Archives for posts with tag: gunrunning
No One Lives Forever BCI

Grab it while supplies last … or not!

Included in the ten-feature action film collection No One Lives … Forever!, released in 2002 by the now-defunct BCI Eclipse DVD label, is an obscure 1999 Israeli oddity, Full Circle, directed by one Bernard McWilliams. The story concerns Boaz Golan, a Mossad agent sent to New York City in 1990 with the task of preventing a shipment of arms from reaching Saddam Hussein’s Iraq.

Golan is psychically scarred by the dual traumas of seeing his mother raped when he was a child and the adult experience of gory warfare in Lebanon (which, the movie deems it necessary to note, caused the hero to soil his pants). An early scene in Full Circle has Golan fantasizing about raping his female analyst, to whom he tells the blackly comedic war anecdote of discovering the bodies of a couple who had been unceremoniously killed in the middle of a blowjob.

Once he arrives in the United States, women find it difficult to resist Golan’s Hebraic charms, and a neighbor woman enthusiastically throws herself at him, enjoying a sex session on top of a table. Hilariously, the woman grabs a handful of what appears to be tapioca pudding and smears it across the Israeli’s ass in the heat of passion. Also true to the movie’s ethnic origin is a perverted scene in which the woman’s daughter discovers the mother’s vibrator and uses it as a toy airplane.

Full Circle Yuval Ovadia

Israeli superspy Boaz Golan in Full Circle (1999)

Being a spy and a Jewish one at that, Golan thinks nothing of lying to people to get whatever he wants. “I may be moving to New York to study engineering,” he gives as his reason for coming to America. He is also eager to demonize Saddam Hussein and to champion Israel as the ally of the U.S. “Saddam Hussein is crazy. He’s capable of doing anything,” Golan claims. “You know, if the Israelis hadn’t bombed his atom shell, he’d be using it right now against the United States.”

The action is stupidly pedestrian, with Golan depicted as a superhuman who is able to swing on a rope like Tarzan and have a fistfight even after being shot in the abdomen. A goofy scene of a dweeby Mossad asset being mowed down by a woman with a machine gun hidden in a baby carriage earns the movie some extra unintentional humor points, however.

The dull presence of singer-songwriter Richie Havens in a supporting role does nothing to enliven Full Circle, although his sassy girlfriend is an entertaining character, an anti-Semite who can smell an Israeli. In another scene indicative of Israeli attitudes toward American gentiles, Golan warms himself by a bum’s barrel fire, but becomes unnerved and flees when a vagrant approaches and giggles with a maniacal look on his face. This, no doubt, is intended as some sort of evocation of the eternal specter of the Shoah that hovers above all Jews.

The dialogue, typically Judaic, is filthy, with characters calling each other insulting names like “dickless piece of shit” and saying repugnant things along the lines of, “Wake up and smell my asshole.” Also quintessentially Israeli are soulless scenes of sleazy sex, meanness, and torture.

Whether or not Full Circle was designed primarily for American consumption is difficult to say. If so, the decision to leave more than one scene of this otherwise English-language film in untranslated Hebrew was poorly considered. Ludicrously, the end credits are interspersed with disingenuous anti-war messages like, “Instead of fighting one another we should fight those who make us fight.” A “special thanks” credit acknowledges the Broadcast Services of the Israeli Consulate for assistance in producing the film.

Yuval Ovadia

IDF veteran and Full Circle producer Yuval Ovadia

So far as this writer has been able to ascertain, the film has no listing at the Internet Movie Database, but the America-Israel Cultural Foundation website’s biography of one of its producers, Yuval Ovadia, gives information about a film titled Orphan of War which also seems to describe Full Circle:

Yuval Ovadia was born in Tel Aviv, Israel in October 31, 1965.

After serving 3 years in the Israeli army he flew to New York, planning to study filmmaking and acting in the best schools he could find.

In NY he studied at Lee Strasburg [sic] Institute, where he studied acting, singing and dancing. Later on he continued his studies at HB Studio, where he spent a long time under the late, famous Herbert Berghof and Bill Hickey. Then he studied all aspects of filmmaking at NYU Film School.

By the years 1996-1998 Yuval worked on a feature film called “Orphan Of War” – a 90 min, 35 mm Action/Drama, co-starring the legendary singer from Woodstock “Richie Havens” [who actually has only a tiny role]. In addition to co-producing this film, Yuval had starred in it, co-wrote the screenplay, edited, and came up with a music album called “Peaceful Circle” – based on songs from the film, which he produced together with Mr. Richie Havens.

[…] Yuval decided to go back to his roots and in 1999 he moved back from New York to Israel, were he got married and is having now 4 beautiful kids.

Full Circle, in short, seems to be as elusive as those notorious “Dancing Israelis” (creepily, Ovadia’s email address is listed as visual911911@gmail.com). The fact that the film is devoted to vilifying the Iraqi government, which would be overthrown by the Jew-puppeteered Bush administration in 2003 with September 11th utilized as the fraudulent pretext – in combination with the circumstance that the doomed Twin Towers make an appearance in the film along with a deck of tarot cards – adds up to Full Circle being a rather unsavory home theater experience. It may be worthwhile, however, for those with an interest in shitty action movies.

Rainer Chlodwig von Kook

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GR Spirit of Vengeance

An impudently silly film, this fast-paced 2011 installment in the spooky Marvel Comics franchise is less fun than its predecessor, but never boring as it bowls from one preposterous action set piece into another and more or less captures the feel of a comic book, if not necessarily the grim Ghost Rider comics this reviewer remembers reading in childhood. (Did the hero really ever urinate like a flamethrower in the original stories, for instance?) Johnny Blaze, who shares his body with the titular demon, is a reluctant, tragic monster in the tradition of The Wolf Man; but Spirit of Vengeance makes clear from the outset that nobody involved in this project took it the least bit seriously.

Primarily, this film is a slick, snarling vehicle for a lot of unexceptional CGI, with an absurdly intense Nicolas Cage going bonkers in a sidecar. Cage, particularly during the comical transformation sequences, is at his manic, twitching, grimacing, growling best here, and his anguished delivery of “Scrapin’ at the door! Scrapin’ at the door!” simply has to be seen to be disbelieved. Violently beautiful Violante Placido contributes more than her share of production value as Nadya, “the devil’s baby mama”, mother to Danny (Fergus Riordan), who is being sought by devilish avatar Roarke (Ciaran Hinds) and also by a fanatical religious order led by the sinisterly tattooed Methodius (Christopher Lambert). The gimmicky, ADHD-afflicted visuals and Blade-style speed-up/slow-down action sequences get old quick, but the script contains a few laughs and the pace allows for little slack. Furthermore, Cage’s madcap performance makes this mandatory for his fans.

3 out of 5 stars. Ideological Content Analysis indicates that Ghost Rider: Spirit of Vengeance is:

11. Anti-green. A hippie van hypocritically expels billowing black exhaust, as does Ghost Rider’s motorcycle.

10. Gun-ambivalent. Firearms are deployed for evil, but also utilized by the heroes.  Gunrunning is mentioned as a seedy line of business (see also no. 1).

9. State-skeptical. Politicians are acolytes of the unholy.

8. Pro-drug. Johnny Blaze guzzles painkillers like jelly beans and requests morphine in a hospital. Secondary hero Moreau (Idris Elba) drinks heavily, but suffers no impairment of his combat-readiness.

7. Racist and anti-Semitic! Moreau embodies not only the magical Negro stereotype, what with his inside information on the supernatural goings-on, but also the venerable old sacrificial Negro. “The church of my masters is an ancient one,” says Moreau – but what would a modern emancipated black man be doing with “masters”? Also, Jew Jerry Springer is pictured as an incarnation of the devil. When are race-reactionary films like this one and Little Nicky going to see the light and stop stomping for the next Holocaust?

6. Antiwar. A montage evocative of the idea of corruption intercuts hundred-dollar bills with shots of soldiers, explosions, and street violence (cf. no. 3).

5. Family-ambivalent. The film’s celebration of Nadya’s choices constitutes an attack on the traditional family, with the father in this case being depicted literally as the devil. Blaze is dedicated to his father, however, and only contracted his curse to try to save the old man’s life.

4. Xenophobic. As in Cat Run (2011) and A Good Day to Die Hard (2013), Eastern Europe is home to mystery, intrigue, mercenaries, and violence. A chaotic, layered satanic “firewall” incantation more than once includes sounds that resemble “Allah”.

3. Anti-capitalistic. The devil, who dresses like a conservative businessman, wields his greatest power through “the deal”. A sleazy businessman abortively propositions Nadya, assuming that because she is a gypsy she must also be a prostitute. She and her son work as pickpockets, feeling no shame or remorse because their need, they feel, is greater and more important than that of the more affluent people they victimize. “Everyone’s robbing me. It makes my balls hurt,” says one representative of the business community in a line which suggests that, for the affluent, money substitutes for manhood. Villains include mercenaries and gunrunners.

2. Pro-slut/pro-bastard. Spirit of Vengeance presents a heroic image of the valiant single mother in Nadya, who refers to her bastard child as “the one good thing I ever did.” Murderous Methodius judgmentally slut-shames her, however.

1. Christ-ambivalent. Spirit of Vengeance, true to its title, takes place on a battlefield of spiritual warfare. Satan (as the Louvin Brothers proclaimed) is real! – and so, therefore, are angels. Moreau “would be dead if not for the intervention of God” and wears a cross as a sign of his faith, but the film’s attitude toward organized religion is critical. “Guns and wine. Naughty priests.” The religious order’s abortive execution of Danny is vaguely pedophilic and circle-jerky. Other irreverent items of interest are the line, “Merry Christmas, you asshole!” and the fact that Blaze, taking part in an informal communion, reports that the body of Christ tastes stale.

Apropos of no. 4, note how even a superficially cute Super Bowl candy commercial can be mobilized to assist in conditioning Americans to view Slavs and Russians specifically as their enemy.

 

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Ride Along

Ice Cube plays straight man to clownish Kevin Hart in Ride Along, a decent urban action-comedy set in the mean streets of Atlanta, Georgia. School security guard and police force aspirant Ben (Hart) is in love and intends to marry his girlfriend Angela (Tika Sumpter). Unfortunately for him, Angela’s hard-nosed top cop brother James (Cube) thinks Ben is a punk with no potential. Ben hopes that admission into the police academy will change his prospective brother-in-law’s opinion of him, but James is having none of it and decides to take Ben out for a ride along, a training day of sorts, with the intention of scaring the piss out of the weasel and getting him out of his life and away from his sister for good.

Ride Along benefits immensely from stone-faced, masculine Cube’s presence in the driver’s seat, while his smoldering, in-yo-face attitude makes the perfect foil for Hart’s lightweight ridiculousness. The latter’s antics grow on the viewer over the course of the film; but Hart still comes across as something like a poor man’s Chris Tucker, so that one wishes a livelier, more monkey-like, and facially animated performer like Tucker or Marlon Wayans had been cast in the key comic role. Laurence Fishburne collects a paycheck in a smallish part as crime kingpin Omar, while third-billed John Leguizamo (thankfully) has even less screen time.

3.5 of 5 possible stars. Ideological Content Analysis indicates that Ride Along gets extra brownie points for including an Action Jackson reference and that it is:

7. Pro-family. James is fond of his sister and puts Ben through hell only out of a sense of protectiveness.

6. Drug-ambivalent. The morphine pumped into Ben to treat his gunshot wound is played for laughs, and Cheech and Chong are visible on a television screen in another scene. Alcohol, however, is bad news and could prevent a brother from playing basketball.

5. Feminist. Damsel-in-distress Angela frees herself from her bonds and gives some assistance to the boys with her frying pan. She also proves to be a natural at Ben’s first-person shooter game.

4. Neoconservative and anti-Slav. Ben does his part for the War on Terror by fighting the Taliban in his favorite video game. James is out to stop some Serbian gunrunners from providing Omar with the firepower he needs to take over Atlanta.

3. Statist/anti-gun. Ben, demonstrating Hollywood’s contention that the average Joe has no business with a gun in his hand, makes a fool of himself with a shotgun, giving the lie to the pro-gun poster behind him at the firing range. Security at the range is overly lax and Ben walks out with one of their guns. James, presumably the sort of government agent who, in Ride Along‘s view, should have the benevolently despotic monopoly on firearms, does his badge proud by engaging in a bit of glorified police brutality, slamming a shopkeeper’s head into a counter for no good reason.

2. Anti-police. Half the Atlanta police force is crooked, which would seem to conflict with the message intimated in no. 3.

1. Black supremacist. “I’m the brains. You’re the brawns,” James informs two fellow officers. White kids are a bad influence on an impressionable black youth, who could easily grow up to be a wino just by hanging out with them, Ben admonishes.

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