
The Devil We Know
2018

2009
Director
Chris Atkins
Runtime
103 minutes
Average Rating
No ratings yetSynopsis
Starsuckers is the most controversial documentary of the year, and was released in British cinemas in November 2009 to critical acclaim. It's a darkly humourous and shocking exposé of the celebrity obsessed media, that uncovers the real reasons behind our addiction to fame and blows the lid on the corporations and individuals who profit from it.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film prioritizes a systemic critique of celebrity culture over identity-driven narratives. It lacks specific character arcs or critiques of heteronormativity, maintaining a neutral investigative stance.
Gender Representation
The documentary examines how the celebrity industrial complex commodifies gender. It implicitly critiques the hierarchies and gendered expectations used by corporations to fuel consumer addiction.
Racial & Ethnic Diversity
The narrative likely touches on the racialized nature of celebrity and homogenized beauty standards. However, it does not explicitly highlight non-Anglo-Saxon perspectives.
Religious & Cultural Diversity
The film offers a strong critique of Western consumerist ideals. It frames the pursuit of fame as a predatory, corporate-driven addiction, disrupting traditional celebrations of celebrity culture.
Disability Representation
There is no evidence that neurodivergence or physical disabilities are central to the story. While media addiction is a theme, specific portrayals of disability are absent.
Strengths
Areas for Improvement
AI Analysis
Starsuckers is a darkly humorous exposé that focuses on the mechanics of power and the exploitation inherent in celebrity culture. Its strength lies in its systemic analysis of how corporations manipulate the public's addiction to fame. While the film excels at deconstructing capitalist structures and Western social ideals, it lacks specific, character-driven representation for marginalized identities. The focus remains on institutional critique rather than individual intersectional experiences. Ultimately, the documentary serves as a tool for social interrogation, prioritizing the dismantling of media-driven consumerism over the exploration of specific demographic identities.

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