Archives for posts with tag: American exceptionalism

Expendables 3

Expendables 3 has hardly begun before the titular crew of mercenaries is massacring prison guards to liberate murderer Wesley Snipes. Typically for the series, the film simply expects the viewer to take for granted that the “good guys” would never shoot anyone undeserving of death. (Speaking of which, no Expendables review would be complete without the obligatory reference to how close to death some of these guys appear. “Relax. You’re gonna give yourself a stroke,” Stallone is warned before his upcoming adventure.)

This entry in the franchise does, however, evince more of something approximating a heart or emotional center in its plot involving renewed conflict between Stallone and treacherous ex-partner Mel Gibson, whose presence does much to enhance part 3. Gibson, now an arms dealer, has been deemed a war criminal, and CIA honcho Harrison Ford, in a role alluding to his turns as Jack Ryan in Patriot Games (1992) and Clear and Present Danger (1994), hires Stallone to retrieve him from Central Asia for trial at the Hague.

What ensues is tons of dumb fun, with better action scenes that dispense with the gallons of CGI gore on display in the previous outing. The viewer almost forgets what villains the heroes’ real-life counterparts are. A campy charm attaches itself, admittedly, to the wince-worthy scene in which Ford, providing air support for the beleaguered Expendables and obviously embarrassed by the unimaginative dialogue, half-heartedly mumbles, “Drummer’s in the house.” Expendables 3 is worth a rental for that moment alone.

4 out of 5 stars. Ideological Content Analysis indicates that Expendables 3 is:

7. Disingenously anti-torture. In one of the movie’s biggest unintentional laughs, CIA creep Harrison Ford complains that Gibson is responsible for the torture and killing of two of his men. As Gibson later says of Stallone’s character, “He thinks he’s the good guy.”

6. Pro-drug. There is a lighthearted feel to a scene in which Kelsey Grammer’s flying is impaired by his drunkenness. The Expendables get together to drink in celebration of a successful mission, while Dolph Lundgren, whose combat readiness is unaffected, just likes to drink for the picturesque hell of it.

5. P.C. Snipes objects to Stallone using “spook” with reference to a CIA agent.

4. Feminist. Ronda Rousey plays a tough-as-nails bouncer-cum-soldier whose looks conceal deadly fighting prowess. “Men,” she huffs with contempt before fatally shooting a man.

3. Anti-family. “If you’re lookin’ to go the family route, it’s the wrong job for you,” Stallone admonishes Rousey. “There are different kinds of family,” she replies. “And when my life is on the line, that’s my family fighting with me.” In other words, a gaggle of ragtag cutthroats is no less valid a pillar of personal and national stability than some old-fashioned assemblage of the biologically related.

2. Multiculturalist. In addition to two black Expendables and an Asian one, this third installment adds a Latino as a nod to that group’s demographic ascent, with Antonio Banderas providing some odd comic relief as a lonely acrobatic weirdo desperate for an excuse to machine-gun people.

1. Neoconservative. Like the other Expendables films, this third entry continues the work of conditioning the American male to accept overseas hellraising and mass murder as an exciting career opportunity, or at least as something deserving of their patriotic admiration. “I am the Hague,” Stallone says in triumph, alluding to his famous line from Judge Dredd (1995). In other words, the United States as the indispensable superpower and global force for gay, is exceptional in that it constitutes in itself – and even through the acts of its lowliest mercenaries – the world’s judge, jury, and executioner. “Very tribal,” Gibson says of the Expendables’ penchant for ritual murder – leaving the viewer to determine which Tribe he has referenced in his remark. As usual with this sort of movie, too, there is a dig at nationalist Russia, with Gibson spending some time there and giving the impression that Putin’s New Nazi Germany Russia is some sort of haven for evildoers.

The CIA no longer even cares if Americans know it conducts dirty wars through mercenary proxies. “This one’s off the books. I’m not even here,” says Ford, clearly thinking himself very cute. Those incorrigible Central Intelligence scamps! Oh, well – boys will be boys. Maybe a couple of decades from now, Hollywood will be making action movies celebrating the “ISIS” scam and the takedown of the evil Assad regime. “We killed a lot, but we saved more lives than you can possibly imagine,” Gibson excuses his days as a hired assassin for the Company. Whatever.

Rainer Chlodwig von Kook

Family poster

Robert De Niro stars in this gory, mean-spirited “comedy” as a glorified serial killer and sadist who, with his sad pyromaniac spouse (Michelle Pfeiffer) and two chip-off-the-old-block teenagers (John D’Leo and Dianna Agron), has moved to Normandy at the behest of the Witness Protection Program. Posing unconvincingly as an academic, De Niro and his ultraviolent spawn lay waste to the French in a nihilistic bid for the affections of the Freedom Fry aficionados in the American audience. Tommy Lee Jones, looking as wrinkly and battered as the Constitution, appears as De Niro’s long-suffering Witness Protection case worker. The veteran leads are fun to watch, but their characters live too far beyond the possibility of redemption to deserve two hours of viewers’ time. Recommended to neoconservatives only.

3 out of 5 stars. Ideological Content Analysis indicates that The Family is:

5. Anti-Christian. Pfeiffer lost her virginity in a church. A judgmental priest (Christopher Craig) becomes irate and commands her to leave his cathedral after hearing her confession.

4. Ultra-green, with De Niro’s brown tap water driving him to an act of eco-terror.

3. Feminist/pro-castration. De Niro’s daughter – surprise, surprise! – is tough as nails and delivers a savage thrashing and genital-beating in reply to a come-on.

2. Zionist, perpetuating the myth that America “liberated” France. The Family, with its story of smug, self-important Americans storming overseas and asserting themselves by destroying things, serves as a frightening allegorical normalization of Jewish-American foreign policy. Gullible audiences, The Family hopes, will internalize as good, old-fashioned Americanism and “family values” the license to commit genocide that Rush Limbaugh chooses to pretty up as “American exceptionalism”. Pfeiffer, for instance, blows up a grocery store after overhearing a perfectly justified complaint about American (i.e., Jewish) media brainwashing. Jews appear in The Family as the victims rather than as the perpetrators of organized crime.

1. Pro-torture/anti-human. Men having their bones broken, testicles crushed, being dipped head-first into a barrel of acid – how hilarious! From murder to thievery to drug dealing in a school, The Family’s attitude is that crime is cute. De Niro, furthermore, attempts to validate his admittedly “sadistic urges” by arguing that he mutilates people for a “good reason”. “You’re the best dad anybody could ever ask for,” his daughter informs him moments before he drifts into a daydream about barbecuing a neighbor’s head. “Writing is intense,” he says in another reflective moment. “I feel like I been lookin’ at myself in a mirror all day.” One wonders what hideous creatures The Family’s screenwriters, Michael Caleo and Luc Besson, glimpse as in a mirror while they ply their appalling trade.

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