Archives for posts with tag: banking

Dragged Across Concrete

S. Craig Zahler (Bone Tomahawk) is back with a solid and satisfyingly rough follow-up to the jaw-dropping Brawl in Cell Block 99, reuniting with Vince Vaughn and teaming him up with Mel Gibson in a literally gut-ripping, downbeat buddy cop brutalizer. Seasoned detective Brett Ridgeman (Gibson) and partner Anthony Lurasetti (Vaughn) are caught on video using excessive force in the apprehension of a Hispanic drug dealer, creating a scandal for their police department, and get suspended without pay by their superior (Don Johnson). Both men need money – Lurasetti because he plans to propose marriage to his girlfriend, and Ridgeman because his daughter is no longer safe in their ghettoized neighborhood and the family needs to get out. At the extent of his tether, Ridgeman hatches a half-baked plan to rip off a heroin dealer that winds up with him and his partner pitted against a gang of formidable paramilitary bank heisters. A career highlight for Gibson equal to his over-the-hill hero roles in Edge of Darkness and Blood Father, and yet another impressive entry in Vaughn’s growing résumé of scary tough guy characters after True Detective and Brawl in Cell Block 99.

4.5 out of 5 stars. Ideological Content Analysis indicates that Dragged Across Concrete is:

8. Anti-drug. Tory Kittles plays ex-con Henry Johns, whose stint in prison illustrates a very possible outcome for a dealer. His mother, a heroin addict, has turned to prostitution. It is also mentioned that the dealer Ridgeman mistreats has been selling drugs to children, undermining any potential audience sympathy for the criminal.

7. Ableist! Lurasetti compares a hearing-impaired woman’s speech to a dolphin’s.

6. Anti-Semitic! Writer-director Zahler, as Soiled Sinema’s Ty E. puts it, is an artist who seems to have “transcended his Jewishness”, which may account for the brief and harmless but stereotype-oozing portrayal of the friendly jeweler Feinbaum, who says his wife has two brothers who are therapists and three sisters who are lawyers.

feinbaum

5. Homophobic! Henry dismisses his “cocksuckin’ father” as “a yesterday who ain’t worth words.” Disapprovingly, Ridgeman fails to see “much of a difference these days” between men and women, and also mocks Lurasetti’s “gay hair shit” disguise.

4. Media-critical. Chief Lieutenant Calvert (Johnson) derides the anti-police bias of “the entertainment industry formally known as ‘the news’”, which “needs villains” and fabricates them if necessary.

3. Natalist, i.e., sexist! Unexpectedly, the movie features a tender (albeit offbeat) portrait of a new mother, Kelly Summer (Jennifer Carpenter), desperately trying to avoid going back to work after using up her maternity leave. The necessity of keeping a job seems cruel and absurd now that she has a baby. Her proper place, she realizes, is at home with her child, and her boss, Mr. Edmington (Fred Melamed) describes her as a “radiant vision of maternity”. The section of Dragged Across Concrete that follows Kelly is even more affecting on a second viewing.

2. Class-conscious. “My job [in a bank] is so stupid,” Kelly laments. “I go there and I sell chunks of my life for a paycheck so that rich people I’ve never even met can put money in places I’ve never even seen.” Henry’s little brother Ethan, meanwhile, sees big game hunting as “rich white people shit”. There is also the suggestion that those with wealth have the means to elude the law, as Ridgeman at some point in the past allowed the son of businessman Friedrich (Udo Kier) to escape punishment for an unnamed crime in exchange for a future favor from the well-connected father. Ridgeman no longer believes in a meritocratic American dream. “I don’t politick and I don’t change with the times and turns that that shit’s more important than good, honest work,” he tells his partner, determining: “We have the skills and the right to acquire proper compensation” for thankless years of public service.

1.Race-realist – with exceptions. “They’re so cute before they get big,” says Ridgeman’s daughter Sara (Jordyn Ashley Olson) – ostensibly with reference to lion cubs, but subtextually referring to the black boys who harass her when she walks home from school. “This fucking neighborhood, it just keeps getting worse and worse,” frets Mrs. Ridgeman (Laurie Holden). “You know I never thought I was a racist before living in this area. I’m about as liberal as any ex-cop could ever be, but now,” she demands, “we really need to move” or else, “someday, you and me,” she tells her husband, “we are in a hospital room with our daughter talking to a rape counselor.”

Ridgeman and his partner are both depicted as casual racists. “I’m not racist,” Lurasetti jokes: “Every Martin Luther King Day I order a cup of dark roast.” In a twenty-first century world in which “digital eyes are everywhere”, however, old-school law-and-order enforcers like Ridgeman and Lurasetti are living on borrowed time. “Like cell phones, and just as annoying, politics are everywhere,” Calvert observes. “Being branded a racist in today’s public forum is like being accused of communism in the fifties. Whether it’s a possibly offensive remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children […] It’s bullshit – but it’s reality.”

Softening Dragged Across Concrete’s racial edge is the presence of Henry, the conspicuous specimen of Africanus cinematicus played by Tory Kittles. This ghetto thug with the soul of a poet is given to saying things like, “Before I consider that kind of vocation, I need to get myself acclimated” and is at all times depicted as being more astute than those around him. His little brother Ethan, too, is portrayed as an underprivileged but bright lad of great potential. The case can be made that Dragged Across Concrete makes examples of its most prominent bigots by punishing them while rewarding Henry in the end. Ridgeman, who has refused to change with the times, is taught the important lesson that he “should have trusted a nigger.”

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Advertisements

batman-the-killing-joke

This animated adaptation of Alan Moore and Brian Bolland’s 1988 graphic novel presents a much darker universe than the nineties TV show Batman: The Animated Series that this reviewer remembers watching at the tail end of his childhood. Batman: The Killing Joke is by no means a juvenile outing, and contains some decidedly adult content, themes, and insinuations. The story concerns the origins of the Joker, but Joker enthusiasts may be disappointed that the Clown Prince of Crime does not appear until half an hour or so into the program. Before that, the screenplay is preoccupied with the complex relationship between Batman and his protégée Batgirl. One of the most bizarre of the Batman storylines, The Killing Joke gives viewers a sensitive Caped Crusader who worries about the nature of his “relationship” with the Joker and even offers to “rehabilitate” him and maybe collaborate – even after Joker has shot and possibly even raped Batgirl! The ending, too, is a bit of a head-scratcher, and likely to be a conversation-starter after viewing. The idea of the Joker and Batman having a laugh together might seem too insane to consider until one begins to understand the characters as a pair of Judaic archetypes.

4 out of 5 stars. Ideological Content Analysis indicates that Batman: The Killing Joke is:

6. Anti-bankster, literally depicting a banker as an organized crime figure.

5. Anti-nuke, referencing the danger of nuclear holocaust, which, as one character puts it, could be ignited by a flock of geese appearing as a blip on a computer screen.

4. Family-ambivalent. Viewers are treated to a touching father-daughter relationship with Batgirl and Commissioner Gordon, but the Joker’s origin story, in which the financial and psychological strain caused by his wife’s pregnancy and death precipitates his downfall and transformative madness, is arguably antinatalist in character.

3. Pro-gay, perpetuating the homos-are-a-girl’s-best-friend convention.

2. Pro-miscegenation. “I don’t understand why you’re having fishing troubles when we are in the middle of a lake,” Batgirl’s gay friend tells her as he gestures toward a table full of young men including a bespectacled, intellectual-looking congoid. “What do these guys have to do to get your attention?” A white man and black woman are shown studying together in a library – marking race-mixing as the preference of the sophisticated – and a black floozy is also shown caressing the face of a white bad guy.

1. Sexist! The first act of Batman: The Killing Joke is concerned with young heroine Batgirl’s frustration with the limitations placed upon her by her mentor. She aspires to take more active part in Batman’s crime-fighting, but Batman views her as a rookie whose inexperience represents a dangerous liability. A burgeoning feminist, Batgirl objects to him “getting protective and sitting in judgment”, and confronts him with her previous understanding that they were supposed to be partners. “We are – but not equal,” Batman tells her, laying the bat-smack down on that uppity ho.

Rainer Chlodwig von K.

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-TWO

Gaddafi

Muammar Gaddafi was one of the most remarkable leaders of the twentieth century. Taking charge of a country of impoverished illiterates at the time of his 1969 coup, he transformed Libya through his Green Revolution into a modern, secular state with extensive public works and services funded by oil revenues. Put together by Critical Productions, this YouTube documentary stands a testament to Gaddafi and to the crimes against humanity perpetrated by NATO in plunging his country into anarchy.

A creation in the style of Evidence of Revision, the program consists of arrangements of clips from television and online reportage and commentary, the end result comprising a mosaic that forms a picture of one of the greatest travesties and human catastrophes this century will hopefully ever witness. As the title indicates, such horrors frequently hinge on wordplay and who or what is or is not deemed “terrorist” in the western government-media matrix. The film instructs viewers to come to their own conclusions, but only one verdict is possible or sensible after watching Semantics: The Rise and Fall of Muammar “Mad Dog” al Gathafi.

4.5 out of 5 stars. Ideological Content Analysis indicates that Semantics is:

5. PC, never once mentioning Jews or the Zionist order. There is, furthermore, a suggestion that the United States is particularly opposed to African self-determination, as if any other nationalisms are somehow acceptable. Libyan blacks are shown to have suffered after Gaddafi’s downfall. The Colonel’s friendly relations with Nelson Mandela are offered as evidence of his moral superiority.

4. Media-critical, pointing to misrepresentations of the Libyan situation in “news” reports.

3. Populist, celebrating Gaddafi’s Libyan iteration of national socialism. Electricity was free for Libyans, and farming and other endeavors and services were heavily subsidized by the state. In accordance with traditional morality, zero interest was paid on loans. The Green Revolution represented a nationalist third position ideology – that is, neither communist nor capitalist – always a threatening prospect to globalist interests.

2. Anti-bankster and anti-establishment, whether that establishment takes the form of Republican or Democrat, NATO or the United Nations. Barack Obama and Hillary Clinton come across as particularly reprehensible. Anybody even considering voting for Hillary Clinton should be compelled to watch Semantics: The Rise and Fall of Muammar “Mad Dog” al Gathafi. Gaddafi’s intention to demand that Libyan oil be paid in African dinars rather than U.S. dollars is suggested as one plausible motive for the toppling of his government.

1. Anti-war. War is a racket.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1I47tqO

 

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY EIGHTEEN

Captain-America-The-Winter-Soldier

Just like the Second World War dinosaur he is, “fossil” super soldier Steve Rogers is resurrected Jurassic Park style and unleashed on the twenty-first century to once again wreak havoc for the sake of the planet’s “freedom”. Actually not nearly as bad as this writer assumed it would be – and pretty exciting, actually – Captain America: The Winter Soldier shows slightly more nuance than one tends to expect from the public’s periodic dose of warmongering World War 2 fetishism. Action sequences and special effects are top-notch, with one particular highway throwdown recalling the epic mayhem of The Matrix Reloaded, and costar Scarlett Johansson – herself a special effect of sorts for those with a taste for the tawdry – makes a peppery foil for wholesomely handsome lead Chris Evans.

4.5 out of 5 stars. Ideological Content Analysis on Captain America: The Winter Soldier indicates that it is:

7. Feminist, showcasing the talents of the obligatory “kick-ass girl” in S.H.I.E.L.D. agent Scarlett.

6. Pro-gun. Nick Fury tells an anecdote about how his grandfather carried a pistol for protection in a rough neighborhood.

5. Multiculturalist. Sassy Samuel L. Jackson diversifies the role of Nick Fury. Rewriting history by ignoring the fact that armed forces were segregated during the Second World War, a Smithsonian exhibit shows Captain America with his fellow “Howling Commandos”, among whom are a black and an Asian.

4. Pro-miscegenation. Cap exchanges spit with greasy-lipped Jewess Scarlett.

3. State-ambivalent, accepting the basic benevolence of the intelligence community, but warning against the encroachments of domestic surveillance. The script is also tolerant of illegal black ops, with Fury supposedly having “saved the lives of a dozen political officers” with an unauthorized incursion on foreign soil. The trouble is that this sort of thing has gotten out of hand and given rise to unaccountable deep state structures.

2. War-ambivalent. Cap is uncomfortable with Nick Fury’s neocon philosophy of preemptive war. “We can’t afford to wait,” says Fury, who invokes “New York” (i.e., 9/11). “We’re gonna neutralize a lot of threats before they even happen.” Cap’s sidekick Sam (Anthony Mackie), who now works as a counselor for returning servicemen, reflects on the War on Terror: “I had a really hard time findin’ a reason for bein’ over there, you know?” The movie’s ostensibly anti-war sentiments, however, are revealed to be disingenuous by its endorsement of the myth that America “saved the world” in World War 2. For the final battle, Captain America ditches his drab newfangled threads for the bright primary colors of his glory days fighting the Third Reich, the idea being that this return to the ideals of the brainwashed “Greatest Generation” is the spirit that will renew the country’s greatness.

1. Zionist. Hollywood goes full Alex Jones in Captain America: The Winter Soldier, with secret Nazi conspiracies, Orwellian control grids, and MKUltra-style mind control programs enlivening the plot, which concerns crypto-fascist S.H.I.E.L.D. faction Hydra and its attempt to implement a “New World Order” of total government mastery over the populace through a preemptive dissidence detection algorithm. S.H.I.E.L.D. is an interesting name for a globalist action force for good, considering that “Rothschild”, the name attached to the infamous Jewish banking octopus, translates from the German as “Red Shield”. In Captain America, S.H.I.E.L.D. is well-intentioned and ruined only by Hydra, the Nazi “parasite” in the intelligence community’s midst. This is clearly a boldfaced reversal of ethnic realities, and the movie even appears to allude to this Jewish ruse, with the Jewiest Jew of them all, Garry Shandling, putting in a comedic cameo as a crypto-fascist who furtively whispers “Hail Hydra” to one of his associates. All of this, of course, will fly over the heads of the vast majority of the goyim who watch it just to be thrilled by the comic book action.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1S3hdlw

Magic Mike poster

Magic Mike, along with Katy Perry: Part of Me, was one of the faith-shakingly embarrassing trailers that seemed to hound this critic every time he went to the movies during the summer of 2012. “Oh, no, not this again,” he would think to himself, slumping into his seat as his heart sank in his breast. The fact of the matter is, however, that this amusing and unassumingly sharp drama from screenwriter Reid Carolin and director Steven Soderbergh not only rises to the occasion on more than an anatomical level, but ends up as one of the most outstanding films of its year.

Channing Tatum, who actually worked as a stripper during an earlier phase of his show business career, puts his skills to productive use in Magic Mike, a role perfectly suited to the actor’s dissolute good looks, sex power, and sense of humor. Tatum’s semiautobiographical Mike is an American original, a creatively driven renaissance stud who aspires to build handcrafted furniture for a living, but works at construction, car detailing, and stripping until he can put together the venture capital he requires. Handsome Alex Pettyfer plays Adam, the fresh piece of meat Mike recruits to join the dance revue at Club Xquisite, and whose pretty but staid sister Brooke (Cody Horn) will become Mike’s reluctant romantic interest.

It is Matthew McConaughey, however, who majestically steals much of Magic Mike as the Mephistophelean Dallas, the Gordon Gekko of male strip club proprietors. In particular, the sequence in which erotic drill instructor Dallas is training greenhorn Adam for his first tour of duty under the lights provides McConaughey with the most explosive monologue of 2012. “Who’s got the cock? You do. They don’t,” he prods his pupil like a madman, showing him how to win over a crowd of emotionally vulnerable women by whirling and thrusting his pelvis properly. “You are the husband that they never had. You are the dreamboat guy that never came along. You are the one-night stand, that free fling of a fuck that they get to have tonight with you onstage and still go home to their hubby and not get in trouble because you, baby, you make it legal. You are the liberation!” McConaughey even gets to sing a sweet little country ditty, “Ladies of Tampa”, which he himself co-wrote.

Soderbergh again shows himself to be the consummate master, a man in complete and comfortable control of his craft. Magic Mike is a career highlight, but with no small assistance from his collaborators at every level of this nearly perfect production. From performances to editing and visual design, Magic Mike is a classy show and deserving of repeated viewings. Music also adds much to the verve of the experience, with cleverly selected songs setting the movie’s various tones and rhythms. Of special note, Win Win’s “Victim” is darkly repetitive, cock-rocking magic; Countre Black’s cover of “It’s Raining Men” is a scintillating introduction to the men of Xquisite doing a campy raincoats-and-umbrellas routine; and Chris Mitchell’s coy rendition of “Like a Virgin” is an appropriate accompaniment to Adam’s shy first appearance onstage.

Highly recommended at 5 stars. Ideological Content Analysis indicates that Magic Mike is:

11. Anti-Christian. A crucifix pendant and cross tattoo appear in irreverent contexts.

10. Antiwar. The troupe of strippers performs a mock-patriotic military-themed routine, firing their crotches to the sound of gunfire. While, on the one hand, this points to the warrior ideal as a perennially appealing archetype in women’s sexual fantasies, it might just as easily equate war with show business as something tawdry, phony, and whorish, or suggest that war is really a sublimation of primal, sexually motivated aggression.

9. Anti-obesity. One of the strippers hurts his back trying to lift a chubby customer.

8. Pro-gay. “I don’t care what your preferences are,” says Brooke when she discovers her brother’s dance outfits and takes these for evidence of his homosexuality. Then, as if 2005’s Brokeback Mountain had been insufficient degradation of an American movie icon, the cowboy archetype is further downgraded by a homoerotic gunfight strip routine.

7. Statist. “Fuck school altogether,” Dallas opines with reason. His idea is that children should be homeschooled with special emphasis on finance and investment strategies, but Mike, presumably from faith in the liberal public education system, dismisses this as “stupid shit”.

6. Anti-American. “That’s the state of the country, man. America. People. Stupid.”

5. Pro-wigger. Mike affects a hoodie, backwards cap, and “y’all” talk.

4. Feminist/anti-marriage/anti-family. Brooke is offended and gets defensive when she assumes Mike is suggesting that she cook breakfast for him. A woman wearing a “bride to be” sash is seen dancing uninhibitedly onstage with one of the strippers, and Dallas explains that women patronize his establishment because their marriages are unfulfilling, with nude male revues providing the psychological “liberation” women require. The institution of motherhood, meanwhile, receives grotesque parody treatment in the memorable image of pink-haired tart Nora (Elvis Presley’s granddaughter, Riley Keough) bottle-feeding milk to a piglet.

3. Drug-ambivalent. Strippers partake of something called “hey juice” and stupid sorority girls demand to know: “Who do we have to fuck to get a fucking drink?” Joints are passed around without consequence, but drinking and harder drugging (and drug dealing) get Adam and Tarzan (Kevin Nash) into serious difficulties. Mike and Adam barely make it out of a sorority house with their lives when Adam enrages a girl’s boyfriend by slipping her some E. To its credit, Magic Mike contains a classic morning-after atrocity scene too good to spoil.

2. Slut-ambivalent. Relatively conservative Brooke regrets her adolescent decision to get tattooed. Adam is warned to avoid oral contact with customers so as to avoid contracting herpes. One laid-back dope dealer enjoys an open marriage (“My wife’s tits are awesome. Check ‘em out, man.”), but this segment, rather than serving as an endorsement of swinging lifestyles, is intended to evince the decadence and the seductive evil of the world into which Adam is being initiated. Casual orgy partner Joanna (Olivia Munn) comes across as unhappy and frightened by intimacy, with Mike ultimately realizing that what he needs is a good girl and a sexually conventional life. In the final analysis, Magic Mike is less than satisfactorily judgmental where sexual promiscuity is concerned, but does give the impression that such escapades are best suited for youth if at all necessary and better abandoned in maturity.

1. Anti-capitalistic-cum-populist. In Magic Mike’s complicated and nuanced moral universe, informed by the compassionate socialist-populist worldview of screenwriter Reid Carolin (whose nonprofit group Red Feather Development has, according to Wikipedia, been featured on The Oprah Winfrey Show!) and director Steven Soderbergh (hagiographer of Che Guevara and happy producer of George Clooney’s disingenuous anti-McCarthy clunker Good Night, and Good Luck) honest toil when set to the pattern of the typical employer-employee paradigm becomes a species of semi-prostitution. “You don’t wanna know what I have to do for twenties,” Mike tells Brooke significantly. The capitalist, as exemplified by Mike’s construction foreman, is a petty exploiter who balks at the notion of paying “benefits and shit”.

It is stripper-impresario Dallas, however, who most clearly personifies capitalism in this film. Icy, dishonest, superficial, materialistic, and nihilistic, he is also a charming, seductive swaggerer whose charisma no viewer will deny. A manipulator of others, Dallas also whores himself, serenading his customers (whom he describes collectively as his “wife”) and climbing back into the saddle for an impressively sweaty farewell performance of his own, erupting a shower of crumpled dollar bills onto his naked torso. Going into business as partners with Dallas is clearly a matter of dealing with the Devil (“Nobody walks on water on my team.”), and Dallas expectedly lets Mike down, going back on his glorious promises. Commerce, for Dallas, is glorified theft. “You are worth the cash you pry out of their fuckin’ purses,” he snidely pontificates.

It is the small, honest, dream-driven entrepreneur, uncorrupted by greed and mercenary prudence, with whom these filmmakers sympathize. Mike’s desire to start his own custom furniture business is admirable and casts him as, if not a starving artist, then a creative man of principle unwilling to compromise on his vision. This type of endeavor, Magic Mike charges, is thwarted at every turn by the old boys’ club of the business and financial establishment. This becomes painfully obvious when Mike, seeking a startup loan for his venture, is turned down as a bad credit risk by a bank’s loan officer (Breaking Bad’s Betsy Brandt, who, this reviewer is grieved to report, is at no point in the film treated to a private dance from Mike). “The only thing that’s distressed is y’all,” Mike tells her defiantly on being refused. One of the morals of Magic Mike, then, is that self-reliance and hard work, even if it results in a less comfortable life than that of a high-class courtesan, is, albeit a more difficult one, a more dignified way to live. Magic Mike, consequently, has mostly scorn for slacker Adam, who shirks his responsibilities, sleeps on his sister’s couch, and refuses to interview for a job that requires his wearing a “fuckin’ tie”.

Rainer Chlodwig von Kook

Ready 2 Die

After robbing a Federal Reserve Bank branch and leading the LAPD on a televised freeway chase (“like O.J., Holmes”), four luckless desperadoes find themselves stranded without a car in East L.A., pursued both by the authorities and – after a “ghetto APB” and word of their loot gets out – their greedy fellow gangstas as well.

Writer-director John Azpilicueta stars as the bereaved Lucky, dismissed from a SEALs training camp for “emotional problems”; Jacob Martinez is Smiley, a chubby old thug who tried in vain to go straight, but whose financial troubles have thrust him back into a life of crime; and Pablo Hernandez is Psycho, a hitman who pretty much lives up to his name. The most interesting character, dishonorably discharged Ranger and Coolio haircut hood rat Sniper, is played by Bless May, who unfortunately receives the least screen time of the foursome.

Azpilicueta’s film, typical for an Asylum release, is shoddy and rough-hewn, with crap special effects, some substandard acting, too little coverage for action scenes, and overreliance on quick cuts and shaky-cam cinematography. A series of black-and-white flashbacks, intended to humanize the leads, only succeeds in stalling the action; but sleazebags attracted to a movie as underachievingly titled as Ready 2 Die will no doubt be entertained by its ready abundance of murder, profanity, rape, and pandemic nastiness.

3.5 out of 5 stars. Ideological Content Analysis indicates that Ready 2 Die is:

7. Anti-Christian. More than one thug is adorned with a cross, either as a necklace or a tacky tattoo.

6. Anti-marriage. A mulatto wife is a lazy, unfaithful freeloader.

5. Miscegenation-ambivalent. The aforementioned wife is, however, depicted as quite the sexual trophy and gets the hiding heroes excited as they voyeuristically enjoy the sight of her in the act of adultery.

4. Anti-bankster. The fact that the crooks attack a Federal Reserve bank makes them, if not quite sympathetic, at least not as dastardly as if they had robbed a small business like a liquor store. Ready 2 Die conveys a generalized anger at the economic plight of the country; and, without articulating any particular argument, the movie seems to be suggesting blame by flashing the Federal Reserve Bank sign during the opening robbery. Sniper is unemployed, and the fact that Smiley is behind on his house payments reminds viewers of banks’ predatory lending tactics.

3. Anti-police. Ready 2 Die evinces either indifference toward the “fucking po-po” or, if anything, actual hostility, casting them as the pesky antagonists who pursue the central characters.

2. Anti-war. Sniper expresses the nihilism of war brought home when he says that shooting at police cars and helicopters is “just like Fallujah, baby – just different motherfuckers.”

1. Racist! Ready 2 Die demonstrates as well as a movie could why even minorities have reason to fear the eventuality of their neighborhoods going majority non-white. Gangs, drugs, and scary tattoos are the norm, with mothers living in fear that their children will be murdered not by white supremacist pigs, but by members of their own wretched raza. Furthermore, blacks appear in an almost uniformly unfavorable light in the film. Sniper is one of the movie’s most coldblooded killers. “Fuck that funny-lookin’ bitch,” he excuses himself for shooting a bank teller. “She was lookin’ at me all crazy and shit.” He robs and kills because he would rather do this than “flip some burgers”. A black cop lounges around his home milking “disability”, while his misbehaving son ludicrously claims to have been suspended from school just for being black.

Rainer Chlodwig von Kook

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

Farawaysick for a High Trust Society...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!