Archives for posts with tag: Navy SEALs

Ready 2 Die

After robbing a Federal Reserve Bank branch and leading the LAPD on a televised freeway chase (“like O.J., Holmes”), four luckless desperadoes find themselves stranded without a car in East L.A., pursued both by the authorities and – after a “ghetto APB” and word of their loot gets out – their greedy fellow gangstas as well.

Writer-director John Azpilicueta stars as the bereaved Lucky, dismissed from a SEALs training camp for “emotional problems”; Jacob Martinez is Smiley, a chubby old thug who tried in vain to go straight, but whose financial troubles have thrust him back into a life of crime; and Pablo Hernandez is Psycho, a hitman who pretty much lives up to his name. The most interesting character, dishonorably discharged Ranger and Coolio haircut hood rat Sniper, is played by Bless May, who unfortunately receives the least screen time of the foursome.

Azpilicueta’s film, typical for an Asylum release, is shoddy and rough-hewn, with crap special effects, some substandard acting, too little coverage for action scenes, and overreliance on quick cuts and shaky-cam cinematography. A series of black-and-white flashbacks, intended to humanize the leads, only succeeds in stalling the action; but sleazebags attracted to a movie as underachievingly titled as Ready 2 Die will no doubt be entertained by its ready abundance of murder, profanity, rape, and pandemic nastiness.

3.5 out of 5 stars. Ideological Content Analysis indicates that Ready 2 Die is:

7. Anti-Christian. More than one thug is adorned with a cross, either as a necklace or a tacky tattoo.

6. Anti-marriage. A mulatto wife is a lazy, unfaithful freeloader.

5. Miscegenation-ambivalent. The aforementioned wife is, however, depicted as quite the sexual trophy and gets the hiding heroes excited as they voyeuristically enjoy the sight of her in the act of adultery.

4. Anti-bankster. The fact that the crooks attack a Federal Reserve bank makes them, if not quite sympathetic, at least not as dastardly as if they had robbed a small business like a liquor store. Ready 2 Die conveys a generalized anger at the economic plight of the country; and, without articulating any particular argument, the movie seems to be suggesting blame by flashing the Federal Reserve Bank sign during the opening robbery. Sniper is unemployed, and the fact that Smiley is behind on his house payments reminds viewers of banks’ predatory lending tactics.

3. Anti-police. Ready 2 Die evinces either indifference toward the “fucking po-po” or, if anything, actual hostility, casting them as the pesky antagonists who pursue the central characters.

2. Anti-war. Sniper expresses the nihilism of war brought home when he says that shooting at police cars and helicopters is “just like Fallujah, baby – just different motherfuckers.”

1. Racist! Ready 2 Die demonstrates as well as a movie could why even minorities have reason to fear the eventuality of their neighborhoods going majority non-white. Gangs, drugs, and scary tattoos are the norm, with mothers living in fear that their children will be murdered not by white supremacist pigs, but by members of their own wretched raza. Furthermore, blacks appear in an almost uniformly unfavorable light in the film. Sniper is one of the movie’s most coldblooded killers. “Fuck that funny-lookin’ bitch,” he excuses himself for shooting a bank teller. “She was lookin’ at me all crazy and shit.” He robs and kills because he would rather do this than “flip some burgers”. A black cop lounges around his home milking “disability”, while his misbehaving son ludicrously claims to have been suspended from school just for being black.

Rainer Chlodwig von Kook

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.

Lone_Survivor_poster

Zio-harpy Debbie Schlussel, who has charged that Hollywood Jews are moldering in a “pan-Islamic slumber“, and badgered Jason Alexander about what she alleged were his Islamo-Nazi terrorist connections, was understandably irate with director Peter Berg when he made The Kingdom (2007), a film which, while reinforcing aspects of the War on Terror, made an effort to humanize the typical Saudi citizen.

Half-Jewish Berg, perhaps stung by this questioning of his Zionist bona fides, went on to direct Battleship (2012), an unabashed advertisement for American military recruitment on behalf of the Jew World Order. So as to be absolutely clear as to where he stands geopolitically, Berg even gave an interview to an Israeli journalist to promote Battleship, during which he referred to the possibility of an Iran with nuclear weapons as the most pressing crisis presently facing the planet and called his interviewer a draft dodger for not joining the IDF.

Berg’s most recent contribution to post-9/11 cinema is Lone Survivor, an Afghanistan war horror hailed by Fox News as “a great service to this nation” in its celebration of the goy cannon fodder who put their lives on the line to, as Berg words it, “protect you, to protect me” against “legitimate evil”. The “evil” in the film is jihadist Ahmad Shah (Yousuf Azami), whom Lone Survivor explicitly dubs the “bad guy” for the benefit of the cognitively impaired in the audience. Operation Red Wings deploys Marcus Luttrell (Mark Wahlberg) and his crack team of hardcore Navy SEALs to assassinate Shah, coddle the still-toddling Afghan “democracy”, and so secure the CIA’s investment in Afghanistan’s booming opium crop – though Lone Survivor, naturally, neglects to mention this last point.

Horribly boring exposition introduces viewers to a group of indistinguishable, unshaven, and dull-eyed muscleheads who lounge around and act like boastful frat boys between forays behind enemy lines. Israel’s errand boys, unfortunately, get into a kosher pickle when sent to execute Operation Red Wings. Shah’s Taliban army learns of the SEALs’ location, and when their Raytheon-enriching communications equipment goes on the blink, Marcus and crew are outnumbered and stranded, pinned to a hellish position on the side of a goat-infested mountain.

From this point on, Lone Survivor is almost entirely action, most of it unimaginatively realized, with shaky cam, speed-up/slow-down gimmickry, and first-person shooter POV shots with zombie-like Muslims in the cross-hairs. The characters are unlikable, their “fuck”-sprinkled dialogue doing little to humanize them, and their mission is frankly an unsupportable tyranny, so that one almost longs for the Taliban to win and kill off the American invaders. The film becomes more engrossing once Luttrell is left the last man of his team to continue to make his way to safety, as at this point Lone Survivor shifts from being a war adventure to a more archetypal struggle of one man to survive against hostile odds.

3 out of 5 possible stars. ICA’s advice: watch Rescue Dawn (2006) instead.

Rescue_Dawn_poster

Ideological Content Analysis indicates that Lone Survivor is:

8. Pseudo-Christian. Navy SEAL Mike (Battleship‘s Taylor Kitsch) wears a cross tattoo on one of the arms he uses to kill on command.

7. Pro-miscegenation. End credits feature footage of a white soldier kissing his Asian bride.

6. Cronyist, putting in a good word for more military-industrial pork. “Limited resources, chief. There ain’t enough Apaches.”

5. Pro-drug. Several beers are mentioned as code names for nodes in Operation Red Wings. See, too, remark on opium above. Keep those cattle sappy and happy.

4. Anti-Muslim. Decapitation-happy “Tally” and mascara-wearing “bad guy” Ahmad Shah represents the Muslim menace ably.

3. Pro-military. An opening credits montage of Navy SEALs being trained, which is to say, tortured, to become thoughtless murder machines, essentially serves as a J.W.O. mercenary recruitment commercial. As with Berg’s toy-to-movie adaptation Battleship, the writer-director delights in the idea of plastic American soldiers for Jews to hold under their magnifying lens, watching them melt under foreign suns. A wimpy cover of David Bowie’s song “Heroes” stinks up the end credits photo montage of the men portrayed in the film.

2. Imperialist. The Taliban is a threat to world security, Lone Survivor would have viewers believe, because it promotes fundamentalist Islam, chops off a few heads, and forces its women not to dress like whores. The truth, however, is that many of these are just men trying to keep their country from going the way of the Jewnited States of Slum-merica, with whiny minorities running the show, social engineers and feminist riffraff ripping families apart, and Marxists undermining the cultural pillars supporting traditional ways of life. The neoconservative program, however, calls for Afghanistan to embrace diversity, drugs, pornography, sex reassignment surgery, Sarah Silverman, managerial government, and the drone-patrolled surveillance state – in short, Jewish World Imperium.

1. Zionist/anti-human. Disturbingly, Berg acknowledges that the strength of the book on which Lone Survivor is based is its divorcing of the Afghanistan war from politics, and its celebration of the alleged heroism of the band-of-brothers mentality that sustains its combatants. Lone Survivor, in other words, promotes the utmost nihilism, proposing that viewers should not concern themselves so much with why Taliban fighters must be killed, or why Afghanistan continues to be occupied, but rather with the relentless, Israel-licking devotion with which goy cattle “heroes” commit the mass murder. “You are never out of the fight,” Luttrell says at the end of the film, instilling in the audience the suggestion that America’s crusade against the evildoers, wherever they may dwell, will continue indefinitely.

 

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