While pro-life themed Juno soared past the $100 million earnings mark this weekend, the critically acclaimed anti-life film 4 Months, 3 Weeks and 2 Days opened in just 2 theatres nationwide.
And while the The Academy of Motion Picture Arts and Sciences nominated Juno for Best Picture, it snubbed Sure Thing 4 Months (see below) for Best Foreign Film.
More evidence Hollywood has begun to bank on life? I think so.
You can’t tell by the trailer what 4 Months is about, unless you have abortion on the brain, as I do. Wonder why they hid the sole topic of the movie, a mother’s length of gestation before aborting:



MSM critics everywhere have been trying to pump life into 4 Months for several months. A New York Times critic named it the #1 movie of 2007. This week’s People magazine gave 4 Months 4 stars and stamped it as its “Critic’s Choice”.
Awards for 4 Months are impressive: Cannes Film Festival Golden Palm, Golden Globe Awards 2007 Best Foreign Language Film, European Film Awards Best European Film, Hollywood Film Festival’s Best Film, San Sebastian International Film Festival Film of the Year, Stockholm Film Festival Best Film, National Board of Review Top Five Foreign Films, Los Angeles Film Critics Association Best Foreign Film, Sight & Sound Films of 2007 Best Film, Chicago Film Critics Association Best Foreign Language Film, Toronto Film Critics Association Best Foreign Language Film, National Society of Film Critics Best Foreign Language Film, Australian Film Critics Association 2007 Best Overseas Film, yadda yadda yadda.
4%20months.jpgAnd yet the Academy snubbed it.
MSM critics are hot. Rolling Stone’s Peter Travers said the snub was “one of the stupidest things that I’ve ever seen happen.”
And Kenneth Turan of the LA Times, showing the height of snob snubbery himself, wrote, “if the foreign-language Oscar is going to be saved from becoming a laughing-stock, measures need to be taken to ensure that its choices are at least within hailing distance of what the rest of the informed film world thinks.”
That’s the problem. The “informed film world” has lost touch with what is a good movie, preferring the cinematic equivalent of crucifixes in urine, to true art.