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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY FOURTEEN

The Gambler

Mark Wahlberg is Jim Bennett, a professor of literature with inherited wealth, good looks, style, and brilliance, but who, for enigmatic reasons, “likes to lose” and seems to be determined to ruin himself. “You are the perfect example of how a person can start off with no problems whatsoever and then go out of their way to make sure that they have all of them,” diagnoses one of his students. Bennett’s poison of choice is gambling and consequent debts to gangsters. The current of self-destruction that runs through The Gambler would make it an unpleasant film to watch if not for its hypnotic quality.

It is difficult not to discern in this movie a metaphor for European civilization’s self-immolation and its potential for resurrection. Indebted to Jewish, Asian, and black gangsters to the tune of something like $500,000, his survival, thanks to his own reckless regimen of self-loathing, depends upon an urgently needed combination of fortune and will power. Will Bennett ever catch a winning hand – and, if so, will he be satisfied with it? Finding out is an idiosyncratically entertaining and anxiety-ridden experience, though the “fuck”-saturated dialogue, one should mention, will not appeal to every viewer’s taste.

[WARNING: SPOILERS]

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

7. Immigration-ambivalent. “Do you have a problem – wah, wah, wah – like some little fuckin’ girl – wah, wah, wah – or some Somali who can’t process that there’s no food where they live?” This ambiguous statement might suggest either that Somalis are stupid – and therefore undesirable as immigrants – or that they are validated in seeking better lives for themselves in the West.

6. Class-conscious. “Poor people stay poor people,” alleges one of the songs on the soundtrack.

5. Sexist! “Please, tell me you hit your wife harder than that, you fuckin’ pussy.”

4. Reactionary, dispelling egalitarian myths about the power of education. “If you’re not a genius, don’t bother.” Bennett suggests that his bored students are angry over “unequal distribution of talent” and tells them, “If you don’t have the magic, no amount of wishing will change that.” He goes on: “When you leave here today, call your parents and tell them you apologize for wasting their time and more importantly wasting their money, sitting in this classroom learning absolutely nothing.” Genetics is described as “a cruel motherfuckin’ mistress.”

3. Racist! “You know, they expect me to pass you regardless,” Bennett confides to a star basketball player (Anthony Kelley) taking one of his classes. “They want me to give you a passing grade so you can keep going out there and bouncing that basketball around.” Frank, John Goodman’s Jewish gangster character, uses the derogatory term “schwarze” to refer to blacks.

2. Anti-American. “The United States of America is based on ‘Fuck you!’” This position of power, however, has been “lost forever”, and King George III, in retrospect, “looks like a fuckin’ birthday present.” Bennett says of his condition, “If I get to nothing, then I can start over.” He demands an extreme – victory or death – just as western man, presented with no healthy outlets for his manly and his honorable impulses, will fall into dissolution and lose his will to live.

1. Anti-Semitic! Bennett emancipates himself from his cycle of self-destruction by freeing himself from the grip of the Jew Frank, a disgusting blob with an amateur interest in psychoanalysis, whose clout derives from debt, and who threatens the protagonist as follows: “You will get me not just what you owe me from your family. You will get me their accounts so I can have them vacuumed from Russia. You jump off a bridge, you can do it knowing I will kill your entire bloodline.” He expects Bennett to repeat the words “I am not a man” – to verbally castrate himself, in effect – as a condition for one of his loans. For the curious, The Gambler was written by William Monahan, who also penned the screenplay for the great populist Mel Gibson thriller Edge of Darkness (2010).

Rainer Chlodwig von Kook 

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The Rewrite

Hugh Grant, never an actor this critic particularly liked, has become more palatable with age – tarnished, less handsome, and hence more accessible. These qualities are on fine display in The Rewrite, which reunites the leading man with Music and Lyrics writer-director Marc Lawrence. Grant is Keith Michaels, a has-been screenwriter who, failing to find new work, takes a job as a writer-in-residence at an unglamorous public university.

Irreverent and a womanizer, Keith finds a capable foil in snooty and arch Austen scholar Professor Weldon (sexy over-the-hill performer Allison Janney), who does what she can to bring his sojourn at the school to an end. Complicating Keith’s private life are amorous coed Karen (Bella Heathcote) and single mother Holly, the latter part enlivened by an astonishingly well-preserved Marisa Tomei, who exhibits wonderful chemistry with Grant.

Certain supporting characters, particularly among the students, may be too broadly drawn for all tastes, but each serves a purpose and is more or less amusing. Whiplash’s monstrous J.K. Simmons demonstrates his remarkable range here by essaying the instantly lovable role of Dr. Lerner, the avuncular head of the English department, while still-boyish Get a Life clown Chris Elliott turns in the expectedly funny turn as the university’s dweeby Shakespeare specialist.

A touching and sharp romantic comedy that transcends the ghetto of its genre, The Rewrite ought to appeal with equal charm to discriminating men and women moviegoers alike. Consistently interesting and rewatch-worthy, this one is highly recommended.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen's body of work, drawing the scandalized glares of bystanders in the process.

Keith Michaels (Hugh Grant) regales Dr. Weldon (Allison Janney) and Dr. Lerner (J.K. Simmons) with his unorthodox take on the merits of Jane Austen’s body of work, drawing the scandalized glares of bystanders in the process.

5 stars. Ideological Content Analysis indicates that The Rewrite is:

10. Drug-ambivalent. Weed seems to be okay – with Keith, if not with Dr. Lerner – but the film’s attitude toward alcohol is more nuanced. Proving true the adage “in vino veritas”, Keith is overly frank in unfriendly company, and Holly feels obligated to drive him home in another instance. He is described as “trying to fill a spiritual vacancy with alcohol.” Fraternity hazing leads to the hospitalization of sci-fi nerd Billy Frazier (Andrew Keenan-Bolger). Notwithstanding all of this, a tipsy Hugh Grant remains very charming.

9. Pro-gay. “Are you a lesbian?” Keith asks Holly. “I wish,” she responds.

8. Anti-gun. “I was hoping you were pro gun control,” Keith says to Dr. Lerner.

7. Irreligious. Heaven is “a fairy tale designed to make a five-year-old boy go to sleep.”

6. Anti-slut. Keith’s brief fling with sexually experienced student Karen leads to disaster.

5. Anti-Semitic! 9/11 criminal Michael Chertoff’s body scanners, Keith suggests, are merely “cancer-causing cash conduits”.

4. Family-ambivalent. His wife, Keith says, was “smart enough to divorce me”. Karen hates her father. Balancing the story’s failed relationships, however, is Dr. Lerner’s lachrymose domestic bliss with his wife and several daughters.

3. Egalitarian. At stake is Keith’s initial conviction that talent cannot be taught – an assertion that the people-loving Holly intends to challenge. Falling on the side of nurture as opposed to nature, The Rewrite to this extent lends itself to the programs of leftist social engineers.

2. Pro-miscegenation. Keith, tasked with selecting his students based on the strength of their screenplay submissions, instead looks at their online profiles and stocks his roster with a bevy of multicolored cuties including an Asian, two negresses, and a Jewess. The viewer is given to understand at the end that an unexpected Jew-congoid hookup is imminent.

1. Sexist! Dr. Lerner diagnoses icy bitch Professor Weldon as “elitist, lonely, [and] miserable.” Keith, meanwhile, earns major Nazi shitlord points with this drunken faculty cocktail party rant:

Forgive me, but I’m just a little bit tired of female empowerment. […] Well, just, honestly, though, everything seems to be about female empowerment nowadays, you know. Any meeting I go to in Hollywood, someone says, “You know what we need? A kick-ass girl, that’d be a great twist.” Except every movie has a kick-ass girl, you know, some martial arts CGI slow motion woman who kicks the crap out of every man in her path. Can I tell you what would be truly innovative? A movie without a kick-ass girl, or better yet, a movie where a woman gets her ass kicked.

Rainer Chlodwig von Kook

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Carney

Boston University Film Professor Ray Carney

Independent-minded film critic Ray Carney is famous – or notorious – for his iconoclastic views on the cinematic canon and what he considers the true cultural and psychological significance of the movies. He has found himself opposed, however, not simply by critical orthodoxy, but by an academic establishment he paints as disturbingly authoritarian, ideologically regimented, and increasingly Orwellian in its capacities for surveillance – all contributing to what Carney characterizes as an intellectually “chilling” effect on the academic environment. Particularly corrosive to intellectual integrity, of course, are the ubiquitous demands and appalling crudities of cultural Marxism, now the de facto religion of the western intelligentsia and consequently de rigueur in university programs. In the following blog post, Professor Carney responds with well-reasoned indignation to the robotic calls for increased “diversity” and posits the existence of two kinds of diversity: superficial racial and sexual diversity of the type trumpeted by the professional victimological shakedown artists; and, naturally dearer to Professor Carney’s heart, an intellectual diversity and tolerance for the minority viewpoint that he would expect to find held sacred in a healthier, less unimaginatively degenerate academia.

http://insidebostonuniversity.blogspot.com/2013/03/real-diversityfostering-and-protecting.html

Part IV of The Filthy Films of Adam Sandler

In Ideological Content Analysis:

A Cranko-Politico-Critical Retrospective

Of the ICA Institute for Advanced Sandler Studies

AdamSandler

The number five film at the box office in 1998 and the number two adult-targeted comedy of that year (after the juggernaut There’s Something About Mary), The Waterboy was another major hit for Adam Sandler, here reteamed with Wedding Singer director Frank Coraci.  From the beginning The Waterboy makes its intentions clear, breaking with opening credits tradition in proclaiming itself “A Frank Coraci Movie” rather than the conventional rendering “An [insert director’s name] Film”.  In other words, The Waterboy is self-conscious and unashamed popular entertainment, preemptively thumbing its nose at whatever the critics might say about it.  As such, the movie is more or less a success – an energetic, upbeat, and stupendously stupid sports comedy aimed at the proverbial lowest common denominator.

Sandler, in a turn reminiscent of his “Cajun Man” Weekend Update bit from Saturday Night Live, creates one of the most memorable comic characters of the decade in Bobby Boucher, a 31-year-old rube still toiling as a college football team’s waterboy.  Boucher is socially awkward, lacks confidence, wets his bed, and is still a virgin; but he is not, as might at first appear to be the case, mentally retarded.  Even more shocking, it turns out the loser has real rage inside and potential as a psychotically brutal offensive lineman whenever somebody makes Boucher angry enough.  Down-on-his-luck Coach Klein (Henry Winkler, in a wry performance indicative of his range beyond the Fonz) knows a star player when he sees one; and, against the wishes of Boucher’s fanatically protective Mama (Kathy Bates), gives the beleaguered waterboy the chance to lead the South Central Louisiana University Mud Dogs to glory.  The climactic team win peculiarly lacks the expected comic punch, but enough in the film is endearing and funny for its shortcomings to be forgiven.

3 out of 5 stars.  Ideological Content Analysis indicates that The Waterboy is:

9. Anti-racist (i.e., pro-yawn).  A black player pictures a football as a Klansman’s head so as to motivate himself to kick it especially hard.

8. Feminist.  Distractingly sexy Fairuza Balk plays Boucher’s tough love interest, blade-wielding car thief and potential murderess Vicki Vallencourt, who can handle herself with ease against any would-be oppressor.

7. Mildly anti-South.  The hicks who populate the film are good sorts for the most part, but stereotypically ignorant white trash nonetheless.  One of Boucher’s college professors, a Col. Sanders look-alike, is brutally tackled in a moment of humiliation for an absurd visual representative of the plantation-infested Old South.

6. Drug-ambivalent.  “Don’t smoke crack,” says famous cocaine user Lawrence Taylor to a group of children.  Drinking humor occurs throughout, however, with even the Mud Dogs’ mascot imbibing.  The big game at the end is the Bourbon Bowl.

5. Anti-Christian.  Mrs. Boucher represents conservative Christians as fundamentalist twits obsessed with avoiding an omnipresent evil which lurks in unexpected places.  “Little girls are the devil,” she warns her son; also “Ben Franklin is the devil,” and she even mumbles about the Prince of Darkness in her sleep.

4. Pro-gay.  A sheriff and his deputy answer their door shirtless, the implication being that they have been in each other’s arms.  Misunderstanding Boucher to have said he is bisexual, a party tramp remarks, “I think that’s sexy.”  Coach Klein is seen wearing women’s shoes in a flashback.

3. Statist.  Decent vocabulary notwithstanding, homeschooled Boucher, with his lack of worldliness and social skills is essentially a walking, whimpering endorsement for public schools.  Knowledge-hungry Boucher, when given the chance, is eager to have a university education.  Nevertheless, The Waterboy inadvertently undermines the audience’s confidence in state-run education when the Louisiana high school equivalency examination is shown to include the following inaccurate question: “Ben Franklin discovered electricity.  In what year did this happen?”  (Ben Franklin, despite what unqualified Louisiana teacher union apparatchiks might teach the rustics, did not discover electricity.)

2. Pro-slut.  Tattooed floozy Vicki is all too happy to flash her breasts at the virginal football hero and flirts shamelessly with him in front of his disapproving mother.  (See also no. 4)

1. Family-ambivalent.  Boucher’s love for his mother is consistently touching, but her smothering affection is ultimately an obstacle that must be overcome.  Boucher’s father abandoned his family, and the son, in a triumphant moment of self-assertion, rejects his attempt at reconciliation.

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