Archives for posts with tag: Milo Ventimiglia

Art of Racing

Not being an animal lover, I’ve never been much of a dog movie aficionado; but now and then, if I’m feeling up for some furry sentimentality, a properly heart-tugging pooch pick can hit the spot. The Art of Racing in the Rain, pleasantly, is a superior entry in the genre and distinguishes itself with a benign eccentricity. Kevin Costner furnishes the voice of Enzo, who narrates his life with his friend and master, Denny (Milo Ventimiglia), an up-and-coming race car driver and all-around likable and lickable guy. Enzo’s idylls are complicated when Denny falls in love and eventually marries and starts a family; but, even though he now has to share his best friend with these newcomers, Enzo selflessly remains his master’s devoted companion. The old dog increasingly feels a sense of helplessness as tragedy visits Denny’s household; but, though Enzo is mostly a passive observer and not an important player in the human events around him, he does get the chance to give his master a crucial nudge when it counts. With the exceptions of its abundant pee-pee-poo-poo content and Enzo’s brief, off-color remark about the plumpness of a pair of human buttocks, The Art of Racing in the Rain is a shockingly wholesome and politics-free dog-centric family drama, with no drag queens, beleaguered refugee children, or man-made climate change catastrophes to be found.

4 out of 5 stars. Ideological Content Analysis indicates that The Art of Racing in the Rain is:

Media-credulous. Enzo views television as a valuable source of information and insight into human behavior.

Class-conscious. Though he never exactly articulates it, Denny’s wealthy father-in-law clearly looks down on Denny’s working-class background and ungentlemanly profession. When the father-in-law attempts to manipulate the justice system to wrest custody of Denny’s daughter away from him, the viewer is left with the impression that the rich use the courts as a venue for class-based lawfare.

New Age, promoting the idea of reincarnation. Enzo hopes to experience his life so deeply that he will imprint its lessons and memories on his soul for his next life as a human. “I know death is not the end,” Enzo insists.

Pro-life and pro-family. “It must be amazing to have a body that can carry an entire creature inside,” remarks Enzo when Denny’s wife becomes pregnant. Later, after the baby is born, he reflects, “I had never encountered a creature quite so beautiful.” Denny is even forgiving of his jerk father-in-law after his ordeal in the courts, the integrity of the family bond being paramount.

Pro-white. Intraracial procreation by healthy, attractive, and intelligent white people constitutes a revolutionary act in America’s twenty-first century. In Denny, The Art of Racing in the Rain presents a positive image of a white father who even evinces a hint of the Faustian when he explains, “if you intentionally make the car do something, you don’t have to predict. You control the outcome. […] When I’m in a race car, I’m the creator of my own destiny. That which you manifest is before you. Create your own conditions and rain is just rain.” Later, Enzo observes that Denny has willed a victory into reality “because he needed one.” At the end of the movie, Denny lives happily ever after – significantly, in Europe. (Interestingly, identitarian sentiment even exerts a nagging but ineffectual pull on Enzo. “I thought about escaping,” he says. “I wanted to push everyone away and run off to live with my ancestors on the high desert plains of Mongolia.” Earlier, Enzo makes the ambiguous confession, “Sometimes I hate what I am.” It is not entirely clear from the context whether he means only that he would prefer to be a man, or whether he indicates resentment about his subservient status. Does he sometimes hate being a dog or only being a domesticated dog?)

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

Wild Card

Revenge for a raped prostitute might sound like less-than-thrilling motivation for an action hero, but it works nevertheless to propel this uncharacteristically character-driven Jason Statham vehicle. The Expendables star here plays Nick Wild, a skid row Las Vegas “security consultant” in Simon West’s quality realization of a thirty-year-old William Goldman screenplay. A British special forces veteran who can take care of himself, Nick is also a self-destructive compulsive gambler and drinker who has to grapple with his own shortcomings as well as the gangsters who want him dead. Something of an odd couple dynamic comes into play when Nick is befriended by a nerdy software millionaire (Michael Angarano) looking to be initiated into the world of danger and excitement. Some of the exchanges between these two have a rather phony and forced cleverness; but the script, on the whole, is highly engaging and full of fun and surprises. The cast of familiar faces includes Stanley Tucci, Hope Davis, Anne Heche, and Jason Alexander in minor roles.

4 out of 5 stars. Ideological Content Analysis indicates that Wild Card is:

6. Misandrist. An abused woman (Dominik Garcia-Lorido) threatens to sever the penis of a cocky misogynist (Milo Ventimiglia).

5. Corporate. A big-titted Latina (Sofia Vergara) squeezes in a quality plug for the junk food complex when she orders a Diet Pepsi. Putting in a good word for the usury industry, Statham’s credit card comes in handy when he uses it put a gash on a bad guy’s head. He also mentions eating Wheaties as a source of energy.

4. Anti-Christian. Set against the tacky blinking backdrop of one of America’s sleaziest, most Judaically resonant metropolises, Christmas is a hollow observance with no meaning. Simon West, in his commentary, relates that “the Christmas theme in the movie meant that I wanted to get some actual Vegas at Christmas footage, but […] unfortunately Vegas doesn’t seem to celebrate Christmas that much.”

3. Anti-Semitic! “You’re not supposed to like Vegas,” Nick explains of the city that Bugsy Siegel built. “It’s just this creeping virus people catch sometimes.”

2. Anti-gun. Nick rejects firearms, demonstrating instead how simple objects like silverware and ashtrays can be used to debilitate armed assailants.

1. Pro-miscegenation and anti-white. Most appallingly, Wild Card contains a scene of flirtation between Nick and an unappealing black hotel maid (Davenia McFadden). “Too bad you got all that British blood in you,” she teases him. “If you was black, I’d bed you good and fast.” “You can make believe,” Nick encourages her. “Nah,” she replies. “Don’t think this is racial or anything, but I never feel like you people are clean. This is a housekeeper you’re talking to, remember? I can tell if a Brit’s been in a room [snaps] just like that.” This dialogue suggesting that Brits are unclean makes little sense until one listens to Simon West’s commentary. “In the original script, the [Nick] character was actually Hispanic,” he reveals, “so we had to change the racial stereotyping.” Mexicans can no longer conscionably be depicted as dirtbags, but Englishmen are apparently still fair game. Three decades ago, when the screenplay was written, the occasional spot of political incorrectness was still permissible at the multiplex; but, fortunately for public morals, Wild Card was filmed in the current year, so to speak.

Rainer Chlodwig von Kook

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