTheHighway iron-fisted leadership style]] to that of [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing how Picard would ask for opinions and advice from his senior officers and consider them before making a decision, intercut with Holdo demanding they just do what she says, pointing out that it is rather strange that the Resistance, who are supposed to be the good guys and ostensibly more egalitarian that the First Order, operates its chain of command in such a strict and authoritarian way.
** He then unfavorably compares Holdo's [[MyWayOrTheHighway iron-fisted leadership style]] to that of [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing how Picard would ask for opinions and advice from his senior officers and consider them before making a decision, intercut with Holdo demanding they just do what she says, pointing out that it is rather strange that the Resistance, who are supposed to be the good guys and ostensibly more egalitarian that the First Order, operates its chain of command in such a strict and authoritarian way.
to:
** Plinkett brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it ''Film/NationalLampoonsVacation''. And it's a brilliant comparison -- he reveals that ''The Last Jedi'' is structured less like a ''Star Wars'' film and more like a comedy of errors film than errors, in which the characters only get into a Star Wars film.
sticky situation because of a string of stupid decisions they made earlier.
** Hethen unfavorably compares calls out Holdo's [[MyWayOrTheHighway iron-fisted leadership style]] to style]], finding it quite unbecoming of a heroic rebellion and thinking that of it falls more in line with the strict, authoritarian, and hierarchical First Order. He then compares Holdo to [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing how clip after clip of Picard would ask for opinions consulting with his crew and advice from his senior officers and consider them seeking their input before making a decision, intercut with Holdo demanding they just do what she says, pointing out that it is rather strange that and even allowing them the Resistance, who are supposed space to be the good guys interject and ostensibly more egalitarian that the First Order, operates its chain of command in such a strict and authoritarian way.volunteer their opinions.
** He
Changed line(s) 23,26 (click to see context) from:
** Plinkett comes up with several different plot ideas for a more episodic, character-driven version of the show, and aside from a few jokes he throws in there, many of these plot ideas sound like something the old ''Franchise/StarTrek'' would have done. These ideas are accompanied by lovely storyboards provided by the comic book artist Freddie Williams II, a sometimes-guest on ''WebVideo/BestOfTheWorst''. That Freddie put in so much work for what is essentially a joke is commendable.
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier ''Star Trek'' series that was handled much better.
** Like the unflattering assessment of Bill Murray's approach to the ''Ghostbusters'' brand, it's takes some honesty to opine that ''Picard'' appears to be something of a vanity project for Creator/PatrickStewart, and to criticise the amount of influence such a beloved actor has over the production and creative decisions by fawning co-stars and producers.
--->'''Plinkett''': If they (actors) have the clout they'll make a show about how they're a tortured Space Jesus who is selfless and worshipped for saving the galaxy.
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier ''Star Trek'' series that was handled much better.
** Like the unflattering assessment of Bill Murray's approach to the ''Ghostbusters'' brand, it's takes some honesty to opine that ''Picard'' appears to be something of a vanity project for Creator/PatrickStewart, and to criticise the amount of influence such a beloved actor has over the production and creative decisions by fawning co-stars and producers.
--->'''Plinkett''': If they (actors) have the clout they'll make a show about how they're a tortured Space Jesus who is selfless and worshipped for saving the galaxy.
to:
** Plinkett comes up with several different plot ideas for a more episodic, character-driven version of the show, and aside from a few show. Occasional jokes he throws in there, aside, many of these plot ideas them sound like something the old ''Franchise/StarTrek'' would have done. These ideas are They're all accompanied by lovely storyboards provided by the comic book artist Freddie Williams II, a sometimes-guest on ''WebVideo/BestOfTheWorst''. That ''WebVideo/BestOfTheWorst'' -- one must commend how much work Freddie put in so much work for into what is essentially a joke joke.
** Much like he did with ''Film/RevengeOfTheSith'', Plinkett decries the notion that the series iscommendable.better just because it's DarkerAndEdgier. He points out that it's even worse with ''Star Trek'' because it was historically such an optimistic series, and while making it darker and edgier might make it more ''realistic'', it also clashes tonally. He points out the myriad plot holes, uncharismatic characters, and moments of unnecessary cruelty, and how they blunt the effectiveness of the show's ''intended'' acts of optimism. And he notes that there ''does'' exist a darker and edgier ''Star Trek'' in the form of ''Series/DeepSpaceNine'', which was handled much better.
** Much like he did with Bill Murray's approach to ''Ghostbusters'', Plinkett shows a lot of chutzpah and lays a lot of blame on Creator/PatrickStewart. He opines that ''Picard'' appears to be Stewart's VanityProject and criticises the level of influence the producers and other actors gave Stewart, likening them to fanboys awestruck at Stewart's presence.
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier ''Star Trek'' series that was handled much better.
** Like the unflattering assessment of Bill Murray's approach to the ''Ghostbusters'' brand, it's takes some honesty to opine that ''Picard'' appears to be something of a vanity project for Creator/PatrickStewart, and to criticise the amount of influence such a beloved actor has over the production and creative decisions by fawning co-stars and producers.
--->'''Plinkett''': If they (actors) [actors] have the clout clout, they'll make a show about how they're a tortured Space Jesus who is selfless and worshipped for saving the galaxy.
** Much like he did with ''Film/RevengeOfTheSith'', Plinkett decries the notion that the series is
** Much like he did with Bill Murray's approach to ''Ghostbusters'', Plinkett shows a lot of chutzpah and lays a lot of blame on Creator/PatrickStewart. He opines that ''Picard'' appears to be Stewart's VanityProject and criticises the level of influence the producers and other actors gave Stewart, likening them to fanboys awestruck at Stewart's presence.
** Like the unflattering assessment of Bill Murray's approach to the ''Ghostbusters'' brand, it's takes some honesty to opine that ''Picard'' appears to be something of a vanity project for Creator/PatrickStewart, and to criticise the amount of influence such a beloved actor has over the production and creative decisions by fawning co-stars and producers.
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** Like the unflattering assessment of Bill Murray's approach to the ''Ghostbusters'' brand, it's takes some honesty to opine that ''Picard'' appears to be something of a vanity project for Creator/PatrickStewart, and to criticise the amount of influence such a beloved actor has over the production and creative decisions by fawning co-stars and producers.
--->'''Plinkett''': If they (actors) have the clout they'll make a show about how they're a tortured Space Jesus who is selfless and worshipped for saving the galaxy.
--->'''Plinkett''': If they (actors) have the clout they'll make a show about how they're a tortured Space Jesus who is selfless and worshipped for saving the galaxy.
Is there an issue? Send a MessageReason:
None
Changed line(s) 24 (click to see context) from:
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier Star Trek series that was handled much better.
to:
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier Star Trek ''Star Trek'' series that was handled much better.
Is there an issue? Send a MessageReason:
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Changed line(s) 3 (click to see context) from:
* A brief moment in the ''Revenge Of The Sith'' review:
to:
* A brief moment in the ''Revenge Of The of the Sith'' review:
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Changed line(s) 18 (click to see context) from:
** One of Plinkett's main complaints is that the SilenceFilling brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
to:
** One of Plinkett's main complaints is that the SilenceFilling [[FillingtheSilence SilenceFilling]] brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
* From the''Film/TheLastJedi'' review:
to:
* From the''Film/TheLastJedi'' the ''Film/TheLastJedi'' review:
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Changed line(s) 14 (click to see context) from:
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Paul Feig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
to:
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Paul Feig Creator/PaulFeig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
** One of Plinkett's main complaints is that the LullDestruction brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
to:
** One of Plinkett's main complaints is that the LullDestruction SilenceFilling brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
* In his ''Film/TheLastJedi'' review he brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
to:
* In his ''Film/TheLastJedi'' review he From the''Film/TheLastJedi'' review:
** Plinkett brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
** Plinkett brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** Similar to how Plinkett once debunked the notion of ''Film/RevengeOfTheSith'' being a good movie just because it's DarkerAndEdgier, so too does Plinkett take the writers of this series out to task for making something that doesn't fit with the rest of the franchise tonally. He points out the myriad amount of plot holes, uncharismatic characters, and unnecessarily cruel moments, and how these elements prevent the seasons' intended themes and heartwarming moments from being effective because the damage is already done. On top of all that, ''Series/DeepSpaceNine'' was already a DarkerAndEdgier Star Trek series that was handled much better.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* From the ''Series/StarTrekPicard'' review:
** Plinkett comes up with several different plot ideas for a more episodic, character-driven version of the show, and aside from a few jokes he throws in there, many of these plot ideas sound like something the old ''Franchise/StarTrek'' would have done. These ideas are accompanied by lovely storyboards provided by the comic book artist Freddie Williams II, a sometimes-guest on ''WebVideo/BestOfTheWorst''. That Freddie put in so much work for what is essentially a joke is commendable.
** Plinkett comes up with several different plot ideas for a more episodic, character-driven version of the show, and aside from a few jokes he throws in there, many of these plot ideas sound like something the old ''Franchise/StarTrek'' would have done. These ideas are accompanied by lovely storyboards provided by the comic book artist Freddie Williams II, a sometimes-guest on ''WebVideo/BestOfTheWorst''. That Freddie put in so much work for what is essentially a joke is commendable.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The ''Film/AttackOfTheClones'' review provides an excellent deconstruction of Anakin and Padmé's "[[StrangledByTheRedString romance]]," and it gives really accurate dating advice.
* The clip at the end of the ''Film/RevengeOfTheSith'' review that juxtaposes Luke's decision to trust in his own abilities and the Force rather than fancy targeting computers in ''Film/ANewHope'' with Creator/GeorgeLucas's increased reliance on CGI and technical wizardry while filming the prequels. The entire comparison is incredibly clever and the editing brilliant. The whole moment manages to be, frankly, emotionally affecting.
* A brief moment in the ''Revenge Of The Sith'' review:
-->'''Plinkett''': I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's [[TrueArtIsAngsty dark]]," no.
* His comparing ''Film/CitizenKane'' to ''Revenge of the Sith'' and making it work, using their similar plots to point out WHY Citizen Kane is a well loved film (because it uses clever acting, scripting and angles to convey its plot) and why Sith is so bad (because it uses stale shots and wooden dialogue that says the plot instead of allowing it to happen naturally).[[note]]Plinkett admitted that an actual comparison wasn't fair, because they had different goals, but he did point out the similarities in the plot not only between the two films, but the creators (Creator/OrsonWelles, Creator/GeorgeLucas) themselves, too.[[/note]]
* When ''Film/TheForceAwakens'' review finally dropped, he spent the first half of the running time taking the entertainment industry to task on a few things:
** First, he took Lucas to task for his passive-aggressive comments since selling the franchise to Disney.
** Then he takes to task writers of internet click-bait articles that still defend the ''Star Wars'' prequels and try to find narrative themes that aren't there (though he is complimentary to one that talks about circular story-telling, he just thinks Lucas isn't a good enough writer to have thought that far ahead and brushes off most of the observations as coincidence).
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since they all seem to be telling the same stories about doomsday weapons and villains seeking revenge.
** When he finally talks about ''Film/TheForceAwakens'' itself, Plinkett actually isn't too harsh at first -- he does point out some very mild continuity or logic errors, but purposefully exaggerates to show how silly that line of critique is. What he does take umbrage with is tons of missed story opportunities (like actually seeing Kylo Ren turn evil and the rise of the First Order) in favor of just retelling ''Film/ANewHope'' again but with a new cast.
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He went on to wonder why the white girl wasn't having a romantic arc with the black co-star.
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Paul Feig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.
** One of Plinkett's main complaints is that the LullDestruction brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
* In his ''Film/TheLastJedi'' review he brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
** He then unfavorably compares Holdo's [[MyWayOrTheHighway iron-fisted leadership style]] to that of [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing how Picard would ask for opinions and advice from his senior officers and consider them before making a decision, intercut with Holdo demanding they just do what she says, pointing out that it is rather strange that the Resistance, who are supposed to be the good guys and ostensibly more egalitarian that the First Order, operates its chain of command in such a strict and authoritarian way.
----
* The clip at the end of the ''Film/RevengeOfTheSith'' review that juxtaposes Luke's decision to trust in his own abilities and the Force rather than fancy targeting computers in ''Film/ANewHope'' with Creator/GeorgeLucas's increased reliance on CGI and technical wizardry while filming the prequels. The entire comparison is incredibly clever and the editing brilliant. The whole moment manages to be, frankly, emotionally affecting.
* A brief moment in the ''Revenge Of The Sith'' review:
-->'''Plinkett''': I want to debunk a few myths about why [this film] is good, okay? Number one, "because it's [[TrueArtIsAngsty dark]]," no.
* His comparing ''Film/CitizenKane'' to ''Revenge of the Sith'' and making it work, using their similar plots to point out WHY Citizen Kane is a well loved film (because it uses clever acting, scripting and angles to convey its plot) and why Sith is so bad (because it uses stale shots and wooden dialogue that says the plot instead of allowing it to happen naturally).[[note]]Plinkett admitted that an actual comparison wasn't fair, because they had different goals, but he did point out the similarities in the plot not only between the two films, but the creators (Creator/OrsonWelles, Creator/GeorgeLucas) themselves, too.[[/note]]
* When ''Film/TheForceAwakens'' review finally dropped, he spent the first half of the running time taking the entertainment industry to task on a few things:
** First, he took Lucas to task for his passive-aggressive comments since selling the franchise to Disney.
** Then he takes to task writers of internet click-bait articles that still defend the ''Star Wars'' prequels and try to find narrative themes that aren't there (though he is complimentary to one that talks about circular story-telling, he just thinks Lucas isn't a good enough writer to have thought that far ahead and brushes off most of the observations as coincidence).
** THEN he takes Hollywood to task for their tendencies towards franchises, remakes, reboots, sequels, and merchandising; especially since they all seem to be telling the same stories about doomsday weapons and villains seeking revenge.
** When he finally talks about ''Film/TheForceAwakens'' itself, Plinkett actually isn't too harsh at first -- he does point out some very mild continuity or logic errors, but purposefully exaggerates to show how silly that line of critique is. What he does take umbrage with is tons of missed story opportunities (like actually seeing Kylo Ren turn evil and the rise of the First Order) in favor of just retelling ''Film/ANewHope'' again but with a new cast.
*** On the subject of plot opportunities, Plinkett's hypothetical storyline is genuinely sad and compelling, both involving the characters' relationships (Luke and Han having a tragic final encounter) and incorporating contemporary social issues in a nuanced way the prequels didn't (the Senate being the ones to build a superweapon, with Leia expressing doubt over their encroaching power).
*** And while he admits it's great that ''Film/TheForceAwakens'' is purposefully trying to be more diverse, he chides the filmmakers for making such a big thing about it because kids most likely aren't going to care, and it's all kind of pointless since the lead (Rey) is still a posh white woman. In addition, he noted the lack of any romance, let alone sexuality, which the original trilogy oozed. He went on to wonder why the white girl wasn't having a romantic arc with the black co-star.
* In The ''{{Film/Avatar}}'' review when Plinkett takes Creator/JamesCameron out to the woodshed over his use of BeautyEqualsGoodness. He derides how simple-minded and insulting Cameron is being, and then shows a clip from ''Film/TheGarbagePailKidsMovie'' (considered one of the worst movies of all time) to show that the creators had a better sense of reality than James Cameron did.
* In his ''Film/Ghostbusters2016'' review, he doesn't disparage the cast like so many online. He's actually complimentary towards the female cast, saying they're all great comedians and have been funny in plenty of other projects. He saves the worst criticism for those who really deserve it; Paul Feig for his awkward direction, and Creator/SonyPictures for their terrible management and egregious amount of ProductPlacement (particularly during the film's climactic battle in Times Square).
** On that subject, he astutely points out that the characters are chowing down on Papa John's pizza (logos toward the camera, of course), but are drinking soda from generic cups, despite Sony's ties with Coca-Cola. Why? Because Papa John's has a distribution deal with ''Pepsi'', so using either brand would create a conflict of corporate interests:
--->'''Mr. Plinkett:''' [[SarcasmMode Aren't movies magical, kids?]]
** He also does something pretty ballsy on the internet: calling out Creator/BillMurray for letting this happen in the first place, because [[WhatCouldHaveBeen he wouldn't agree to do a third ''Ghostbusters'' film]] while Creator/HaroldRamis was still alive.
** One of Plinkett's main complaints is that the LullDestruction brought on by all the ad-libbing doesn't let any of the horror sink in, and how even just a few moments of quiet would have made the film creepier. To illustrate this, he recuts a scene of the Ghostbusters walking down a creepy tunnel, using only ambient music and a few well-chosen sound effects and not a single line of dialogue until the very end. It's only a few seconds, but already it's more atmospheric than what the actual filmmakers went with.
* In his ''Film/TheLastJedi'' review he brilliantly compares the film to ''Film/NationalLampoonsVacation'' to show how it is structured more like a comedy of errors film than a Star Wars film.
** He then unfavorably compares Holdo's [[MyWayOrTheHighway iron-fisted leadership style]] to that of [[Series/StarTrekTheNextGeneration Captain Jean-Luc Picard]], showing how Picard would ask for opinions and advice from his senior officers and consider them before making a decision, intercut with Holdo demanding they just do what she says, pointing out that it is rather strange that the Resistance, who are supposed to be the good guys and ostensibly more egalitarian that the First Order, operates its chain of command in such a strict and authoritarian way.
----
