Archives for posts with tag: Willem Defoe

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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Odd Thomas

Anton Yelchin stars as Odd Thomas – which, the hero informs the audience, is actually the name on his birth certificate – a pleasant young man with an unfortunately morbid paranormal vocation. An “undercover detective for dead people”, he is able to see and receive communications from the deceased, who look to Odd for otherwise unforthcoming justice. Thus, Odd is able not only to assist Police Chief Porter (Willem Defoe) with the occasional murder investigation, but to attempt to prevent violent crimes from ever occurring. Odd alone is able to perceive the otherdimensional demons, called Bodachs, which congregate like tasteless tourists among the living just prior to a murder or some other evil event or catastrophe.

Odd knows something horrible is about to happen in his town of Pico Mundo, California, when swarms of Bodachs appear in conjunction with the arrival of Robert Robertson (Shuler Hensley), or “Fungus Bob”, or “Fungus Man”, as Odd alternately nicknames him. Odd is certain Robertson is up to no good, but he and Chief Porter are limited in what they can legally accomplish until more of Robertson’s plan materializes.

While the film’s computer-generated visual effects, including a bit of that irksome Blade-style speed-up/slow-down action, only range from good to tolerable, the central mystery confronting Odd is sufficiently interesting to sustain the 100-minute run time. The Bodach concept is exploited to taut effect in more than one suspenseful sequence, and the combination of the protagonist’s wholesomeness with the general unsavoriness of the subject matter makes for a winningly offbeat formula. Yelchin is amiable as Odd, while Addison Timlin, too, adds appeal as his bedroom-eyed companion Stormy.

3.5 stars. Worth a rental.

[WARNING: SPOILERS]

Ideological Content Analysis indicates that Odd Thomas is:

8. Class-conscious. The psychotic Robertson “inherited a shitload” from his mother.

7. Multiculturalist (i.e., pro-yawn).

6. Sexist! “I’m a woman. We all have issues,” Stormy explains. Later, loading a gun, she objects, “I don’t need protecting” – a pretense given the lie when she dies at the end.

5. Christian-ish. Odd believes in “a higher power” and picnics in a church’s bell tower. This church provides only the most tentative sanctuary, however, when someone or something invades its peace with malevolent intentions. Materialism is frowned upon (“It’s too bad a car can’t love you back”), as are the prevailing pop culture vanities of the age (“fame is the altar at which most people worship”).

4. Anti-family. Odd has the typical dysfunctional background, his mother having gone insane. Odd Thomas endorses the single mother in the character of Viola (Gugu Mbatha-Raw).

3. Gun-ambivalent. The Robertson plot keeps the bogeyman of the crazed mass shooter phenomenon alive, but any anti-gun sentiment indicated here is undercut by the fact that Odd defensively takes down one threat with a pistol. The additional development that the police force turns out to have been infiltrated by satanists points to the danger of giving the state a monopoly on firearm ownership.

2. Police-ambivalent and generally state-skeptical. Apart from Odd’s reliable collaborator Chief Porter, police are depicted in a derogatory light. Early in the film an officer slams a culprit’s head into a car door and quips that this is “one of the perks of the job.” By the end of the film, the force has no credibility whatsoever, with false flag theories even receiving a boost. Whether Odd is more properly viewed as a vigilante or as an extra-legal police auxiliary and black-bag man for the state is open to interpretation.

1. Anti-Semitic! Principal villain Robertson, a serial killer aficionado and aspirant, has exotic hair that “looks like a yellow yarmulke”. And could this character’s nickname, “Fungus Man”, be a derogatory comment on the Jewish people’s pattern of parasitic attachment to established cultures of the West? Odd, after discovering Robertson’s corpse in a tub, chooses to hide it in a disused gas chamber. Why? Is this supposed to be funny? Let Odd Thomas author Dean Koontz, writer-director Stephen Sommers, and all other perpetrators of this hateful celluloid libel know that the Holocaust will not be mocked!

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