Archives for posts with tag: Mitt Romney

Captain Phillips

An exceptional naval thriller based on the actual 2009 kidnapping of Captain Richard Phillips by Somalian pirates, Captain Phillips (2013) marks yet another career highlight for capable star Tom Hanks. Taut, exciting, and scary throughout, the film succeeds largely due to the presence of Hanks in the likable lead. Also contributing to its impact, however, is the presence of such ugly, menacing blacks in the roles of the antagonists, particularly Barkhad Abdi as pirate ringleader Abduwali Muse. Any self-respecting white person watching this movie will be terrified.

5 stars. Ideological Content Analysis indicates that Captain Phillips is:

7. Ostensibly egalitarian. As a fig leaf to cover its obviously obscene racism, the film includes a line about how Somalian men have no economic opportunities apart from fishing and piracy, the former option being limited after western fishing vessels have depleted their waters’ stock of fish. The poor, disadvantaged chaps just happened to have the bad luck of growing up in a dangerous environment exacerbated by the West’s capitalist imperialism.

6. Pro-drone. A “Scan Eagle” conducts surveillance as part of the mission to rescue the captain.

5. Pro-family. Phillips’s thoughts are with his family during what may be his last moments on earth.

4. Pro-gun. A valid complaint from the crew is that their ship has no weapons with which to repulse the invaders.

3. Pro-military. Navy SEALs enact the role of the proverbial cavalry coming to the rescue.

2. Neoconservative. Set in March of 2009, shortly after the inauguration of Obama, the film features an early scene in which Phillips exchanges nervous remarks with his wife about the changing nature of the times. In production during the presidential election year of 2012, Captain Phillips benefited from serendipitous onomastic circumstances of the historical Phillips narrative. The Navy dispatches the USS Bainbridge and USS Halyburton to intercept the hijackers and retrieve Captain Phillips. How perfect is that? Bain Capital and Halliburton speed to the rescue of white America, held hostage by African terrorist Muslims just like President Obama! Good thing the U.S. has so much world police man and materiel invested in the Middle East, as well, or else Captain Phillips might not have been saved so quickly – if it all!

1. Racist! Mainstream political discourse disallows Republicans from discussing race in any but the most mincing and counterproductive of terms. Suppressed neoconservative racism, consequently, can only express itself as hatred of foreign Muslims or else encrypt itself as is the case with the thinly veiled subtext of Captain Phillips. A ship is a world unto itself, and just as the prison vessel in Escape Plan (2013) works as a floating microcosm of the American police state, so the Maersk Alabama functions as a representation of an American polity subject to a demographic shit-hurricane. Just as Bull Connor, Birmingham’s Commissioner of Public Safety during the 60s, tried to be civil and used restraint in only hosing revolting congoids who invaded his community, so the moderate captain of the Maersk Alabama hopes to stave off the pirate attack by holding their boat at bay with his ship’s several powerful hoses. As Montgomery fell to the blacks, however, the Alabama is boarded and occupied by the party of Africans.

“Is this how you do business?” Phillips asks as the invaders brandish their weapons. The pirates, like American blacks, take from others to further their parasitic mode of living. Like American blacks, too, they are never satisfied. After flash-mobbing the ship and being offered $30,000 to leave, they demand millions more and take a hostage to ensure that they receive it. (“When we get paid, everything gon be OK.”) Negotiation with the savages – in other words, more political moderation and compromise, disingenuous dialogue, hand-wringing, and flattery, as Phillips advises his men to “make them feel like they’re in charge” – is of course futile, and only results in the good-natured captain being kidnapped. A third vessel participating in the Phillips rescue mission along with the USS Bainbridge and USS Halyburton is the USS Boxer, significantly a “Wasp-class” amphibious assault ship, a designation further emphasizing the racially informed nature of the conflict. The Somalian pirates – again, like America’s blacks – are prone to self-pity and bickering, prompting Captain Phillips in a moment of candor to tell them, “Your problem is you.”

The lesson to be had from Captain Phillips? Communities, like ships, should be armed and ready to fight to keep out the undesirables.

Red Dawn poster

A shameless stain on the legacy of the 1984 John Milius classic, this insufferably p.c. 2012 remake pits a multiracial mix of forgettable youngsters against invading North Koreans. Chris Hemsworth has clearly been cast for a passing resemblance to Patrick Swayze, but neither he nor anybody else in the cast can redeem this erratic, soulless dreck. Gone are the gorgeous score, the memorable characters, and the sense of a real place and community that charged the original with such emotion and roused viewers to patriotic outrage. When, contrarily, all that the Wolverines stand to lose in their war is Barack Hussein Obama’s America, where are the dramatic stakes?             

2 stars. Ideological Content Analysis indicates that Red Dawn is:

3. Pro-miscegenation. Girls express disappointment that a strapping young black buck dismisses them as unworthy of him.

2. Multiculturalist. Celebrating the contributions of citizens of all colors, the remake makes sure to include an Asian-American soldier so as to counterbalance the negative impression given by the totalitarian North Koreans.

1. Neoconservative. A confused montage of news clips gets across the idea that the world is in the grip of a confluence of crises and that Obama’s presidency coincides with American decline. Among the broadcast snippets is an assertion that America’s military is overextended abroad; but, rather than being a reasonable caution against unnecessary overseas adventurism, this is likely included by way of panhandling for an even more bloated defense budget. The lame choice of invaders corroborates George W. Bush’s “Axis of Evil” speech, and the additional revelation that the Russians are backing them goes along with the prevailing Zionist anti-Russian demagoguery spewed by the likes of Mitt Romney, who during his presidential campaign referred to Russia as “America’s number one geopolitical foe”.

An opening shot of a drooping American flag signals Compliance‘s relevance to the lugubrious American condition.  This symbolically loaded true crime story begins when Sandra (Ann Dowd), the manager of a fast food restaurant, receives a call from a man (Pat Healy) claiming to be “Officer Daniels” of the local police department.  He informs her that one of her employees, Becky (Dreama Walker), has been accused of stealing money from a patron’s purse and that she is also a person of interest in a broader investigation.  Sandra, under an unusual amount of stress, is eager to comply with the caller’s instructions, no matter how unorthodox these would appear to be.  She complies, for instance, with his wish that Becky should be detained a back room of the restaurant, her belongings searched, and even her clothes removed.  Over the course of the evening “Officer Daniels” instructs Sandra and others to guard and physically and psychologically torture Becky, sometimes meeting with principled resistance on the other end of the line, but, to his immense delight, usually not.

The situations presented in Compliance are absurd and occasionally funny, but more usually disconcerting in reflecting the gullibility of a nation willing to take any figure of putative government or corporate authority at face value as an arbiter of right and wrong and true and false.  “I’m going to need you to address me as ‘sir’ or ‘officer’,” “Officer Daniels” says, and his unwitting dupes comply.  Merely claiming that “this is procedure” or “a standard thing” is sufficient in most cases; but “Officer Daniels” also understands the cowering child (or usefully childish idiot) in people and knows the value of a paternalistic tone when he says, “I don’t really have time to debate it with you, son” or “You need to watch your mouth, son.”  These last items also point to the inconvenience of free speech and dissent to overly ambitious rulers, and just as duplicitous regimes have always sought the hearts and minds of their people, “Officer Daniels” couples his verbal intimidation with flattery, telling a pleased Sandra, for instance, that she is being “very professional” by following orders and that she is “almost like a real cop.”  All the while “Officer Daniels” is nothing but a perverted prank caller.

The cello-and-xylophone score perfectly captures the tragicomically depressing absurdity of a country of docile pawns who consume fast food not just with their mouths, but with their minds as well.  Compliance is about more than a self-contained human resources debacle; it exposes the idiocy of a nation of sheep who believe that the welfare-warfare state and puppet authoritarians like Obama and Romney have their best interests at heart.  A shocking statistic given at the end of the film should offer viewers a salutary serving of food for thought.

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

4. Diversity-skeptical.  A black fast food employee is thoughtlessly foul-mouthed.

3. Anti-corporate.  “Corporate always wants two people for a strip search.”

2. Anti-slut.  Society’s normalization of female depravity makes Becky an easier mark for the more extreme demands made by “Officer Daniels”.

1. State-skeptical.  Like always, they persuade you.


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