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Transformers holds the distinction of being the first movie this year I'm actually ashamed of. In it, I recognize every failing of we the people, paraded before us as though they were virtues.

It's too easy to say that Transformers is the worst film of the year, because it is more dangerous than bad. The world is full of bad movies, after all, to the brim. ... But the lasting legacy of this film will be that it redefined the uselessness of the MPAA ratings system; begged the question of how much hatefulness is permissible in our popular entertainment before someone says something; and caused too few people to scratch their heads in helpless dismay before this wholesale disrespecting of an entire country and its people.

With a massive hand from the film’s director, David Fincher, Aaron Sorkin (“Sports Night,” “The West Wing”) helped steer an intelligent, beautiful, and compelling film through to completion. You will see this movie, and you should. As a film, visually and rhythmically, and as a story, dramatically, the work earns its place in the history of the field.

But as a story about Facebook, it is deeply, deeply flawed. Indeed, Sorkin simply hasn’t a clue to the real secret sauce in the story he is trying to tell. And the ramifications of this misunderstanding go well beyond the multiplex.

This screenshot from the excellent color theory and exploration site, kuler, shows what happens when you apply Complimentary color theory to flesh tones. 

And this article shows what happens when you apply the same theory to every blockbuster.

On the other hand, Hollywood's madness makes it much easier to calibrate your TV's color bars.