Archives for posts with tag: Tom Sizemore

Lock Up

One of my favorite Sylvester Stallone movies from my childhood is 1989’s Lock Up, a satisfying prison flick that stars Sly as Frank Leone, a model convict with six months to go and what appears to be a bright future ahead of him – until he is unexpectedly transferred in the middle of the night to a hellish correctional institution run by the sadistic Warden Drumgoole (Donald Sutherland), who harbors a long-festering vendetta against Leone. “This is hell, and I’m going to give you the guided tour,” he promises. Full of memorable bits like a cockroach race, a barbell assassination, and a brutal slow-motion football montage, not to mention a sentimental piano theme that I’ve never forgotten, Lock Up also delivers the adrenaline in its inevitable escape and comeuppance sequence.

following orders

Following orders.

Sutherland is perfect as the mannered antagonist, and Drumgoole is easily one of the greatest bad guy monikers ever, putting me in mind of the canistered zombie who kicks off Return of the Living Dead (1985) – and Drumgoole is a zombie of sorts, at least in a figurative sense, as he reanimates for the viewer the corpse of the evil Nazi villain stock character. Viewers only hoping for a fun Sylvester Stallone vehicle and harmless action fix instead find themselves the captive audience for a dose of Hollywood Holocaust propaganda when Drumgoole has Leone sealed into a glass chamber for delousing with Zyklon gas! Naturally, Drumgoole leaves Leone struggling to hold his breath way longer than is necessary, and Stallone’s partial Jewish family background makes the moment that much more piquant. Reinforcing the notion that there is something Nazi-like about the prison staff is Tom Sizemore’s character Dallas’s nickname for one of the guards – “Col. Klink” – a reference to the WW2 POW camp sitcom Hogan’s Heroes. Then, too, there is the racial makeup of the guards, with whites like Manly (Jordan Lund) being among the meanest and most stereotypically fascistic and blacks like Braden (William Allen Young) revealed to have compassion in their still-beating hearts. There is an undeniable thematic overlap between the prison and Shoah film and fictional genres, with prison movies as far back as Brute Force (1947) serving as social commentaries on the dangers of authoritarianism and with entries like the Holocaust (1978) miniseries, various salacious Nazisploitation movies of the seventies, and Escape from Sobibor (1987) combining elements of both genres – and Lock Up implicitly acknowledges this connection, so that it could be classified with Soylent Green (1973), for example, as a crypto-Holocaust movie.

Three writers, including Die Hard (1988) bard Jeb Stuart and some nobody named Richard Smith, are credited with Lock Up’s screenplay – but somehow I have to suspect that it is the third name, Henry Rosenbaum, that accounts for the Zyklon delousing scene. The film was directed by John Flynn, whose other credits include the obscure made-in-Israel thriller The Jerusalem File (1972), vigilante movies Rolling Thunder (1977) and Defiance (1980), and the top-notch Steven Seagal revenger Out for Justice (1991). Rocky (1976) composer Bill Conti, meanwhile, contributes the score to what adds up to an audience-pleasingly macho but sensitive send-off for the eighties, Stallone’s most successful decade – even if the gassing scene does give it just a whiff of a fishy-smelling air of high camp for those racially conscious viewers in the audience.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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Passenger 57 (1992)

Passenger 57 (1992)

A number of seemingly insignificant films of the 1990s, revisited in the context of the New World Disorder of the present millennium, yield disturbing resonances of what was to come. One such work is the Wesley Snipes action vehicle Passenger 57, a movie which, in addition to hosting much of its action aboard an airliner, is concerned with the rising specter of international terrorism.

Produced by Jonathan Sheinberg – who, this writer suspects, may be Jewish – Passenger 57 has Snipes playing counterterrorism expert John Cutter, goaded into taking a job as an airline’s security consultant. Before boarding the fatal flight that preoccupies him for the rest of the story, Cutter delivers a lecture on terrorism to his clients:

Do you know how many airlines have been hijacked in the last three years? [. . .] Twenty-seven. Almost every commercial airline in the world has had to cope with terrorism. All except one. The Israelis have never been fucked with. They never let them on the plane.

The lesson here is clear. If only the nations of the West would look to Israel for guidance – and place savvy blacks in positions of leadership, of course – the world could be spared this presently savage pandemic of skyjacking terrorism.

Later, when stopped by airport security, Cutter is made to pass more than once through a metal detector. “Ever notice how the real suspicious ones never seem to have any trouble?” he muses aloud. “Right,” agrees Cutter’s colleague Delvecchio (Tom Sizemore). “That’s how they get on the plane.”

The identity of this “they” and those “real suspicious ones” is unspecified, but the viewer, given the context of other remarks – as well as the long Hollywood tradition of caricaturing Muslims – is left to assume that Cutter and Delvecchio are referring to Arab terrorists. Charles Rane (Bruce Payne), the villain of Passenger 57, is a mad European and not an Islamic fanatic; but viewers are also informed that despite being “linked to several bombings in London and Ireland [. . .] because of his close ties to the Middle East, he’s been untouchable” – whatever that means.

Unfortunately for those who died on September 11, 2001, or as casualties of the wars that followed, American “security” was in Israeli hands at the key airports that day. ICTS International, an Israeli firm, had responsibility for “security” at each of the airports from which the “al Qaeda” hijackers are alleged to have embarked – and this same company also ran the “security” at the airports at which the “Shoe” and “Underwear” bombers boarded flights, in addition to having a hand in the London 7/7 event. Fortunately for ICTS, the Patriot Act just happened to include a provision precluding lawsuits against foreign “security” companies operating on 9/11.

9/11 provided the Orwellian pretext for the establishment of the Transportation Security Administration and the Department of Homeland Security, as Secretary of which Israeli citizen Michael Chertoff lined his pockets by hawking the body-imaging scanners that suddenly seemed so necessary in the wake of the “Shoebomber” and “Underwear Bomber” incidents. Understandably, Chertoff did not publicize the fact that body-imaging contractor Rapiscan was represented by his own Chertoff Group.

“Always bet on black,” Cutter advises the arrogant Rane in Passenger 57’s most quotable sass; but, given the subsequent turn of events on this chronically fucked-up Zionist-occupied planet, would he not have been closer to the mark to suggest that Rane and his fellow gentiles “always bet on Jew”?

Rainer Chlodwig von Kook

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