Archives for posts with tag: Summit Entertainment

John Wick

Keanu Reeves is John Wick, a retired assassin and man of “sheer will” who must dust off the tools of his trade when his car is stolen and – worse still! – his dog is butchered by Russian rowdies. Reeves gets to do the sorts of things one expects – strolling in slow motion through a dance club while casually dispensing violent punishments, and so forth – and, in a scene that alludes pointlessly to his climactic confrontation with Agent Smith in The Matrix Revolutions, even has a dramatic hand-to-hand showdown during a downpour with low-interest villain Michael Nyqvist. John Wick packs a handful of quality action moments, but not enough to stuff the soulless void at the heart of this nihilistic exercise in death for death’s sake. The gravitas of supporting players Willem Defoe and Ian McShane is wasted in such a film.

3 stars. Ideological Content Analysis indicates that John Wick is:

4. Pro-torture. Hitwoman Miss Perkins (Adrianne Palicki) is visually aroused at the sight of a knife being driven into a bound man’s leg.

3. Pro-drug. Wick, despite his abdomen having been cut open, is able to launch back into action with the aid of a glass of bourbon and dose of some sort of pills.

2. Anti-Christian. A Russian church serves as a gangster front. Consequently, Wick has no qualms about shooting a priest in the leg.

1. Neoconservative. Those darn puppy-murdering Russian bad guys are at it again! John Wick came recommended as a good “guy movie” from a social justice warrior coworker – such people apparently considering themselves qualified to judge typical “guy” tastes. That social justice warriors are now endorsing rotgut neocon propaganda should come as no surprise, however, considering that this is 2016, a year that will see American liberals throwing the heft of their silly support behind an Israel-firster warmonger like Hillary Schlongedham Clinton. Wick, true to his name, is a Shabbos goy – a subservient gentile who lights a candle for superstitious Jews forbidden by their “religion” to perform any labor on the Sabbath – and serves his Hebraic Hollywood masters by demonstrating for all of the gullible goyim how cool and exciting it is to shoot perfect strangers. The name also suggests the character’s wickedness, an apt association in this context.

Rainer Chlodwig von Kook

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Escape Plan

Sylvester Stallone, who previously suffered and grunted to great effect in the excellent Lock Up (1989), gets thrown into the slammer again in Escape Plan as Ray Breslin, the Harry Houdini of incarceration. Breslin is so adept at egress from maximum security penitentiaries that he actually makes his living at it, hiring out his services to the Federal Bureau of Prisons and going undercover in different correctional institutions across the country to test their tightness. Breslin finds himself in the bind of his life when he agrees to try his hand at the Tomb, a CIA-commissioned, privately operated black prison “off the grid” and designed for containing dissidents the government would prefer to see “disappeared”. This time Breslin’s sentence is more than a game.

A gray-haired Arnold Schwarzenegger plays second fiddle to Stallone’s hero, but does add considerably to the fun of the film. He is given one moment of greatness equal to his larger-than-life persona when, in testosterone-mainlining slow motion, he levels a machine gun and mows down a gallery of disposable baddies. Jim Caviezel, unfortunately, is inadequate to the task of furnishing proper antagonism for the likes of the two leading titans. Sam Neill collects a paycheck for playing a tiny supporting role as the prison’s doctor, while Curtis “50 Cent” Jackson keeps it real representin’ the African-American computer genius community as Breslin’s loyal “techno-thug” Hush.

Escape Plan has exactly two things going for it: Sylvester Stallone and Arnold Schwarzenegger. The script is lame and about as original as the title, with typical lines of dialogue being, “You hit like a vegetarian”; “I’m gonna fuckin’ kill you, motherfucker!”; and, still more amazing, this brilliantly sarcastic coup of a zinger: “Have a lovely day, asshole.” Weaknesses aside, the story is fast-paced, the performances are fun, and the dynamite action combo of Stallone and Schwarzenegger will be a difficult one for fans to resist.

3.5 of 5 possible stars. Ideological Content Analysis indicates that Escape Plan is:

7. Anti-tobacco. A guard’s routine of taking a smoke break causes him to be distracted.

6. Pro-miscegenation. The streets of New Orleans teem with interraciality.

5. Anti-Christian. Schwarzenegger, putting on a show of insanity for the guards, spouts religious nonsense in German. Stallone tears a page out of a Bible and burns it.

4. Anti-torture. Guards pummel Stallone and force water down Schwarzenegger’s throat with a hose.

3. Anti-neoconservative. The Tomb, with its savagery, high-tech surveillance, and disregard for citizens’ constitutional rights, serves as a microcosm of life in post-9/11 America. Giving the lie to the Islam-bashers, Muslim prisoners are violent only when they are provoked.

2. Anti-cronyism/anti-capitalistic. The Tomb is operated by “Blackwater rejects” who do the dirty work of corrupt, authoritarian governments and international bankers. “From a financial standpoint I like it,” Breslin’s business partner (Vincent D’Onofrio) says on hearing about the Tomb and the money he stands to make by cooperating with the CIA. Schwarzenegger is an anarchist or revolutionary of some sort who seeks to bring down the financial establishment.

1. Anti-state. The Tomb is administered by the significantly monickered Mr. Hobbes (Jim Caviezel), who boasts, “In here you have no control over any part of your life, except your breathing.” Of interest, too, is the deindividuated design of the brutal prison screws, who wear S.W.A.T.-flavored get-ups and charcoal-black masks with Caucasian features. Could this be a commentary on the reality of life under fake black president B.O., whose ballyhooed skin color masks exactly the same opportunism that motivated his predecessors in office?

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