Archives for posts with tag: robbery

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY NINE

Swelter

Saddle up for another hipster riff on the western … Out-of-place big names Jean-Claude Van Damme and Alfred Molina pick up shameless paychecks for supporting roles in this sub-Tarantinoid dose of direct-to-streaming dreck. The actual leading man viewers get stuck with is a tedious congoid, Lennie James, who plays Bishop, the sheriff of a sleazy backwater outside Las Vegas that finds itself invaded by a gang of prison escapees searching for a cache of hidden loot. Van Damme, his accent thicker than ever, plays the implausibly named “Stillman”, one of the gang of psychotic outlaws, which also includes Cole (Grant Bowler), who discovers he has a score to settle with Bishop when he finds him shacked up with ex-girlfriend Carmen (Catalina Sandino Moreno). Annoyingly slapdash, with no sympathetic characters, Swelter is as uninviting, drab, and exhausting as its title advertises, with Van Damme’s charisma criminally underutilized. The great character actor Tracey Walter does add some much-needed color to a few scenes, however, in his role as “Old Man Henry Johnson”.

2.5 out of 5 stars. Ideological Content Analysis indicates that Swelter is:

4. Anti-police. Van Damme’s gang gets the hip Reservoir Dogs slow motion stroll treatment as they shoot down the officers manning a roadblock.

3. Anti-gun. Bishop’s deputy Ronnie (Alan Simpson) is a klutz. Bishop himself refuses to carry a gun until circumstances force his hand. Asked why he performs his duties without a sidearm, he replies, “I’m afraid I might shoot somebody.”

2. Anti-white and pro-miscegenation. White men are vicious, sadistic poison to women. “It’s your DNA,” says Carmen in rejecting Cole’s renewed advances. She prefers the dusky embrace of Bishop. Van Damme also kisses a mutt.

1. Obamist. Swelter unfolds against the backdrop of the upcoming election of a new sheriff. After electing Bishop, a man with a mysterious past, just to rid themselves of the previous power, the townsfolk have grown impatient with what they perceive as Sheriff Bishop’s moralistic stifling of free enterprise and are itching to vote for his lame white deputy as a replacement; but Bishop, the righteous black man of destiny, rides in, rises to the occasion, and manages to protect the townspeople from a descent into white barbarity. (cf. American Hustle)

Rainer Chlodwig von Kook

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Hood

A cheapo ghetto reimagining of the legend of Robin Hood, Hood stars bullnecked mulatto football prince Matt Singletary – an actor with all the charisma of a dead crack baby – as an “army hero” who, after fighting the Taliban (i.e., guarding the CIA’s heroin crop) in Afghanistan, comes back home to Chicago to find that his old neighborhood is being tyrannized by the Latin Kings. Determined to make a difference in “the community”, Hood becomes a hoodie-cloaked superhero of sorts, venturing out at night to rip off drug dealers and redistribute their ill-gotten gains to the needy. Assisting him in his low-intensity, action-deprived crusade are Father Tuck (Malik Yoba) and Juanito (Richard Esteras), with corrupt Chicago law enforcement taking the place of the Sheriff of Nottingham. Darren Jones is fun as an oily politician, and one wishes that Thea Camara had been given more screen time as the big and spirited Mrs. Fitzwalter; otherwise, not much to recommend this one.

2 out of 5 stars. Ideological Content Analysis indicates that Hood is:

8. Anti-drug. Hard drugs empower evil. Hood does, however, enjoy a beer.

7. Anti-police. The Latin Kings have infiltrated Chicago’s police, and even the honest few are lazy, muffin-gobbling slobs.

6. State-skeptical. Cynical politicians are in league with criminals. “The worse a neighborhood gets, the more funding it gets,” an alderman rationalizes.

5. Pro-military. The Army appears as the ideal venue for multicultural empowerment. Blacks on the battlefield get to be called “sir”, mouth off to white superiors, and demonstrate their superhuman heroism by doing 187s on America’s enemies. Hilariously, Hood’s pathetic EBT-budgeted version of a Taliban fighter is just some bespectacled Jewish-looking guy in a caftan.

4. Immigration-ambivalent. Hood indicates that “new immigrants” (i.e., illegals) are a prime source of recruits for the Latin Kings because “most don’t speak English” and need a place to stay. Despite the national blight this obviously represents, the film appears to want to depict them as exploited victims.

3. Multiculturalist. So as not to create the impression of racial tension between blacks and mestizos, the Latin Kings are shown to have congoid subordinates while Hood receives the support of his Hispanic neighbors. A community center allows the races to come together in fellowship. Hood volunteers there and teaches tai chi to a vibrant set of youngsters.

2. Christian. Hood, his family, and friends are Christians, and Father Tuck keeps it real on the liberation theology tip. He acknowledges sin in the Church, however, when (after mistaking Hood for a pedophile) he says, “Unlike some priests, I don’t take too kindly to strangers putting their hands on little boys.” Hood’s soundtrack even features a little Christian rap, and the film ends with a Mother Teresa quotation.

1. Marxist. Hood and his band of merry diversityites rob not only Latin Kings, but honest businessmen as well. Troubled by the phenomenon of ghetto “food deserts” and apparently oblivious to the fact that these result from black consumer and criminal behavior, Hood and his gang commit a series of food truck heists, threatening “1 truck per week till you open stores in these neighborhoods.” Robbing trucks. Yep, that ought to spur investment in “the community” . . .

Rainer Chlodwig von Kook

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

Sofia Coppola’s latest effort is very much her own. Bright, punchy, or ambient music, an elegant eye, and a sardonic sense of humor imbue yet another examination of rampant girldom with Coppola’s trademark sensibility. Unlike Lost in Translation or Marie Antoinette, however, The Bling Ring features no strong or particularly likable central protagonist, and is consequently a much more detached and ironic study than its predecessors.

The Bling Ring opens with shots of the Facebook pages of characters Marc (Israel Broussard), Chloe (Claire Julien), and Rebecca (Katie Chang) – an appropriate means of introduction in this true crime story set in an amoral teenage order founded on trendiness and popularity. All attending a high school for affluent problem kids, these are the more sophisticated and fashionable counterparts to the hedonistic nihilists in Larry Clark’s Bully, operating out of the sinister psychological intersection of thug chic and a privileged entitlement mentality.  Along with like-minded recruits Nicki (Emma Watson) and Sam (adorable Taissa Farmiga), the group combines its vapid interests in celebrity, pop criminality, and haute couture by committing a series of casual burglaries of the homes of Paris Hilton, Lindsay Lohan, and others.

An odd feature of these young people’s lives is how little concerned with love they appear to be. Tawdry apparel, dirty dancing, sex, and group acceptance interest them plenty, but these new teen creatures bear almost no resemblance to their grandmothers, the malt shop loiterers of old, with their puppy love crushes and idealism. The new teen queen is a kind of ravenous beast sustained by a constant regimen of dope, dainty baubles, irresponsible escapades, and protected from introspection by forbidding walls of abrasive music preoccupied with self-determined fabulousness.

It is difficult to watch The Bling Ring and not be reminded of another group of young Californians who targeted celebrity victims – namely, the Manson Family. In both cases, pathological fascination with the rich and famous, coupled with peer pressure, drugs, and an unhealthily violent cultural diet, result in celebrities being simultaneously venerated as idols and dehumanized as potential victims. Marc, reflecting on the meaning of his acts in the aftermath of his arrest, confides that after the story of his involvement hit the news, he received over 800 Facebook friend requests, suggesting that it is criminality itself as much as fame that attracts the adulation of the unsavory masses.

If The Bling Ring has any discernible shortcoming, it may be the dearth of surprising event, as the film proceeds along a fairly straight, predictable line as far as the plot. Apart from the signature Sofia Coppola seal in terms of color, design, and atmosphere, the film’s most attractive strength must be its delightful cast. Israel Broussard, featured in what, for lack of any real hero, is The Bling Ring‘s lead role, has a Byronic look and an enigmatic vulnerability that complements the Coppola aesthetic nicely; and all of the damsels in dissipation, from Katie Chang to Claire Julien, Taissa Farmiga, and Emma Watson, are irresistibly vile, divine, and luscious.

4.5 stars.  Ideological Content Analysis kisses Sofia Coppola’s ring and indicates that her most recent flourish as a dependable writer-director is:

11. Multiculturalist/pro-miscegenation.  People of different races interact as without the least consciousness of their physiological or cultural differences. One of the girls has a thug Latino boyfriend. The camera lingers longingly over untouchable Katie Chang.

10. Anti-wigger.  Pop veneration of the ghetto mentality goes hand in hand with nihilism, crime, and self-destruction.

9. Pro-police.  Authorities conduct their investigation and effect the necessary arrests professionally and without inflicting unnecessary harm.

8. Anti-religion.  Modern woman’s faith is junk spirituality, “the philosophy of the Secret”, a kooky, relativistic melange in which words like “Lord” rub shoulders indiscriminately with new age talk of “karma”.

7. Anti-gun.  Privately owned guns, this film appears to want to convince viewers in one very frightening scene, make homes less safe and endanger the mentally deficient.  However, the fact that one of the girls steals a gun and gives it to her thug boyfriend demonstrates that criminals are not above obtaining their guns illegally and that gun control legislation is therefore futile.

6. Philanthropy-skeptical.  One suburban family claims a commitment to charitable causes in Africa, but cannot identify the specific country where they are active.  This pretended philanthropy is played as a sympathy card after the girls are caught by the police.

5. Statist.  The pitiable demonstration of home schooling as practiced by one ditzy mother (Leslie Mann) is an implicit endorsement of public education.

4. Anti-drug.  Drinking and driving results in a non-fatal accident, which, however, fails to prevent the girls from going out and behaving just as carelessly as before. Accelerating substance abuse parallels the girls’ increasingly poor judgment and carelessness in their criminal endeavor.

3. Pro-gay.  Sexually ambiguous Marc shares his girlfriends’ interest in fashion (including high heel shoes) and refers to a male schoolmate as “hot”.

2. Class-conscious.  Coppola (perhaps responding to the criticism that Marie Antoinette depicted a self-absorbed aristocrat sympathetically without taking into consideration the economic plight of the French peasantry?) depicts moral decay as in part deriving from wealth and privilege (cf. Billy Madison).

1. Pro-family.  The horror wrought by permissive or absentee parenting is the unstressed theme that haunts The Bling Ring.

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