“Exploring the Quiet Controversy: The Unspoken Debate Around ‘Am I Racist?’ Despite Its Box Office Triumph”

As a movie enthusiast, I’ve noticed the unusual lack of commentary surrounding “Am I Racist?”, the latest documentary from Matt Walsh. Despite its surprise box-office success, earning $4.8 million across 1,517 theaters during its opening weekend, notable film critics have largely withheld their reviews. This absence of critique is striking, especially given that it has the highest-grossing documentary launch of the year. What could be causing this, and what implications does it have for film criticism?

To provide background, “Am I Racist?” is produced by The Daily Wire, a conservative media organization, and features Walsh taking on the role of an awkward trainee in Diversity, Equity, and Inclusion (DEI) programs. Imagine a mix of Borat-like satire and candid footage focused on the current DEI culture within workplaces. The film seeks to challenge the effectiveness of DEI initiatives and has sparked intense debate across the political spectrum.

What stands out is the near-complete absence of established critics addressing this film. Renowned publications like The New York Times, Variety, and The Hollywood Reporter have all chosen not to review it, resulting in a sparse Metacritic page and just seven (all favorable) professional reviews on Rotten Tomatoes. In stark contrast, the audience response is overwhelmingly positive, with a 99% fresh rating on Rotten Tomatoes and an “A” CinemaScore. This disconnect raises questions: are critics missing the mark, or choosing to remain silent?

This scenario echoes last year’s “Sound of Freedom,” another politically charged film that received minimal attention from critics until its popularity surged. The approach of sidelining certain films could be a tactic to undermine their credibility, particularly when they’re controversial. Nevertheless, the financial success of “Am I Racist?” indicates that it resonates significantly with viewers, irrespective of critical opinion.

Yet, should not all art, regardless of its political stance, be subject to critique? A film critic’s responsibility is to engage with films, not to propagate or silence them. The silence surrounding “Am I Racist?” ultimately does a disservice to both its fans and those opposed to it. Regardless of viewpoint, it’s evident that Walsh’s documentary has engaged with pressing themes worthy of discussion.

In the wake of this critical boycott, one must contemplate the future of films that challenge dominant narratives. Are we moving towards an era where only politically “safe” films receive reviews? Currently, “Am I Racist?” stands as a significant cultural moment—celebrated by audiences but largely ignored by critics, sparking the need for dialogue. Isn’t that the essence of art?