Archives for posts with tag: guerrilla warfare

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

Red Dawn poster

A shameless stain on the legacy of the 1984 John Milius classic, this insufferably p.c. 2012 remake pits a multiracial mix of forgettable youngsters against invading North Koreans. Chris Hemsworth has clearly been cast for a passing resemblance to Patrick Swayze, but neither he nor anybody else in the cast can redeem this erratic, soulless dreck. Gone are the gorgeous score, the memorable characters, and the sense of a real place and community that charged the original with such emotion and roused viewers to patriotic outrage. When, contrarily, all that the Wolverines stand to lose in their war is Barack Hussein Obama’s America, where are the dramatic stakes?             

2 stars. Ideological Content Analysis indicates that Red Dawn is:

3. Pro-miscegenation. Girls express disappointment that a strapping young black buck dismisses them as unworthy of him.

2. Multiculturalist. Celebrating the contributions of citizens of all colors, the remake makes sure to include an Asian-American soldier so as to counterbalance the negative impression given by the totalitarian North Koreans.

1. Neoconservative. A confused montage of news clips gets across the idea that the world is in the grip of a confluence of crises and that Obama’s presidency coincides with American decline. Among the broadcast snippets is an assertion that America’s military is overextended abroad; but, rather than being a reasonable caution against unnecessary overseas adventurism, this is likely included by way of panhandling for an even more bloated defense budget. The lame choice of invaders corroborates George W. Bush’s “Axis of Evil” speech, and the additional revelation that the Russians are backing them goes along with the prevailing Zionist anti-Russian demagoguery spewed by the likes of Mitt Romney, who during his presidential campaign referred to Russia as “America’s number one geopolitical foe”.

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