Archives for posts with tag: Taken

gunman

Sean Penn, who co-scripted, plays an ex-mercenary haunted by his assassination of a Congolese mining minister. Eight years later, now a damaged man in more ways than one, Penn discovers that someone with knowledge of his past has put out a contract on his life. Penn spends as much of the movie as possible shirtless so as to show off his impressive physique, and in one scene even taps into his inner Spicoli and catches a few African waves.

Less incendiary than one might expect for a Joel Silver production, The Gunman is an action movie that wants desperately to be an art film, aiming for poetic moments like that in which a battered and dying assassin is juxtaposed with a matador’s speared bull. The action, once the movie gets around to it, however, should be brutal enough to compensate for the more pretentious material. There is also a love triangle to keep the women interested.

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

6. Anti-tobacco. “That’s really healthy,” Ray Winstone says sarcastically on seeing Penn light a cigarette.

5. Anti-marriage. Penn’s love interest (Jasmine Trinca) regards her creepy husband (Javier Bardem) as a creditor, her loveless wifely duties the repayment of an obligation.

4. Multiculturalist and pro-immigration. European-accented non-white professionals put in a good word for immigrants’ ability to assimilate into western societies. London and Barcelona appear as peaceful and orderly multi-ethnic metropolises. Penn atones for his sins by working to improve the lives of Africans.

3. Ostensibly anti-war. Rape and machete attacks are noted as weapons of war in the Congo. Penn’s combat experience has left him with brain damage.

2. Anti-capitalistic. Corporatocracy is behind the world’s evils, with the “growing demand of the western world” to blame for the Congo’s sufferings.

1. Globalist, giving the false impression that NGOs (non-governmental organizations) are strictly humanitarian and apolitical entities. In reality, NGOs are frequently the unconventional tools of Zio-American foreign policy and therefore have been dubbed “missionaries of empire”. Brit-accented television reporters – still more tools of Zio-American globe-grasping – are presented as reliable sources of information. That the poster has the chutzpah to say both “armed with the truth” and “from the director of Taken” probably says all that prospective viewers need to know.

Rainer Chlodwig von Kook

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Homefront

Viewers are encouraged to do what they can to endure a disorienting first five minutes or so of prologue material shot in spazvision, as Homefront quickly shapes up to be an exciting suspense vehicle for leading limey Jason Statham. Screenwriter-producer Sylvester Stallone has written a human and involving winner for his fellow Expendables  alumnus, who profits in presence by playing something more substantial than Rambo’s globe-trotting sidekick.

Statham is quietly tough in his role of recent widower Phil Broker, a veteran of Interpol and the DEA who tries to make a new life for himself and his daughter Maddy (Izabela Vidovic) in a rural Louisiana community. Unfortunately for them, a schoolyard incident escalates into a dangerous situation involving meth manufacturer Gator (James Franco) and one vengeful ghost from Broker’s past.

At stake throughout and uppermost in the audience’s apprehensions is the safety of the innocent Maddy, so that portions of Homefront recall Cape Fear or Taken with its story of a loving but serious-minded and violently protective father. As in Taken, the hero is rather too impervious – getting shot, beaten up, nearly drowned, and car-wrecked are only momentary setbacks for the formidable Broker – but Homefront‘s momentum is such that its excesses might just as well be the sparks of its incendiary potential.

James Franco is as scary as Gator as he was as Alien in Spring Breakers, while Kate Bosworth fumes with bitchy toxicity as Cassie, the meth-head Lady Macbeth of the piece. Izabela Vidovic is a sophisticated young actress and deserves credit for making the little girl at the heart of the story an interesting character. Also in the cast is Winona Horowitz (alias Ryder), who appears to skanky effect as Gator’s main squeeze Sheryl.

4.5 stars. Ideological Content Analysis indicates that Homefront is:

7. Racist! Sacrificial Negro rules of survival are clearly in effect.

6. Feminist. Maddy handily dispatches a big boy bully at school.

5. Anti-police. A corrupt sheriff (Clancy Brown) turns a blind eye to Gator’s business.

4. Pro-gun. A solid stock of firepower comes in handy when a man has to defend his castle.

3. Anti-redneck/pro-N.W.O. The locals are throwbacks to hillbilly days, complete with feuding clans. What they need is a good dose of civilized one-world-government whoop-ass from somebody with a foreign accent!

2. Pro-family. Notwithstanding no. 6, Homefront does showcase a touching father-daughter relationship.

1. Anti-drug. Drug dealers appear as deplorable people. Gator, the dastard, has even turned his own sister into an addict.

Christopher Othen

Author of 'Lost Lions of Judah' and other non-fiction

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