Taika Waititi Slams Critics as 'Obsolete' Amid Poor Reviews
The director defends his film 'Klara and the Sun' after it earned an estimated $725,000 in its opening weekend, despite a 78% audience score on Rotten Tomatoes

Taika Waititi has defended his film 'Klara and the Sun' against poor reviews and box office numbers, calling critics 'irrelevant' and 'out of touch' in an Instagram post. The film, based on Kazuo Ishiguro's 2021 novel, earned an estimated $725,000 in its opening weekend at the box office.
The film has a 78% audience score on Rotten Tomatoes, compared to a 28% critics score. Waititi highlighted this contrast in his Instagram post, featuring the film's poster and its Rotten Tomatoes audience score. He also stated that he hasn't read a review of anything aimed at him or his peers in almost 15 years, instead choosing to listen to the people.
The film opened in 880 North American theaters and grossed approximately $1.7 million worldwide as of publication. Despite the poor box office numbers, Waititi remains defiant, slamming critics who hated his previous film 'Jojo Rabbit' as 'irrelevant', 'out of touch', and 'obsolete'.
The film stars Jenna Ortega as the titular android, an obsolete companion android who attempts to bond with her new owner, a young girl dealing with an illness. Ortega has also spoken out about her approach to reviews, stating that she doesn't read them because it would send her into a psychosis of some sort.
## Why it matters The debate surrounding 'Klara and the Sun' highlights the ongoing tension between critics and audiences. While critics have panned the film, audiences have responded more positively, with a 78% approval rating on Rotten Tomatoes. This disparity raises questions about the role of critics in shaping public opinion and the impact of their reviews on a film's success.
The film's poor box office performance may also have implications for the future of cinematic releases, particularly for films that receive negative reviews from critics. As the film industry continues to evolve, it will be interesting to see how filmmakers and studios respond to the changing landscape and the role of critics within it.



