Archives for posts with tag: heist

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

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

PointBreak

Point Break (1991) *****  Point Break was this reviewer’s second Kathryn Bigelow movie after the underappreciated 1987 vampire horror Near Dark. Like that film, this one is a consistently inventive take on a standard genre, in this case action of the undercover and heist/caper varieties, that goes for a style-heavy approach that in no way detracts from the substance.

The cinematography, and particularly the overcranked (i.e., slow motion) work, is elegant and appropriate to the beauty the characters find in their various philosophically informed adrenaline rushes and passions of choice. The opening credits appear over intercut images of surfing and target practice – married pictures of recreation and violence – that capture the fun but dangerous tone and thematic concerns of the story as a whole. At times Point Break feels like an L.A.-flavored super-episode of Miami Vice, with its undercover operation, sun, and political cynicism – conveyed most creatively in its vision of American presidents as bank robbers, which underscores Point Break‘s constant relativistic tension.

Johnny Utah is an interesting part for Keanu Reeves, a transitional role bridging his 80s dude persona, as exemplified by Bill & Ted’s Excellent Adventure and Parenthood, with his later, more serious (but less noteworthy) turns in films like Speed and The Matrix. Reeves even does a little undercover work on the beach in Spicoli mode, acknowledging where he has been as an actor in the midst of cutting his teeth as a leading man of masculine weight.

Swayze is surprisingly scary and darkly charismatic here, and may prompt some viewers to wish he had essayed more antagonistic parts in his unfortunately short career. Busey is entertaining as always, as is Vincent Klyn (Cyborg‘s Fender) in his supporting gig as hardcore surfer hooligan Warchild.

This reviewer is tempted to place Point Break in the highest tier of 80s/early 90s action films. Point Break falls short of being a Conan the Barbarian, a First Blood, or a Running Man, but it is on a level with Red Heat or Shakedown and better than RamboCobra, or Death Wish 2. The absence of a Stallone or Norris in no way handicaps Point Break, an action-adventure-drama with a sensibility all its own. 5 stars, easy.

In the wild opening scene of Drew Daywalt and David Schneider’s 2002 film Stark Raving Mad, the protagonist, Ben McGewan (cocksure, handsome American Pie alumnus Seann William Scott), is defined in a single moment.  Alone on a savannah and faced with a lion, he keeps his cool and, instead of running, he flips the savage beast the bird.  In addition to instantaneously hooking the viewer’s interest into this character’s story, the gesture also tells the viewer who he is: a masculine, confident, charming rebel with a touch of zen about him.

Stark Raving Mad, living up to its title, is a caper film about teasing the venomous snake and challenging the king of the jungle, and works the way Sexy Beast might have played if it had been a stateside story directed by Danny Boyle or Guy Ritchie: flippant, frenetic, visually inventive, and still a little psychologically pimply.  Foul-mouthed as any Tarantino film and featuring the same sorts of casual hipster criminals, gratuitous anecdotes, faux-profound contemplations, and wacky, depraved situations, Stark Raving Mad is more fun than might be expected from a film of its gimmicky, derivative type.  As in the work of Ritchie and Tarantino, violence is trivialized somewhat, but the ride is so fast and sexy that the sin of it is beside the point.

Sin does, however, figure thematically in Stark Raving Mad and help to energize it, set as it is in a decadent rave club that could double as some other movie’s futuristic Sodom, what with its lurid, luminous greens, cavernous blackness, wet trance music, neon, drugs, and hive of willing bodies.  As Ben and his motley crew of amateurish crooks are in the basement trying to break into the vaults of the bank next door, floozies and incubi rock the dance floor above, with drag queens performing an S&M show onstage with a snake and date rape drugs floating nonchalantly around the club.  At one point the python gets loose (an excuse for a bit of zippy snake-vision camera work) and wraps itself around a party-goer as a reminder that fire is hot but also burns.  It is, however, the daredevil dance around the fire that primarily concerns Stark Raving Mad.

Indicative of the film’s will to party is its decision more than once to break the fourth wall, with two characters, Ben and Rikki (Timm Sharp), addressing the viewer directly.  This gimmick, immediately calling to mind Ferris Bueller’s Day Off, complements the self-conscious mischief of the film as a whole and reinforces a parallel between Ben’s relationship with depressed buddy Rikki and Ferris’s patronage and concern for milquetoast sidekick Cameron.  Stark Raving Mad is a much sleazier entertainment experience than Ferris – to be expected in a film with a list of characters including “Seedy Guy”, “Sickly Thin Guy”, and “Trannie #3” – but also captures something of its anarchic validation of salutary revelry and rebellion for its own sake.

A little bit more than just a style-over-substance fix, this one is recommendable for its non-stop neo-disco-gothic visual sensibility, but also for its humor, some adequate suspense, and the anchoring performance of Seann William Scott and supporting players Sharp as Rikki and Lou Diamond Phillips as scary gangster Mr. Gregory.

4 out of 5 possible stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that Stark Raving Mad is:

9. Anti-Christian/anti-religion.  Oriental mythological beliefs, characterized as superstition, receive more attention than western spirituality.  “Help me, Jesus, help me!” a DJ (Jody Racicot) says in sarcastic despair when told to play a song he dislikes.  Ben, in a tight spot, irreverently invents a lie about a character’s religious tenets to fool an FBI agent.

8. Feminist, at least with respect to the intelligent, technologically adept Betty (Suzy Nakamura).  “Stop bustin’ my ovaries,” this probable lesbian sasses.  “I said have a seat and have some kung pao chicken,” she asserts with menace at one point, transforming hospitality into a threat.

7. Homosexuality-ambivalent.  From the standpoint that all publicity is good publicity, Stark Raving Mad gives an endorsement.  “I feel love,” pyrotechnics man Jake (John Crye) says, arms around a man and a woman, probably under the influence of ecstasy.  The transvestites, though loutish and ugly behind the scenes, put on a sexy show with their makeup masks and tacky regalia.  However, Rikki fears the inevitability of prison bitchery should he be caught by police, imagining that he would emerge from incarceration looking like a doughnut.

6. Anti-state, presenting an unflatteringly seedy portrait of one public servant.  A character eventually revealed to be an undercover FBI agent (NewsRadio‘s Dave Foley) talks about how he likes his chickens frying size.  “These dirty little meat flowers nowadays, they’ll just like strip and jump your donkey anywhere, huh?”

5. Racist!, specifically in its depictions of Asians.  Betty, while smart and confident, is also sarcastic, mannish, and unpersonable.  Most of the other Asians in the film are superstitious gangsters, the only other one being an unseen and apparently stupid or English-challenged Chinese restauranteur with whom Ben has difficulty communicating his order over the phone.  A shrilly annoying rendition of “Sayonara” plays over the denouement.  Also, “mongoloid” is employed as an insult.

4. Drug-ambivalent.  Jake is incapacitated by a drug-spiked drink.  “I work better stoned,” he says earlier in the film, but events fail to bear this out.  Cigarettes, however, lend an air of experienced toughness to Ben and Betty.

3. Family-ambivalent.  Parents receive poor representation, but Ben is motivated all along by a desire to seek revenge for his brother’s death.

2. Misogynistic, sexist, and slut-ambivalent.  With the exception of Betty, no female character in Stark Raving Mad has a shred of dignity.  Women are sluts, fickle in their affections, and exist to serve men drinks and sensual pleasure.  Ben, after describing a type of bird that eats its mate’s heart after sex, explains, “I think it’s because she’s just a bitch.”  Vanessa (Monet Mazur), a former recipient of his attentions, once broke out his windshield, cooling his desire to have a woman in his life as a permanent fixture.  Later, after telling her “Fuck you”, he has sex with her but breaks off abruptly when caper business intervenes.  At the end, after the heist is accomplished, he throws her out of the getaway van.  Hungry club cutie Kitten (Reagan Dale Neis), after settling for dweeby Rikki by default and pleasing him on a sluttish whim, only earns him a brutal beating when her father (Foley) discovers their dirty deed.  On the pro-slut side of the equation, however, is Ben letting a bevy of underage girls into the club and a scene in which one woman receives cheers for flashing her crotch to be let into this apparently very happening nightspot.

1. Outlaw/anti-capitalistic.  An announcement of “X marks the spot” serves to cast the robbers as modern-day pirates and adventurers.  Crime, fraught with danger for them though it may be, works out in the end for Ben and his friends.  “I got the money, I got revenge, and nobody got killed.  Hell, Rikki even got laid.”  Which is to say that it pays.  A nasty split-screen montage with a drill equates bank robbery with sex.  The film’s representative businessman is club proprietor Mr. Partridge (Adam Arkin), who is punished for attempting to assert his prerogatives as a property owner.  Also, Betty’s former employer at a software firm is described as “some asshole”.

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!