Chance The Rapper Has Beef With Rotten Tomatoes Over 'The House'

Joining the ranks of Pauline Kael, Roger Ebert, and A.O. Scott today is Chicago-born, internationally-known rap star Chance the Rapper, who's stepped into the field of film criticism (kinda). Lil Chano from 79th took to Twitter this morning to slam Rotten Tomatoes for giving Amy Poehler and Will Ferrell's latest movie—The House—a 17% "rotten" rating after aggregating reviews of the film, which he believes is criminally low and unfair. He first teased the film by describing it as "a movie that I never heard of":

He then does the big reveal.

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For those of you who don't know, The House is a comedy starring Amy Poehler and Will Ferrell in which they play a couple who starts an illegal, underground casino. It only earned $8.7 million in its opening weekend, according to Deadline, and went on to earn a paltry $34 million worldwide on a $40 million production budget, according to Box Office Mojo.

Chance then transitions away from the film critic role and into a PR/manager role, ready to protect the egos and self-esteem of the actors as much as possible.

He also deems film criticism as a dead art.

Perhaps unbeknownst to Chance, he's inserted himself into an already-brewing feud. Hollywood as a collective entity has gone on the offensive against Rotten Tomatoes, according to the New York Times, saying it's the driving force behind failing box office returns. One producer told a Times reporter "that his mission was to destroy the review-aggregation site." According to film executives, the website is responsible for the 15% decline in summer ticket sales. For these execs, the responsibility does not rest with, you know, movies being bad or whatever.

Chance adds some context to his taste in film, asking why Hot Rod only has a 40% (this writer wholeheartedly agrees. Andy Samberg and the Lonely Island are a national treasure) and why Bulworth gets a 75%. Chance describes the latter film as a "shitty racist unfunny fucked up ego trip of a movie."

He ends his rousing display of critical prowess by claiming most of it was not motivated by actual anger.