Archives for posts with tag: white flight

Dragged Across Concrete

S. Craig Zahler (Bone Tomahawk) is back with a solid and satisfyingly rough follow-up to the jaw-dropping Brawl in Cell Block 99, reuniting with Vince Vaughn and teaming him up with Mel Gibson in a literally gut-ripping, downbeat buddy cop brutalizer. Seasoned detective Brett Ridgeman (Gibson) and partner Anthony Lurasetti (Vaughn) are caught on video using excessive force in the apprehension of a Hispanic drug dealer, creating a scandal for their police department, and get suspended without pay by their superior (Don Johnson). Both men need money – Lurasetti because he plans to propose marriage to his girlfriend, and Ridgeman because his daughter is no longer safe in their ghettoized neighborhood and the family needs to get out. At the extent of his tether, Ridgeman hatches a half-baked plan to rip off a heroin dealer that winds up with him and his partner pitted against a gang of formidable paramilitary bank heisters. A career highlight for Gibson equal to his over-the-hill hero roles in Edge of Darkness and Blood Father, and yet another impressive entry in Vaughn’s growing résumé of scary tough guy characters after True Detective and Brawl in Cell Block 99.

4.5 out of 5 stars. Ideological Content Analysis indicates that Dragged Across Concrete is:

8. Anti-drug. Tory Kittles plays ex-con Henry Johns, whose stint in prison illustrates a very possible outcome for a dealer. His mother, a heroin addict, has turned to prostitution. It is also mentioned that the dealer Ridgeman mistreats has been selling drugs to children, undermining any potential audience sympathy for the criminal.

7. Ableist! Lurasetti compares a hearing-impaired woman’s speech to a dolphin’s.

6. Anti-Semitic! Writer-director Zahler, as Soiled Sinema’s Ty E. puts it, is an artist who seems to have “transcended his Jewishness”, which may account for the brief and harmless but stereotype-oozing portrayal of the friendly jeweler Feinbaum, who says his wife has two brothers who are therapists and three sisters who are lawyers.

feinbaum

5. Homophobic! Henry dismisses his “cocksuckin’ father” as “a yesterday who ain’t worth words.” Disapprovingly, Ridgeman fails to see “much of a difference these days” between men and women, and also mocks Lurasetti’s “gay hair shit” disguise.

4. Media-critical. Chief Lieutenant Calvert (Johnson) derides the anti-police bias of “the entertainment industry formally known as ‘the news’”, which “needs villains” and fabricates them if necessary.

3. Natalist, i.e., sexist! Unexpectedly, the movie features a tender (albeit offbeat) portrait of a new mother, Kelly Summer (Jennifer Carpenter), desperately trying to avoid going back to work after using up her maternity leave. The necessity of keeping a job seems cruel and absurd now that she has a baby. Her proper place, she realizes, is at home with her child, and her boss, Mr. Edmington (Fred Melamed) describes her as a “radiant vision of maternity”. The section of Dragged Across Concrete that follows Kelly is even more affecting on a second viewing.

2. Class-conscious. “My job [in a bank] is so stupid,” Kelly laments. “I go there and I sell chunks of my life for a paycheck so that rich people I’ve never even met can put money in places I’ve never even seen.” Henry’s little brother Ethan, meanwhile, sees big game hunting as “rich white people shit”. There is also the suggestion that those with wealth have the means to elude the law, as Ridgeman at some point in the past allowed the son of businessman Friedrich (Udo Kier) to escape punishment for an unnamed crime in exchange for a future favor from the well-connected father. Ridgeman no longer believes in a meritocratic American dream. “I don’t politick and I don’t change with the times and turns that that shit’s more important than good, honest work,” he tells his partner, determining: “We have the skills and the right to acquire proper compensation” for thankless years of public service.

1.Race-realist – with exceptions. “They’re so cute before they get big,” says Ridgeman’s daughter Sara (Jordyn Ashley Olson) – ostensibly with reference to lion cubs, but subtextually referring to the black boys who harass her when she walks home from school. “This fucking neighborhood, it just keeps getting worse and worse,” frets Mrs. Ridgeman (Laurie Holden). “You know I never thought I was a racist before living in this area. I’m about as liberal as any ex-cop could ever be, but now,” she demands, “we really need to move” or else, “someday, you and me,” she tells her husband, “we are in a hospital room with our daughter talking to a rape counselor.”

Ridgeman and his partner are both depicted as casual racists. “I’m not racist,” Lurasetti jokes: “Every Martin Luther King Day I order a cup of dark roast.” In a twenty-first century world in which “digital eyes are everywhere”, however, old-school law-and-order enforcers like Ridgeman and Lurasetti are living on borrowed time. “Like cell phones, and just as annoying, politics are everywhere,” Calvert observes. “Being branded a racist in today’s public forum is like being accused of communism in the fifties. Whether it’s a possibly offensive remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children […] It’s bullshit – but it’s reality.”

Softening Dragged Across Concrete’s racial edge is the presence of Henry, the conspicuous specimen of Africanus cinematicus played by Tory Kittles. This ghetto thug with the soul of a poet is given to saying things like, “Before I consider that kind of vocation, I need to get myself acclimated” and is at all times depicted as being more astute than those around him. His little brother Ethan, too, is portrayed as an underprivileged but bright lad of great potential. The case can be made that Dragged Across Concrete makes examples of its most prominent bigots by punishing them while rewarding Henry in the end. Ridgeman, who has refused to change with the times, is taught the important lesson that he “should have trusted a nigger.”

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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Macho girl Matt Damon stars as butch lesbian cyborg warrior Max Da Costa in one of this summer’s most notable movies, Neill Blomkamp’s science fiction adventure Elysium, which posits a future world in which only the teeming masses of the underprivileged are left to suffer through their miserable lives in the ruins of what once was the United States of America, while the super-rich, in the ultimate feat of white flight, have escaped to the veritable Heaven that is Elysium, basically a gigantic orbiting space station’s worth of Beverly Hills, where people are beautiful, lawns are green, and seemingly any sickness is instantly curable thanks to advanced technology. Max, a former career criminal dying from radiation poisoning, lends his services as a thief to a crew of Mexican gangsters for a shot at breaching the exclusive colony’s security system and saving not only his own life, but that of everybody on Earth.

Damon, always an unlikely star, is only tolerable in his heroic role as Max, as is Alice Braga as his attractive but uninteresting love interest. Jodie Foster, meanwhile, clearly has fun as the icy-hot Delacour, who heads Homeland Security for Elysium. Ironically, Delacour, who speaks French and was perhaps inspired by French nationalist politician Marine Le Pen, has as her job exactly the opposite of what occupies America’s Department of Homeland Security: namely, the preservation of a people, its ethnic integrity, economic well-being, and traditional way of life. And rounding out the cast is Wagner Moura, who (potentially unrecognizable to those who remember his gruff and brooding performance in the Brazilian fascist film Elite Squad) appears in a supporting role as colorful gangster, computer wizard, and space coyote service impresario Spider.

Easily the most charismatic character in Elysium, however, is the ruthless and erratic Boer mercenary Kruger, played with snarling, nasty manliness by Sharlto Copley (of Blomkamp’s District 9). The viewer can hardly help but cheer Kruger on as, after enthusiastically obliterating a target, he exults, “Thet’s wut om talkin abeut!” (Note to Hollywood: Make more movies about South African mercenaries!) Kruger’s return to the fray after what appears initially to be his demise is surely one of Elysium‘s most audience-friendly moments.

4.5 of 5 possible stars, with half a star deducted for the tasteless inclusion of hackneyed, ethereal new age moaning on the soundtrack. Ideological Content Analysis indicates that Elysium is:

11. Green. Pollution is cited as one of the causes of American decline.

10. Anti-drone. Max finds himself hunted by the pesky things.

9. Anti-drug. Max refuses the pills offered by a robotic parole officer (see no. 6). Menacing Mexican thugs smoke what is presumably marijuana.

8. Ostensibly Christian, promoting more Hollywood liberation theology. Max has been raised by nuns and sacrifices himself in Christlike fashion (see also no. 4).

7. Feminist/pro-slut/pro-bastard/anti-marriage/anti-family. Frey (Alice Braga) represents the single mother with pride as a capable professional with no need for a man in her life (cf. no. 4).

6. Anti-corporatist/anti-capitalistic. The government, probably in collusion with pharmaceutical manufacturers, makes free drugs readily available to the public as a means of pacification. Max’s Hispanic neighbors mock him for being dumb enough to work for a living, and they are validated when Max’s callous boss forces him either to endanger his life or be terminated, with the result that Max receives lethal exposure to radiation. The CEO (William Fichtner) of the company is actually such a snob that he obliges his underlings to cover their mouths when speaking to him so as not to expose him to their breath. He conspires with Delacour to arrange a coup d’etat on Elysium.

5. NWO-alarmist/anti-state. The space colony Elysium, with its circled starfish design, approximates a pentagram and so points to possible Illuminati orchestration. (see also no. 6)

4. Pro-miscegenation. “Always wanted a wof,” Kruger reflects as he leers at Mexican cutie Frey, who is also the object of Max’s affections. Note that marriage is only the aspiration of the vile Boer and not of the progressive, Spanish-speaking, self-loathingly tattooed Caucasian, Max, who sacrifices himself and his forebears’ and fellow whites’ culture and safety for the benefit of the dusky masses. Max thus fits the sacrificial honky archetype.

3. Pro-immigration. Steve Sailer, calling it “one of the funnier pranks played on the American culturati’s hive mind in recent decades”, has attempted to out Elysium as a crypto-conservative and race-realist film, but Gregory Hood has convincingly refuted him in an excellently written review at Counter-Currents. What both men (along with Ram Z. Paul) accurately point out, however, is that Elysium, whatever its intentions, does illustrate in depressing vividness the cultural cataclysm awaiting America as it willingly works to dissolve its border with Mexico. The dangerous, ugly, graffiti-smeared, beggar-and-thug-infested slums of futuristic Los Angeles as depicted in Elysium hardly justify the celebratory tone of the climactic moment in which, through a bit of clever computer hackery, every disgusting slob on the planet is instantaneously turned into a “citizen” of Elysium and thereby made eligible for the wonders of its exclusive health care coverage.

2. Egalitarian. Elysium, even as it illustrates the dystopian horror of the future Socialist States of America, advocates socialized medicine as a panacea. The film is able to do this because the advanced medical science of the future, like Obamanomics, is magic, and capable of infinite, Santa-style miracles that transcend cost.

1. Pro-gay. Damon, as Max, does for the dyke what Robert Carradine did for the dweeb in Revenge of the Nerds.

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