Archives for posts with tag: Dirty Harry

Equalizer

Denzel Washington stars as the title character in The Equalizer – a superhuman bundle of Robin Hood, Barack Obama, Angus MacGyver, and Jason Voorhees rolled into a single American hero. Perhaps the most preposterous film in which Washington has yet appeared, The Equalizer concerns an ex-CIA spook who comes out of retirement to save filthy, greasy-lipped prostitute Chloe Moretz from the clutches of the oil-and-pimping syndicate run by ridiculously named Russian gangster “Vladimir Pushkin” (wink, wink), played by Vladimir Kulich.

Washington’s genius allows him to improvise endlessly inventive and cruel methods of dispatching his enemies, frequently by means of split-second calculus – cogitations conveyed cinematically by extreme close-ups of Washington’s all-seeing eyeball – and always directed at Caucasian men. The Equalizer is silly, offensive, inorganic, and way too long at a run time in excess of two hours, but those who suffer the full duration of its unending equality mandate will at least be treated to an awe-inspiring rap by Eminem.

3 out of 5 stars for the unintentional humor. Ideological Content Analysis indicates that The Equalizer is:

6. Pro-torture. Enhanced interrogation be da bomb.

5. Black supremacist, pro-immigration, and anti-white. The titular hero, living up to his name, disburses the villains’ ill-gotten gains among a group of Asian immigrants. Juxtaposed with the brilliant, polite, well-read, and fastidious Washington – an extraordinary specimen of Africanus cinematicus – white men appear as boorish ogres who mistreat women. Washington scolds a white co-worker for his foul language, and one scene even shows a white criminal in a hoodie robbing minorities at gunpoint. In still another scene, he literally uses a book to disable a Caucasian. “Change your world,” the Equalizer advises, a recommendation that screenwriter Richard Wenk seems to have taken to heart in depicting lifeforms on this planet.

4. Anti-police. Boston cops – white ones, of course – are on the take and extort protection money from minority businesses. In a lame reversal of the famous scene in Dirty Harry (1971), a black man points a gun at a white cop and calls him “punk”.

3. Anti-Russian and pro-war. As in all recent Hollywood output – The Heat (2013), Bullet to the Head (2012), and Pain and Gain (2013) being other examples – Slavic women are depicted as prostitutes. Moretz’s pimp, played by David Meunier, is even named “Slavi” so as to as to scream his ethnicity into the viewer’s ears in case the fact of his being a Russian was not already obvious.

Marton Csokas portrays Itchenko, the iciest and most bestial of the Russians – a character whose name suggests that he is subhuman (i.e., an “it”) as well as being a biological nuisance (an “itch”). Itchenko also has epaulette tattoos on his shoulders, a detail which implies that imperious militarism constitutes a physiologically inextricable aspect of the Russian subhuman’s being. Of “Pushkin”, it is said that “his money and political ties make him untouchable”, which can only suggest that he is somehow connected with Russian government officials – Putin himself, perhaps?

In one scene, an assembly of Russian mobsters refuses Washington’s offer of $9,000 in exchange for a hooker’s “freedom”. “You should have taken the money,” he taunts after murdering all of them. The significance of this confrontation, almost unrecognizably distorted in its filtering of geopolitical reality, is that Russia, by rejecting America’s globalist porno-economic order of capitalo-totalitarian usury, has invited its own extermination. At the film’s conclusion, Washington travels to Russia to assassinate “Pushkin” – and, like a proper slasher movie serial killer, confronts him while he is taking a shower.

2. Pro-N.W.O. CIA officials appear as tender and devoted nurturers. Clearly, the casting of Washington as the hero also carries an onomatological resonance.

1. Anti-Christian and Jewish supremacist. “I will have vengeance,” one hears muttered repeatedly during one of the songs featured on the Equalizer soundtrack. Indeed, it has been some time since this reviewer has seen a movie as viciously and mockingly anti-Christian as this one. Early on, The Equalizer associates and nearly equates Christianity with Russian brutality, with gangsters sporting crucifix tattoos and lounging around a bar with an Orthodox icon on the wall. When Washington intrudes and casually slaughters them, the icon is splattered with their blood.

An early scene that establishes Washington’s character and trajectory draws a parallel with the protagonist of Ernest Hemingway’s The Old Man and the Sea. On the surface, this refers to Washington’s being an older man of former achievement who rises from mediocrity to take on a massive challenge, or catch the big fish represented by “Vladimir Pushkin”. So blatant is The Equalizer’s hatred of Christianity, however, that the significance of the fish allegory is multiple. At the deeper level, Washington is the personification of Judaic vengeance, the golem, the butcher, and fisherman who has finally, triumphantly, reeled in Christendom. The script, at the moment of Washington’s summary of the novel, warrants quotation:

Old man tied the fish to the side of the boat, had to row back to shore. The fish bled in the water, sharks came, and ate the whole fish till there was nothing left. [. . .]  The old man met his greatest adversary when he thought that part of his life was over [. . .] Came to respect it the more it fought.

Asked why the fisherman refused to relinquish the fish, Washington replies that, “The old man’s gotta be the old man. Fish gotta be the fish.” The big fish is Christendom, its bleeding either the vivisection of Christ or the degradation and rot of the West by corrosive culture-disease. European man, in the allegory, is Jewry’s big trophy catch – and neither, if it is to be true to itself, can ever give up the struggle against the other’s all-or-nothing efforts.

In the climactic scene, the hissing and superficially civilized Itchenko is transfixed in a ritual sacrifice by Washington, whose sadistic choice of a nail gun to do the job is the key to understanding the movie’s subtext. Here, for America’s rooting enjoyment, is a thinly disguised Christ-snuff film framed as a thrilling adventure in which ZOG saves the world again from crypto-tsarist-fascist bigotry. For the cherry to top the cloying Jewishness of the whole tawdry abomination, in an earlier scene Washington even subjects Itchenko to psychoanalysis before committing a massive act of industrial terrorism to spite him.

Rainer Chlodwig von Kook

dredd-poster

After the nuclear holocaust, the ruins of America’s eastern seaboard are united under police state rule as Mega City One, a sprawling urban squalor infested with crime, with “only one thing fighting for order in the chaos: judges.”  One such judge is Dredd (Karl Urban), a man whose passionate dedication to law enforcement is so profound that his mouth is permanently frozen into a psychotic pout as he zooms around the city righteously blasting tattooed dopeheads.

In Dredd, the titular hero has an especially rough day on the job when, along with rookie partner Anderson (Olivia Thirlby), he finds himself locked into a ghetto megastructure (the overgrown futuristic equivalent of a housing project) and pitted against its masters, drug queenpin Ma-Ma (Lena Headey) and her minions.  The resulting adventure approximates The Running Man meets Escape from New York meets Assault on Precinct 13, with police woefully outnumbered against frightening futuristic odds.

With its charismatically grim avenger and pulsing electronic music, Dredd makes for a fairly slick glorification of authoritarian skull-cracking and high-tech fascism.  There remains in the public’s imagination a fascination and a seduction in quasi-vigilante cops after the Dirty Harry mold; Dredd, likewise, in its more macho moments, almost succeeds in lulling its audience into idiotic obedience in slavishly licking the iron heel.

An irony of Dredd‘s dangerous indulgence toward the police state, however, is its desire to depict iron-fisted government brutality as the solution to social problems which, though the script seems oblivious of the fact, are actually caused by the policies of precisely that glorious fascistic leviathan.  Manufacture and sale of drugs appear to be the major generators of wealth for the ghetto dwellers; but the state, through its prohibition of the people’s livelihoods and pastimes, has only succeeded in creating hellholes of systemic violence in which only the most vicious criminals and corrupt police are allowed to profit and thrive.  The exorbitant level of unemployment indicates that Mega City One’s Hall of Justice is probably doing its enlightened utmost to strangle other potentially productive areas of commerce, as well.

Dredd‘s budgetary constrictions rarely interfere with its considerable entertainment value.  The action scenes are adequate, the pace is consistently brisk, and the evocation of a grimy, dystopian future is sordidly picturesque and amusing if also somewhat half-baked.  Urban is quite watchable in the lead and Dredd lays a workable foundation for a potentially fun series of films down the road.

4 of 5 possible stars.  Ideological Content Analysis indicates that Dredd is:

7. Antiwar.  Nuclear conflict has destroyed most of America.

6. Pro-miscegenation.  It’s the progressive future, so it’s casual.

5. Torture-friendly.  Psychic interrogation may be more efficient, but an old-fashioned beating is also acceptable.

4. Multiculturalist.  The Chief Judge (Rakie Ayola) is black, as are representative medical professionals.  As in 80s vigilante films, street gangs, or at least the Ma-Ma Clan, are a multiracial affair (but one gang, the “Red Dragons”, is all Asian, apparently, and another group identified as “the Judged” is represented by a brown face).  In progressive acknowledgment of multiple intelligences, affirmative action is in effect in Hall of Justice human resources decisions.  Anderson, who has failed her qualification examination by a margin of three points, is given a chance because she is psychic.

3. Feminist/pro-castration.  Tough-as-nails Ma-Ma, formerly exploited by an abusive pimp, “feminized the guy with her teeth”, took over his business, and built a successful drug empire.  Humor is more than once milked from the idea of damaged or destroyed male sexual organs.  A thug is doomed from the moment he taunts Anderson, “Got any last words, bitch?”

2. Anti-drug.  Slow-mo, the illegal drug of choice in the futuristic ghetto, creates an experience of reality that moves at 1% normal speed.  It is evil for postponing the user’s inevitable progress into the glorious future.  Thus, conservatism or resistance to change is reimagined in Dredd as a narcotic addiction and an obstacle to big government new world order progressivism.

1. Statist/fascist.  Society, breaking under its own weight, needs to be protected from itself.  Search warrants, Miranda rights, habeas corpus, right to trial, and freedom from cruel and unusual punishment are annoyances that have, conveniently for the state, been discarded in Mega City One.  Statism gives itself the ultimate pat on the back with Anderson, the psychic judge who proves that the benevolently omniscient and omnipresent state, like Santa Claus before it, knows who is naughty and who is nice.  Gun control, too, receives an endorsement when, as with Bond in Skyfall, Dredd is shown at a disadvantage against lawbreakers’ superguns with high ammunition capacity and rapid fire action.  Citizens live in fear of “the gun, [and] the gang” (presumably with reference to the private and not the public varieties).

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