Archives for posts with tag: crime

Black Mass poster

A decidedly drab and unglamorous but still magnetic Johnny Depp appears as South Boston gangster James “Whitey” Bulger in Black Mass, a true crime film from Scott Cooper, the director of the excellent Out of the Furnace. As much as it constitutes a crime saga, however, Black Mass is also a cautionary study of ethnonationalism. The film’s handling of the material is mostly sober, but veers dangerously close to the glorification of violence in more than one sequence – with, for instance, dance floor booty intercut with the discovery of a body in the trunk of a car. Depp maintains a controlled burn throughout, and the other players – Joel Edgerton, Rory Cochrane, and Dakota Johnson among them – are also commendably strong. Definitely worthwhile for crime film fans.

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

6. Pro-miscegenation. Joel Edgerton enjoys a lewd dance with a black woman.

5. Anti-Christian, but not as vociferously so as one might be led to expect by the film’s title and the promotional trailer. Christian paraphernalia loses its meaning in the context of remorseless murderer Bulger’s participation in empty rituals.

4. Anti-drug. Aspirin doses debilitate Bulger’s son (Luke Ryan) with Reye’s Syndrome, which leaves him braindead. Bulger, while heartbroken by this, shows no concern for the neighborhood kids who buy his drugs. Learning that Bulger participated in government LSD experiments, the viewer is left to speculate that this might have exacerbated his madness and criminal inclinations.

3. Euthanasist. Bulger’s wife (Johnson) prefers to take their son off life support rather than see him continue as a vegetable. “He’s never gonna be our little boy again, ever. […] He’s braindead. He’s on life support. He can’t move, and I don’t want him like that. I can’t have my little boy be like that. I’ll pull the plug myself. I will.” Clashing with the mother’s reasonable assessment of the situation is Bulger’s irrational anger as he curses his wife, kicks over a chair, and knocks a table on its side, with the heavy irony here being that a gangster and murderer, of all people, has become the advocate for the sanctity of human life.

2. State-skeptical. Government is only as worthy as the men who fill the responsible posts. The Winter Hill Gang bribes “local street cops, feds, whatever” in exchange for the cooperation of authorities.

1. Anti-white. Black Mass opens with an interrogation conducted by a federal agent resembling Eric Holder. James “Whitey” Bulger’s nickname is highly significant, as well, as is brought to the fore in a brief scene in which a black man tells him, “This ain’t your neighborhood, Whitey,” and receives a brutal beating in reply. Bulger is an Irish nationalist determined to retake territory from Boston’s “oppressor” Italians, and he and his gang have nothing but contempt for an Irish-American “turncoat motherfucker” like Officer Flynn (David Conley), who works for the other side. Bulger, as his empire grows with the help of childhood acquaintance and FBI investigator John Connolly (Edgerton), who sees to it that the Bureau overlooks his activities, even assists the IRA with shipments of arms. “What is written on a piece of paper [i.e., law] is less important than blood,” Connolly excuses his actions.

“The only time he ever seemed happy was when he was talking about the IRA,” one of Bulger’s associates remembers – the implication being that European ethnic exclusiveness holds a special attraction for gloomy people with unsatisfying lives. The name of the boat, the “Valhalla”, used to transport the weapons, carries associations with Nordicism and Nazism, and that Black Mass should be largely concerned with discrediting ethnonationalism is hardly surprising when Hollywood Zionist sleazoid Brett Ratner’s name shows up in the end credits as an executive producer. Ethnic solidarity is framed as a hollow ideology providing protection for white crime and terrorism. Bulger’s “code of honor”, furthermore, does not prevent him from introducing drugs into his own neighborhood. A Jewish actor, Corey Stoll, plays the upstanding FBI investigator who finally brings “Whitey” Bulger to justice.

Rainer Chlodwig von Kook

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John Wick

Keanu Reeves is John Wick, a retired assassin and man of “sheer will” who must dust off the tools of his trade when his car is stolen and – worse still! – his dog is butchered by Russian rowdies. Reeves gets to do the sorts of things one expects – strolling in slow motion through a dance club while casually dispensing violent punishments, and so forth – and, in a scene that alludes pointlessly to his climactic confrontation with Agent Smith in The Matrix Revolutions, even has a dramatic hand-to-hand showdown during a downpour with low-interest villain Michael Nyqvist. John Wick packs a handful of quality action moments, but not enough to stuff the soulless void at the heart of this nihilistic exercise in death for death’s sake. The gravitas of supporting players Willem Defoe and Ian McShane is wasted in such a film.

3 stars. Ideological Content Analysis indicates that John Wick is:

4. Pro-torture. Hitwoman Miss Perkins (Adrianne Palicki) is visually aroused at the sight of a knife being driven into a bound man’s leg.

3. Pro-drug. Wick, despite his abdomen having been cut open, is able to launch back into action with the aid of a glass of bourbon and dose of some sort of pills.

2. Anti-Christian. A Russian church serves as a gangster front. Consequently, Wick has no qualms about shooting a priest in the leg.

1. Neoconservative. Those darn puppy-murdering Russian bad guys are at it again! John Wick came recommended as a good “guy movie” from a social justice warrior coworker – such people apparently considering themselves qualified to judge typical “guy” tastes. That social justice warriors are now endorsing rotgut neocon propaganda should come as no surprise, however, considering that this is 2016, a year that will see American liberals throwing the heft of their silly support behind an Israel-firster warmonger like Hillary Schlongedham Clinton. Wick, true to his name, is a Shabbos goy – a subservient gentile who lights a candle for superstitious Jews forbidden by their “religion” to perform any labor on the Sabbath – and serves his Hebraic Hollywood masters by demonstrating for all of the gullible goyim how cool and exciting it is to shoot perfect strangers. The name also suggests the character’s wickedness, an apt association in this context.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY EIGHT

A-Walk-Among-the-Tombstones-Poster

As downbeat and depressing as its title suggests, A Walk Among the Tombstones has cop-turned-private-investigator Liam Neeson hired by drug dealer Dan Stevens to track down the sadistic kidnappers who took his money and dismembered his wife. In a development only a Jew could cook up, Neeson commissions a homeless but literate black teen computer whiz, vegetarian, and aspiring detective (Brian “Astro” Bradley) to help him with the case.

A Walk Among the Tombstones is one of those movies that thinks itself edgy for taking its protagonist down the dirty alleyways of the real and into America’s gritty heart of darkness – the netherworld of serial killers, drug dealers, and street-wise African-American youths with hearts of gold and brains bristling with fallow potential. Typical of the film’s pretension are the intercutting of a graveyard shootout with audio from an AA meeting, a pointless reveal of the still-standing World Trade Center at the end, and the closing credits choice of a goofily earnest female vocal rendition of Soundgarden’s grunge hit “Black Hole Sun”.

3.5 out of 5 stars. Ideological Content Analysis indicates that A Walk Among the Tombstones is:

6. Anti-Christian. The drug dealer who hires Neeson is named Kenny Kristo (i.e., Christ) and another dealer (Sebastian Roché) has a cross tattoo on his hand, the subversive meaning of these two associations being that Christianity is like peddled dope.

5. Pro-miscegenation, featuring a relationship between a mestizo and a blonde. “I gather it was a mongrel,” one character says of a canine, adding, “So many of us are.”

4. Anti-gay. The killers, it is insinuated, may be homosexuals.

3. Anti-drug. Traffickers, while portrayed with some sympathy, nonetheless endanger their families with their work, which also brings them under the scrutiny of the DEA. Neeson gives up drinking and joins AA after making a terrible mistake under the influence of alcohol.

2. Anti-gun. Set in 1999, the film shows Neeson reading a newspaper with headline “Gun Sales Rise on News of Y2K”. The implication is that gun owners are doofuses moved by paranoid patriot propaganda and conspiracy theories. When Neeson’s sidekick finds a gun, the hero advises him that he might as well go ahead and blow his head off with it, since that will be the inevitable outcome of a life of amateur pistol-packing. Neeson quit the NYPD after accidentally shooting a girl.

1. Anti-racist (i.e., pro-yawn). In a prologue set in 1991, Neeson calls his partner a “spic”. Though the character never makes an explicit disavowal of racist bigotry, it is implied in the older, wiser Neeson’s tutelage and, it is suggested at the end, adoption of his black sidekick.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SEVEN

Nightcrawler

Beginning with its opening shot of a full moon, Nightcrawler hums with the limitless potential of Los Angeles at night. Jake Gyllenhaal plays professional thief and aspiring entrepreneur Lou Bloom, who shifts lanes into the high-adrenaline world of the nightcrawlers – freelance news cameramen who eavesdrop on police radios and race through the nocturnal streets of L.A. for graphic crime and accident footage – when he gets a taste of the money and the excitement there is to be sucked from human suffering. Gyllenhaal turns in an electric performance as the bizarre and intriguing Bloom, whose drive to get closer to the carnage than his competitors takes him first into situations of questionable ethics and then into outright illegality and endangerment of police officers and the public. The always diverting Bill Paxton appears as a rival nightcrawler, while sexy Rene Russo is a rung on Bloom’s ladder of self-promotion.

5 stars. Ideological Content Analysis indicates that Nightcrawler is:

5. Anti-drug. Among the titles of Bloom’s salacious videos are “D.W.I. crash kills four” and “drunk mom kills biker”.

4. Pro-police. Cops are depicted as brave men who risk their lives to protect the citizenry. California Highway Patrolmen are shown putting themselves in peril to pull a woman from her burning vehicle.

3. Anti-white. “We find our viewers are more interested in urban crime creeping into the suburbs,” says news director Nina Romina (Rene Russo). “What that means is the victim or victim’s preferably well-off – and white – injured at the hands of the poor or a minority.” The suggestion that television news ignores black victimhood in favor of rich whites is preposterous. Many news organizations, in fact, have policies of censoring information about black criminal activity – particularly when whites are the victims. Anybody who casually watches the news knows who Trayvon Martin and Freddie Gray are – and even a misbehaving South Carolina schoolgirl has been receiving a lot of press of late because an insufficiently obsequious white cop yanked her out of her desk – but how many Americans could name a single white person murdered by a congoid within the last five years?

2. Media-critical and anti-capitalistic. Nightcrawler presents the television news industry as the worst, most nihilistic manifestation of capitalism, with human drama and suffering commoditized and exploited for titillation and ratings. Bloom blurs the line between objective documentary reportage and filmmaking when he drags a crash victim’s body to get a better shot.

1. Anti-Semitic! Bloom is an icy, emotionless freak who thinks of every situation in terms of potential profit and exercise of control. Even his sexual come-on to Nina Romina is conceived as an impersonal business negotiation. The viewer is told that Romina resists unspecified sexual demands from Bloom, which suggests that he may have deviant tastes. He exploits the gullibility of assistant Rick (Riz Ahmed) and shows no pity or human interest as he lies bleeding in a street.

Rainer Chlodwig von Kook

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Hood

A cheapo ghetto reimagining of the legend of Robin Hood, Hood stars bullnecked mulatto football prince Matt Singletary – an actor with all the charisma of a dead crack baby – as an “army hero” who, after fighting the Taliban (i.e., guarding the CIA’s heroin crop) in Afghanistan, comes back home to Chicago to find that his old neighborhood is being tyrannized by the Latin Kings. Determined to make a difference in “the community”, Hood becomes a hoodie-cloaked superhero of sorts, venturing out at night to rip off drug dealers and redistribute their ill-gotten gains to the needy. Assisting him in his low-intensity, action-deprived crusade are Father Tuck (Malik Yoba) and Juanito (Richard Esteras), with corrupt Chicago law enforcement taking the place of the Sheriff of Nottingham. Darren Jones is fun as an oily politician, and one wishes that Thea Camara had been given more screen time as the big and spirited Mrs. Fitzwalter; otherwise, not much to recommend this one.

2 out of 5 stars. Ideological Content Analysis indicates that Hood is:

8. Anti-drug. Hard drugs empower evil. Hood does, however, enjoy a beer.

7. Anti-police. The Latin Kings have infiltrated Chicago’s police, and even the honest few are lazy, muffin-gobbling slobs.

6. State-skeptical. Cynical politicians are in league with criminals. “The worse a neighborhood gets, the more funding it gets,” an alderman rationalizes.

5. Pro-military. The Army appears as the ideal venue for multicultural empowerment. Blacks on the battlefield get to be called “sir”, mouth off to white superiors, and demonstrate their superhuman heroism by doing 187s on America’s enemies. Hilariously, Hood’s pathetic EBT-budgeted version of a Taliban fighter is just some bespectacled Jewish-looking guy in a caftan.

4. Immigration-ambivalent. Hood indicates that “new immigrants” (i.e., illegals) are a prime source of recruits for the Latin Kings because “most don’t speak English” and need a place to stay. Despite the national blight this obviously represents, the film appears to want to depict them as exploited victims.

3. Multiculturalist. So as not to create the impression of racial tension between blacks and mestizos, the Latin Kings are shown to have congoid subordinates while Hood receives the support of his Hispanic neighbors. A community center allows the races to come together in fellowship. Hood volunteers there and teaches tai chi to a vibrant set of youngsters.

2. Christian. Hood, his family, and friends are Christians, and Father Tuck keeps it real on the liberation theology tip. He acknowledges sin in the Church, however, when (after mistaking Hood for a pedophile) he says, “Unlike some priests, I don’t take too kindly to strangers putting their hands on little boys.” Hood’s soundtrack even features a little Christian rap, and the film ends with a Mother Teresa quotation.

1. Marxist. Hood and his band of merry diversityites rob not only Latin Kings, but honest businessmen as well. Troubled by the phenomenon of ghetto “food deserts” and apparently oblivious to the fact that these result from black consumer and criminal behavior, Hood and his gang commit a series of food truck heists, threatening “1 truck per week till you open stores in these neighborhoods.” Robbing trucks. Yep, that ought to spur investment in “the community” . . .

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

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.

All Is Bright

Paul Giamatti daringly essays his umpteenth grumpy, disgruntled crumb-bum role in the sarcastically titled seasonal feature All Is Bright, a film which might more descriptively, memorably, and profitably be retitled The Grouch Who Stole Christmas.

Giamatti stars as Dennis Girard, a Canadian thief released from prison only to find that his wife, Therese (Amy Landecker), has given him up for an old friend, reformed crook Rene, played by Paul Rudd. Even more humiliating for Dennis is that Therese, hoping to shelter her daughter (Tatyana Richaud) from the unpleasant truth about her father, has told her that Dennis is dead so as to bar him from having any place in his daughter’s life. Out of work, at loose ends, and nearly at the end of his tether, Dennis bullies Rene into taking him along on his annual trip to New York to hawk exotic Canadian tannenbaums.

Offering nary a likable character, All Is Bright may strain the patience of audiences in search of something funny but basically wholesome, uplifting, and appropriate to view at Christmastime. A “criminal with a small dick”, Dennis Girard is ultimately too flawed, thorny, and unpersonable a character, his choices and outlook too glum, sordid, nasty, and unrepentant, for the film to be terribly entertaining or morally rewarding. All Is Bright is marginally amusing at best, and Giamatti’s grouch card may be maxed out, so the actor is advised to seek opportunities for expanding his range beyond the apoplectic curmudgeon that made him famous.

3 out of 5 stars. Ideological Content Analysis indicates that All Is Bright is:

9. Anti-American. A U.S. border patrol agent is unfriendly, and Dennis and Rene affect a stereotypical Doug and Bob McKenzie Canadian accent to impress gullible American tree shoppers (cf. no. 2).

8. Green. “They still don’t have stars here,” Rene says on arrival in the United States, probably with reference to air pollution.

7. Anti-drug. “You should keep lungs, yeah?”

6. Pro-slut. The viewer is presumably expected to consider the casual attitude of Russian eccentric Olga (Sally Hawkins) toward what she terms “the thing” an endearment.

5. Anti-Putin. “You have heart like Putin,” Olga says insultingly.

4. Anti-marriage, with infidelity and divorce the norm.

3. Barely Christian. Rene gives his adopted daughter an Advent calendar, but little or no other mention is made of the religious significance of Christmas. An irreverent, vulgar attitude toward the holiday prevails (“If you want to throw up, do it in the tree stand”). “There’s money in holidays.”

2. Multiculturalist, pro-immigration, and pro-wigger. All Is Bright is set in that bizarro Hollywood version of the world in which whites beg and receive cigarettes from blacks. The characters generally interact postracially. And Emory Cohen, apparently typecast as wiggers after his turn as AJ in The Place Beyond the Pines, receives a cameo as dopey but sympathetic dude “Lou, who comes to buy a tree”. (cf. no. 9)

1. Egalitarian/anti-capitalistic. Olga suggests charging more for trees bought by “haves”. While Dennis and Rene represent small-scale enterprise in a relatively positive manner, more successful entrepreneurs are vilified. Dennis, in one unfunny scene, physically intimidates a more professionally operated Christmas tree business into relocating. In an even more unlikely moment, Dennis is physically ejected from the men’s room of a restaurant by its petty proprietor for not being a paying customer. The self-pitying protagonist never abandons his thieving ways (“I will not get caught twice,” he vows), and steals a piano (among other things) from a successful dentist (cf. The Possession) as a gift for his daughter. Criminal redistribution of wealth, All Is Bright appears to argue, is fine and commendable as long as it is perpetrated for a good and heartwarming cause.

Sofia Coppola’s latest effort is very much her own. Bright, punchy, or ambient music, an elegant eye, and a sardonic sense of humor imbue yet another examination of rampant girldom with Coppola’s trademark sensibility. Unlike Lost in Translation or Marie Antoinette, however, The Bling Ring features no strong or particularly likable central protagonist, and is consequently a much more detached and ironic study than its predecessors.

The Bling Ring opens with shots of the Facebook pages of characters Marc (Israel Broussard), Chloe (Claire Julien), and Rebecca (Katie Chang) – an appropriate means of introduction in this true crime story set in an amoral teenage order founded on trendiness and popularity. All attending a high school for affluent problem kids, these are the more sophisticated and fashionable counterparts to the hedonistic nihilists in Larry Clark’s Bully, operating out of the sinister psychological intersection of thug chic and a privileged entitlement mentality.  Along with like-minded recruits Nicki (Emma Watson) and Sam (adorable Taissa Farmiga), the group combines its vapid interests in celebrity, pop criminality, and haute couture by committing a series of casual burglaries of the homes of Paris Hilton, Lindsay Lohan, and others.

An odd feature of these young people’s lives is how little concerned with love they appear to be. Tawdry apparel, dirty dancing, sex, and group acceptance interest them plenty, but these new teen creatures bear almost no resemblance to their grandmothers, the malt shop loiterers of old, with their puppy love crushes and idealism. The new teen queen is a kind of ravenous beast sustained by a constant regimen of dope, dainty baubles, irresponsible escapades, and protected from introspection by forbidding walls of abrasive music preoccupied with self-determined fabulousness.

It is difficult to watch The Bling Ring and not be reminded of another group of young Californians who targeted celebrity victims – namely, the Manson Family. In both cases, pathological fascination with the rich and famous, coupled with peer pressure, drugs, and an unhealthily violent cultural diet, result in celebrities being simultaneously venerated as idols and dehumanized as potential victims. Marc, reflecting on the meaning of his acts in the aftermath of his arrest, confides that after the story of his involvement hit the news, he received over 800 Facebook friend requests, suggesting that it is criminality itself as much as fame that attracts the adulation of the unsavory masses.

If The Bling Ring has any discernible shortcoming, it may be the dearth of surprising event, as the film proceeds along a fairly straight, predictable line as far as the plot. Apart from the signature Sofia Coppola seal in terms of color, design, and atmosphere, the film’s most attractive strength must be its delightful cast. Israel Broussard, featured in what, for lack of any real hero, is The Bling Ring‘s lead role, has a Byronic look and an enigmatic vulnerability that complements the Coppola aesthetic nicely; and all of the damsels in dissipation, from Katie Chang to Claire Julien, Taissa Farmiga, and Emma Watson, are irresistibly vile, divine, and luscious.

4.5 stars.  Ideological Content Analysis kisses Sofia Coppola’s ring and indicates that her most recent flourish as a dependable writer-director is:

11. Multiculturalist/pro-miscegenation.  People of different races interact as without the least consciousness of their physiological or cultural differences. One of the girls has a thug Latino boyfriend. The camera lingers longingly over untouchable Katie Chang.

10. Anti-wigger.  Pop veneration of the ghetto mentality goes hand in hand with nihilism, crime, and self-destruction.

9. Pro-police.  Authorities conduct their investigation and effect the necessary arrests professionally and without inflicting unnecessary harm.

8. Anti-religion.  Modern woman’s faith is junk spirituality, “the philosophy of the Secret”, a kooky, relativistic melange in which words like “Lord” rub shoulders indiscriminately with new age talk of “karma”.

7. Anti-gun.  Privately owned guns, this film appears to want to convince viewers in one very frightening scene, make homes less safe and endanger the mentally deficient.  However, the fact that one of the girls steals a gun and gives it to her thug boyfriend demonstrates that criminals are not above obtaining their guns illegally and that gun control legislation is therefore futile.

6. Philanthropy-skeptical.  One suburban family claims a commitment to charitable causes in Africa, but cannot identify the specific country where they are active.  This pretended philanthropy is played as a sympathy card after the girls are caught by the police.

5. Statist.  The pitiable demonstration of home schooling as practiced by one ditzy mother (Leslie Mann) is an implicit endorsement of public education.

4. Anti-drug.  Drinking and driving results in a non-fatal accident, which, however, fails to prevent the girls from going out and behaving just as carelessly as before. Accelerating substance abuse parallels the girls’ increasingly poor judgment and carelessness in their criminal endeavor.

3. Pro-gay.  Sexually ambiguous Marc shares his girlfriends’ interest in fashion (including high heel shoes) and refers to a male schoolmate as “hot”.

2. Class-conscious.  Coppola (perhaps responding to the criticism that Marie Antoinette depicted a self-absorbed aristocrat sympathetically without taking into consideration the economic plight of the French peasantry?) depicts moral decay as in part deriving from wealth and privilege (cf. Billy Madison).

1. Pro-family.  The horror wrought by permissive or absentee parenting is the unstressed theme that haunts The Bling Ring.

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