Archives for posts with tag: Keith David

Assault-On-Wall-Street-Dominic-Purcell

Prolific writer-producer-director Uwe Boll, best known for notoriously reviled horror films like House of the Dead (2003) and Alone in the Dark (2005), now taps into understandable populist rage at the crony capitalist establishment with the depressing Assault on Wall Street. Powerfully built Dominic Purcell, something of a poor man’s Clive Owen, stars as down-on-his-luck security guard Jim Baxford, who, after losing his job and his wife (Erin Karpluk) following her protracted illness and financial anxiety suicide, decides to diversify his portfolio with a little vigilante vengeance directed at the seemingly untouchable high-rollers and bankster exploiters he holds collectively responsible for his personal tragedy.

Purcell is adequately tough and earnest, if not particularly interesting, in the lead; but it is in two key supporting roles that Assault on Wall Street shows true inspiration in casting. An aging John Heard is the perfect choice to play number one on Baxford’s hit list: selfish, nihilistic toxic investment CEO Jeremy Stancroft. Even greasier, however, in a role one wishes had been expanded, is uber-oily Eric Roberts as money-grubbing attorney Patterson. Roberts has aged, if not quite gracefully, then fascinatingly, with a uniquely silverfish-like screen presence that ideally lends itself to high villainy. Other familiar faces in the cast include Keith David, Edward Furlong, and Michael Pare as Baxford’s buddies Freddy, Sean, and Frank.

Assault on Wall Street is a decent rental, but may disappoint vigilante fans by spending too much time (nearly an hour) on the humiliating build-up and not enough on the retribution so temptingly advertised in the title. Consequently, it earns a modest 3.5 of 5 possible stars.

Ideological Content Analysis indicates that Assault on Wall Street is:

11. Pro-police. Cops are depicted as human types who share in the general plight and sympathize with Baxford’s mission.

10. Anti-slut. “I’m gonna get an STD from this sandwich,” Frank teases a waitress. Corporate bigwigs consort with whores.

9. Christ-ambivalent. While a preacher attempts consolation, mouthing, “God visits us with many mysteries in life,” Baxford rather takes to heart more militant Biblical passages such as, “He trains my hands for war” (cf. nos. 1 and 7)

8. Marriage-ambivalent. Baxford’s marriage is a devoted one and would, if not for her illness and his financial worries, be happy. Friend Frank’s wife, however, is a cheater.

7. Antiwar. Baxford is a veteran forgotten in his time of need by the country that used him. In reply to the idea that violence is not a solution, a caller to a radio program asks, “Isn’t violence the official solution in Iraq and Afghanistan?” (cf. nos. 1 and 9)

6. Postracial, with blacks and whites interacting as friends irrespective of racial differences. And to demonstrate that his is an equal opportunity beef, Baxford even liquidates a few blacks along with the many white guys in suits and ties.

5. Drug-ambivalent. Baxford smokes philosophically and his friends are enthusiastic drinkers. “Let’s go get some alcohol, make the pain go away.” Baxford, in the wake of his personal ruin, is invited to “watch the game and do some serious drinkin'” for therapeutic purposes. But a man is claimed in a news report to have died in a “drunken accident”.

4. Anti-state. The cronyist statist quo, or the “plutocratic capturing of American politics”, transcends Republican vs. Democrat squabbles, with Bill Clinton, George W. Bush, Chris Dodd, and Alan Greenspan getting name-dropped as culpable players. At a lower level of weaselliness, Assistant D.A. Marwood (Barclay Hope) insensitively brushes off Baxford’s concerns. That Baxford is able to purchase military wares from a black market gun dealer (Clint Howard) militates against the notion that government-mandated gun control is effective or enforceable. Betraying the movie’s mixed messages about the place of government, however, is the fact that deregulation is also blamed for the ’08 collapse.

3. Anti-corporate. “The real fuckin’ criminals –  they’re downtown [i.e., on Wall Street].” Goldman Sachs, MF Global, Cerberus Capital, JP Morgan, and Lehman Brothers are among the outfits that receive negative product placement.

2. Anti-capitalistic. “System’s rigged, motherfucker.” Told “Fuck you,” a banker calmly replies, “That’s a fair response, I suppose.” Free market talk conceals an “anything goes mentality”. “The rich still get richer and the poor get poorer.” Stancroft justifies his misdeeds with a social Darwinist outlook. “That’s the free trade system, my friend,” he says. “That’s capitalism.” “There’s not a person on this earth who’s worth over a hundred million dollars that came by that money honestly.” The film also evinces a naive sympathy for the homeless, juxtaposing their plight with the ease of the leisure class.

1. Pro-vigilante. Baxford is his own law, but also a people’s fury, and wears an Anonymous-reminiscent white mask for the final killing spree.

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snowflake

Realized through a mixture of live action and computer-generated animation, this Spanish-produced film follows the fortunes of Snowflake, the world’s only albino gorilla, who as a child is taken by force from her parents in Spain’s colony of Equatorial Guinea and sold to a zoologist, who gives Snowflake to his daughter Wendy (Claudia Abate) as a pet. Wendy and Snowflake become bosom companions, but Snowflake’s life is again upturned when Wendy’s father deems her too old and troublesome to be kept as a pet and sends her to live instead in a zoo with other gorillas.

Unfortunately for Snowflake, the papa gorilla is prejudiced, takes an immediate disliking to her, and would rather his two children, Petunia and Elvis, had no association with her. Snowflake is understandably ashamed at being different, and sets out with friendly red panda Jenga to find the Witch of the North (Elsa Pataky), who can turn Snowflake into a normal, black gorilla so she can fit in with her peers. Meanwhile, the evil and superstitious Dr. Archibald Pepper (Pere Ponce) has designs on Snowflake’s heart, not in the emotional sense, but as an ingredient in a potion he hopes will give him eternal life.

Children will enjoy this simple story, the innocent Snowflake being an impossible heroine to dislike. The animation ranges from tolerable to excellent, and the jokes, of the “monkeying around” variety of wordplay, are hit-and-miss; but the film is sufficiently fast-paced to keep both young and old from falling asleep. Voice-over actors in the English-dubbed version include Christopher Lloyd as the goofy Dr. Pepper, David Spade as zen-aspiring red panda Jenga, and Keith David as the father gorilla. Surprisingly, the English version even includes an allusion to David’s role in John Carpenter’s alien invasion classic They Live, when, aping (no pun intended) Roddy Piper’s character in that film, he says, “I do two things: eat bananas and kick butt. Looks like we’re almost out of bananas.”

Jenga sums up the movie’s lesson when he says, “At the end of the day, being yourself always means being a little different.” In addition to the prevailing messages of tolerance and self-esteem, young audiences are also reminded of stranger danger and of the value of family. Mildly gross humor includes nose-picking, with cartoonish violence fairly frequent. Potentially objectionable moments include Dr. Pepper chasing Snowflake with an axe and brandishing a machete as he threatens the beautiful Witch of the North, “You won’t be pretty when I’m done with you.” Mothers may also want to be aware of one borderline raunchy scene in which Jenga, understandably eyeing the Witch’s shapely rump, observes, “Ooh, you know I might be missing out on some stuff with all this purification.”

3 of 5 possible stars. Ideological Content Analysis indicates that Snowflake the White Gorilla is:

11. Class-conscious. Dr. Pepper, though wealthy, is a miserly tipper.

10. Media-critical. Media reliability is implicitly questioned when a news broadcast about Snowflake erroneously uses footage of Petunia instead.

9. Pro-police. Cops, after catching Pepper, flash peace signs.

8. Secularist/skeptical. Reason is more valuable than superstition or new age spiritual notions of karma and meditation, Jenga’s jargon stock-in-trade.

7. Animal rights militant. Hunters, ivory collectors, and other victimizers of animals are depicted negatively.

6. Anti-colonial. Just as progressivist wisdom dictates that the Third World must liberate itself from its western masters (even when, as in the case of Equatorial Guinea, this invariably results in terror, tyranny, and a degraded standard of living), it is part of Snowflake’s coming of age that she separates from her adoptive family of humans and self-actualizes among her own kind. (To the extent that the representative of the colonized country is an animal, the film is perhaps unintentionally racist.)

5. Multiculturalist/pro-wigger. Jenga, making the racial subtext of the film explicit, says, “She wants to be black, you moron. It’s actually not uncommon in teenagers.” Snowflake and friends, during the end festivities, do a negroid dance to kiddie hip-hop. Jenga sassily calls Snowflake “girlfriend”.

4. Mildly feminist. Snowflake is tough and adventurous. Wendy’s mother, though the typical homemaker of Franco’s traditionalist Spain, perhaps hints at the advantages of sexual equality and women in the workplace when she observes, “It’s not easy living off of one income.”

3. Arguably irreligious, specifically constituting a coded attack on Catholicism. Dr. Pepper derives his outmoded superstitions from an ancient Latin text full of arcane lore and prescriptions, and his devotions include the lighting of candles on an altar. His beliefs and his yearning for eternal life are psychologically unhealthy “childhood hangups”, the viewer is told. Jenga mocks him and possibly alludes to Jehovah’s Witnesses when he says, “Shouldn’t you be going door to door telling people about your weird obsession?” The Witch of the North, looking into Dr. Pepper’s favorite book and seeing what it has to say on the subject of white gorillas, objects, “Oh, my God, that must be a mistake.” Religion, Snowflake the White Gorilla teaches, must be bent to accord with social progress. Subversively, the Witch is the more likable character.

2. Pro-family. Families, though not perfect, are generally useful and loving units. Wendy, thinking she might die, reflects, “I should have been nicer to my parents.”

1. Pro-miscegenation and anti-racist (i.e., pro-yawn). The film ends with a white gorilla/black gorilla kiss. A red panda may also have the hots for a human.

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