Archives for posts with tag: Iraq war

Deadpool

Marvel antihero Deadpool’s leap to the big screen manages to be highly entertaining in spite of having one of the most unnecessarily filthy and anally fixated scripts this reviewer has ever encountered. Ryan Reynolds is frivolous but funny as the frenetic special forces fighter turned mercenary – “a bad guy who gets paid to fuck up worse guys” – in what may be the most successful incarnation yet of the wisecracking hipster-as-superhero genre. Fast-paced and guaranteed diversion for devotees of the cult of hyperviolence and slow-motion bullets.

4.5 out of 5 stars. Ideological Content Analysis only recommends seeing Deadpool for free, if possible, and indicates that it is:

9. Pro-brony. The hero masturbates while amusing himself with a stuffed animal.

8. Gun-ambivalent. Deadpool owns a number of guns, but forgets to bring these to the final battle. He proceeds to demonstrate how an accomplished action hero does not need an arsenal to dispatch a heavily armed pack of henchmen.

7. Disingenuously anti-torture. Supervillain Ajax (Ed Skrein) subjects Deadpool to atrocities reminiscent of War on Terror interrogations and Abu Ghraib indignities in his efforts to activate Deadpool’s recessive mutant genes, but Deadpool himself also employs torture to get information out of opponents. “I may be super, but I am no hero,” he says by way of a disclaimer – a distinction that will be lost on all of the adolescent boys who watch Deadpool. “And, yeah, technically this is murder,” he says, flippantly dismissing his impalement of a bad guy, “but some of the best love stories start with a murder and that’s exactly what this is – a love story.”

6. War-ambivalent. War, it is suggested, is an evil enterprise, but the film makes light of wartime experiences that allowed Deadpool to travel to “exotic places – Baghdad, Mogadishu, Jacksonville – meeting new and exciting people.” The general incendiary bombast of the movie makes combat seem like a blast.

5. Anti-South. The South, as the above quotation demonstrates, is equated with the Third World.

4. Pro-drug. “God, I miss cocaine,” gripes Deadpool’s roommate Blind Al (Leslie Uggams). Learning a stash of cocaine is nearby, Deadpool’s friend Weasel (T.J. Miller) asks her, “Wanna get fucked up?”

3. Misandrist. A slap on the ass warrants vengeful crotch-clenching. Even gentlemanly behavior meets with genital abuse. Both Deadpool and Colossus must be rescued by women, and National Women’s Day occasions an unreasonable sexual favor from the protagonist.

2. Anti-family. Deadpool, a “sexy motherfucker”, exchanges dysfunctional family stories with a prostitute (Morena Baccarin). “Daddy left before I was born,” etc. Deadpool claims to have been molested by his uncle, to which she replies that more than one uncle raped her. “They took turns.” It is also suggested that Deadpool has carnal knowledge of his father when he reaches behind himself, feels Colossus’s cock, and asks, “Dad?” The film furthers the process of pedophilia normalization by trivializing child abuse.

1. Pro-gay. “Oh, hello. I know, right? Whose balls did I have to fondle to get my very own movie? I can’t tell you, but it does rhyme with ‘Polverine’. And let me tell you, he’s got a nice pair o’ smooth criminals down unda.” One of the most butt-centric movies in some time, Deadpool makes more than one reference to the hero’s anus as a sexual organ. His “on switch” is next to his prostate, he hints, and the viewer is even treated to the sight of his girlfriend (Morena Baccarin) screwing him in the posterior with a strap-on. It is also insinuated that he has been hiding her engagement ring in his rectum. Then, too, he takes a bullet right between the cheeks and threatens an adversary with a reference to his “hard spots”. “That came out wrong – or did it?” he asks, kissing him. Deadpool is “pretty sure Robin loves Batman, too.” An animated version of the protagonist sports an extensive erection when Ed Skrein’s credit comes up at the end.

Rainer Chlodwig von Kook

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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