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Hollywood director James Gunn was fired last week after conservative activists consolidated and posted his long history of rape and pedophile “jokes,” in addition to tweets that were shocking for the sake of being shocking.
The interesting thing about Mr. Gunn’s “jokes” is that guys like me would not have been aware of them had he not been the kind of person who climbs upon a moral pedestal to lecture President Trump and Roseanne Bar about “abhorrent” rhetoric.
The rise of internet busybodies who destroy careers by spotlighting a single tweet can be traced to left-wing ideologues — often times guys like Patton Oswalt — who are furious that their Frankenstein monster has turned on them.
The commander in chief must be intellectually flogged for lewd comments he made about women many years ago, but Mr. Oswalt is now upset that a sustained flow of pedo and rape “jokes” by Mr. Gunn resulted in his termination from Disney.
What makes the situation more pathetic is that a large population on social media see nothing wrong with his “jokes.” Mr. Gunn deleted at least 10,000 tweets in a very short amount of time to cover up his disturbing behavior (as a 40-year-old man, mind you), yet many observers think Disney should have yawned and said, “Move along. Move along. Nothing to see here.”
The lesson of the day: Don’t go finger-wagging at politicians and fellow entertainers about “abhorrent” rhetoric if your past includes many years worth of sexual jokes about minors. That seems like it would be common sense, but then again common sense is in short supply as of 2018.
If you’d like to hear my full thoughts on Mr. Gunn’s firing, then feel free to check out my recent live-stream with the multi-talented Brett R. Smith. We wrap up the discussion with commentary on his latest project with artist Timothy Lim and writer Chuck Dixon: Trump’s Space Force.
You can check out the Indiegogo campaign here.
There will come a time many years from now when film historians will analyze Marvel Studios, and some of them will rightfully conclude that Thor: Ragnarok won over critics and fans despite its forgettable script. Producers gave the world a $180 million stick of cinematic bubble gum and the world cheered.
Once upon a time, superhero fans watched Thor movies in which actor Chris Hemsworth and his supporting cast attempted to channel literary classics like Beowulf. Director Kenneth Branagh infused Thor (2011) with tinctures of Shakespearean tragedy, while Alan Taylor churned out similar work on Thor: The Dark World (2013).
All that is over with the arrival of director Taika Waititi, who has the first “family-friendly” Marvel Studios/Disney movie that drops an “orgy” reference into a scene involving the cosmic equivalent of billionaire Jeffrey Epstein’s infamous “Lolita Express.”
Thor: Ragnarok is essentially two movies mashed into one. Half of Ragnarok involves a ancient prophecy in which Asgard is captured by Thor’s sister Hela (Cate Blanchett) and ultimately destroyed by a giant demon named Sutur; the other half deals with an exiled Hulk (Mark Ruffalo) fighting as a gladiator on a planet ruled by Grandmaster (Jeff Goldblum). The god of thunder and his brother Loki (Tom Hiddleston) end up stranded on the planet as well, but they soon find a way to escape through “The Devil’s Anus.”
The two brothers are helped along the way by a disillusioned Valkyrie (Tessa Thompson), and the whole thing is tied together by a series of jokes that often follow (i.e., undermine) dramatic scenes.
In short, Ragnarok is a film that doesn’t take itself seriously — even as it sometimes asks the audience to do so. It is a movie that is seemingly so terrified of being parodied at the MTV Movie Awards that it decided to deny them the opportunity. Chris Hemsworth, at times, seems as though he’s parodying himself playing Thor. Potential moviegoers simply need to imagine a Batman movie in which the actor was required to alternately channel Joel Schumacher’s notorious Batman Forever (1985) and Christopher Nolan’s The Dark Knight (2008).
“Even when you had two eyes, you still only see half the picture,” Odin (Anthony Hopkins) says to Thor during a near-death experience. “Are you ‘Thor, the god of hammers’? Hmmm? That hammer is to help you control your power — focus it. It’s not your source of strength. […] Asgard is not a place, never was. This could be Asgard. Asgard is where our people stand. Even now — right now — those people need your help.”
“I’m not as strong as you,” Thor replies.
“No. You’re stronger,” says Odin.
The exchange is meant to be poignant, but it comes after nearly two hours of improv and slapstick comedy — it’s hard to appreciate Hopkins’ turn as Odin when the audience is still wondering how a thinly veiled masturbation joke involving Thor’s hammer made it into the finished product.
The question that fans of the genre need to ask themselves after the joke-a-minute Guardians of the Galaxy: Vol. 2 and now Ragnarok is this: If a superhero movie struggles not to inject a gag of some kind into every heartfelt moment, then what does it say about the audience? What does it say about our culture?
If you’re looking for a Marvel movie that most closely resembles Ace Ventura: Pet Detective (1994), then run out an see Ragnarok before it leaves theaters. If you expect your god of thunder to possess a Game of Thrones gravitas, then stay far away.
Editor’s note: Check out my “Thor: Ragnaflop?” live-stream if you want to hear almost two hours of Thor-talk.
There are times when I wish that I never made the leap to YouTube and instead stayed on my little old blog churning out content for people who understand things like nuance. My reaction to Spider-Man: Homecoming highlighted that fact quite nicely yesterday.
Your friendly neighborhood blogger said that he loves the movie and wants people to see it, but that a weird scene involving “MJ’s” comment on slavery was a social justice-y sucker punch out of nowhere. I then used that scene to discuss real-world “MJ’s” populating college campuses and influential circles of activists across the nation.
Translation: “Doug is an SJW! Doug is triggered! Doug can’t enjoy anything that includes a whiff of SJW politics.”
Below are my videos on the old web-head’s return to the big screen. As always, if you enjoy the content then be sure to subscribe. And if you too think I’ve gone full “SJW” then go for it in the comments section. Let me know! I find this conclusion fascinating.
Here is the full review with one major spoiler for those who haven’t seen the film.
Last weekend I made the mistake of not reserving my movie tickets for Wonder Woman ahead of time and ended up having to decide whether I wanted to see a later showing or go home. I opted for an extra hour’s wait — and it was worth it.
Here is what I wrote **pseudo-spoilers ahead** for Conservative Book Club:
Director Patty Jenkins can make a strong case that she had one of the most pressure-packed Hollywood tasks in recent memory — making Wonder Woman a blockbuster for Warner Bros. She needed to please fans of a character with over 70 years of history while overcoming doubts about the direction of the DC Extended Universe and Gal Gadot’s acting.
Wonder Woman, much like Joe Johnston’s Captain America: The First Avenger in 2011, was the kind of job where studio executives pull one off to the side and say, “Good luck, but don’t you dare screw this up.” Ms. Jenkins, like her creative peer, responded by churning out an upbeat film of solid craftsmanship across the board. Gadot’s Princess Diana just so happened to make her debut during World War I instead of World War II (both ideal backdrops for films pitting good against evil).
As is the case with most quality superhero origins, Wonder Woman takes its time establishing the character’s backstory before fists start flying and guns go blazing. This fish-out-of-water tale required the women of Themyscira to meet military men like Captain Steve Trevor (Chris Pine), and Ms. Jenkins wisely dictated slower pacing. The DC Universe is one where Greek mythology meets Judeo-Christian beliefs, but writer Allan Heinberg (story byJason Fuchs and Zack Snyder) made it work.
The plot is simple: The first World War literally breaks through a protective bubble put in place by Zeus to hide the Amazons from the god of war, Ares. Diana saves Captain Trevor when his plane crashes into the ocean, which serves as the impetus for her to leave utopia and save mankind. She believes that locating and defeating Ares on the field of battle will end all war. Steve humorously goes along for the ride as a means of getting home, although a romance between the two heroes eventually grows.
Perhaps what is most impressive about Wonder Woman — besides a memorable “No Man’s Land” scene and the iconic “lasso of truth” — is the way Diana’s improved understanding of love and free will allow her to fully realize her potential. The god of war eventually comes across as a Satan stand-in, and Wonder Woman adopts, for all intents and purposes, a Catholic definition of love (i.e., willing the good of the other as other).
Check out the rest of the review here.
Question: How much do you want to bet that somewhere in Hollywood there is a producer who is thinking up schemes to make Wonder Woman vs. Alien happen?
The past weekend was rightly dominated Gal Gadot’s solid handing of Diana Prince, but if you’re like me and had to deal with sold-out shows, then you faced the “Do-I-stay-for-the-later-viewing-or-go-home?” predicament. There was a third option — seeing Alien Covenant — but I shirked my writerly duties and got you this review late. I hope you can forgive your humble (I try) blogger and consider the analysis below as similar situations unfold in the weeks ahead.
Here is an except from my latest review for Conservative Book Club, with a link to the full text once I’ve pushed fair-use content to its outer limits:
Director Ridley Scott’s latest foray into the universe he made famous roughly 40 years ago is a bit like a Rorschach test. Is it primarily a Prometheus (2012) sequel or an Alien (1979) prequel? Is it a highbrow science-fiction flick about the origins and meaning of life, or is it just another opportunity to show seemingly smart people make stupid decisions that lead to gruesome deaths? Alien: Covenant, like a quickly scurrying “xenomorph,” is hard to nail down.
One of the big challenges with bringing a film like Alien: Covenant to the big screen is making it fresh. Die-hard fans of any beloved franchise (e.g., Star Wars) understand that on some level they’re paying for the same roller coaster ride, but that doesn’t absolve creators from supplying a few new twists and turns. Luckily for Alien fans they have a 79-year-old Scott, whose lifetime of experience brings forth a gorgeous film that demands respect despite its flaws.
Alien: Covenant’s plot revolves around a crew of would-be planetary colonists who are wakened from hypersleep due to an emergency. Their captain dies, and a pensive man of faith named Oram (Billy Crudup) takes his place. Newly widowed Daniels (Katherine Waterston), an android named Walter (David Fassbender), and a small band of explorers decide to investigate a radio signal from a nearby planet instead of reentering hypersleep and risking another calamity. The chaos that follows serves as the bridge between Prometheus and Alien.
As expected, Oram and much of his crew soon find themselves overwhelmed by a hostile planet filled with xenomorph-producing spores that burrow inside ears and noses. The team is saved by David (Fassbender), the older — but more problematically human — model of Walter from Prometheus. He hopes to hitch a ride on their orbiting spaceship once an electrical storm subsides, but for reasons he has no intention of disclosing to his innocent human visitors.
Without spoiling the movie, the key to understanding David’s motivations lie in Alien: Covenant’s prologue, in which he speaks with his inventor.
“If you created me, who created you?” asks David.
His “father” (Guy Pearce) calls it the “question of the ages.”
“Allow me then a moment to consider — you seek your creator; I am looking at mine,” replies David. “I will serve you, yet you are human. You will die, I will not.”
A further window into David’s digital mind comes later in the movie during a conversation with “brother” Walter. He references fallen angel Satan from John Milton’s Paradise Lost: “Better to reign in hell, than serve in heaven.”
Check out the full review over at CBC here.
It takes quite a bit of insanity to make your friendly neighborhood blogger swing into explicitly political material these days, but when Hollywood comedians go full “Jihadi John” it seems a though it’s time for the blog posts of old to return.
For those who somehow managed to avoid the news, Anderson Cooper’s regular New Year’s Eve broadcast buddy, Kathy Griffin, released images from a photo shoot today that she promised would “make noise.” TMZ was given exclusive access to the “art” project, which included Ms. Griffin holding up a fake version of President Donald Trump’s decapitated head.
This, dear reader, is “the resistance” that Hollywood directors like Joss Whedon are calling for because Mr. Trump will allegedly trick the nation into massacring gay people. The entertainment community now finds itself weirdly peddling the idea that Mr. Trump should have his head chopped off to … stop him from chopping off heads.
Get it? If you do, then please explain it to me in the comments section below.
Ms. Griffin apologized when the ensuing outrage spread like wildfire across social media, but that begs the question: Did she mean it, or was she trying to save her annual payday with CNN? When someone looks up repeatedly while apologizing, it comes across as, “Okay, okay. I’ll say I’m sorry. Can we just get this over with and move on? Yeesh.”
Consider what the comedian said just hours earlier to photographer Tyler Shields: “We’re going to go to prison — federal prison. Call your dad, apologize.”
She knew people would be angry and disgusted, but she did it anyway. She just didn’t realize that there are still enough people with common decency across the political spectrum that she would become professionally toxic to many of her peers.
Mr. Trump is a lot of things, but he most certainly does not deserve to have his fellow Americans sending the message that he should be executed ISIS-style. Nobody deserves such a fate, but for some disgusting reason the Hollywood community has decided to try and equate him with “Nazis” and Hitler and any other group that serves to transform him into a monster.
The reason is simple: Once you dehumanize a man and turn him into a demon, then it is easy to rationalize any action(s) used to destroy said demon. The entertainment industry has decided that a rhetorical and “artistic” scorched earth strategy is acceptable for “resisting” the president, even if it further tears the nation apart.
My guess is that Ms. Griffin, like many comedians, has a whole slew of psychological and emotional issues. People should be mindful of that as they respond to her “art.” Regardless, she should be held responsible for her a behavior. It is up to good people to take a stand against Hollywood’s most ghoulish political hacks, because the industry’s aggregated efforts have a huge effect on shaping young minds.
If you want to know what the future of America looks like without the right actions of morally upstanding individuals today, then look no further than the social media feeds of men like Joss Whedon and women like Kathy Griffin. Absent a miracle, I firmly believe that our nation is bound for many dark days ahead.
The world finally has an R-rated version of Wolverine that does everything right.
If you love Wolverine, then you should run out to see Hugh Jackman’s final turn with the character in Logan. It’s a smart film that doesn’t skimp on action, it’s filled with heart, and the performances by Mr. Jackman and Patrick Stewart as Professor X are top notch.
There is much to say about this movie, but instead of doing up two different reviews I think I’ll just share a portion of what I wrote for Conservative Book Club and then ask you to kindly check them out for the full version.
I wrote shortly after the film’s release:
The world has seen Hugh Jackman play the Marvel superhero Wolverine for 17 years, but it appears as though the actor saved his best performance for last. Director James Mangold’s R-rated Logan hauled in $247.3 globally its opening weekend, and for good reason — it’s a superhero movie that transcends the genre.
What is perhaps the most fascinating about Logan is that while it is chalk full violent deaths, underneath the blood and gore is a film that promotes selfless sacrifice, unconditional love, loyalty, family, and the possibility of redemption for all men — no matter how fallible they may be. Bad characters die, but the film’s message on many levels can be considered “pro-life.” Good samaritans risk everything for children who are treated as expendable tools, while the life an elderly and infirm man is fiercely protected by the protagonist.
Logan (story by Mangold, screenplay by Scott Frank) takes place in a future where all of the X-Men in the 20th Century Fox franchise are dead — wiped out in large part due to the decaying mind of Professor Charles Xavier (Patrick Stewart). Wolverine and an ally named Caliban (Stephen Merchant) have been driven underground along the U.S. border with Mexico, although the hero is able make enough cash to get Charles seizure medication by working nights as a limo driver.
Everything changes for the trio when a nurse smuggles a genetically engineered child known as X-23 (Dafne Keen) out of captivity before she can be killed by the villain Pierce (Boyd Holbrook). Her goal is to transport the girl a rally point in North Dakota where children with similar capabilities will attempt to cross the border into Canada. Logan, with his failing immune system and broken body, is coerced into the quest by Charles and the surviving shards of virtue buried deep within his own adamantium bones.
“You know, Logan, this is what life looks like: a home, people who love each other, a safe place. You should take a moment and feel it,” Xavier says when they are eventually given food and shelter by a family of farmers.
“Yeah, it’s great,” the reluctant hero sarcastically replies.
“Logan! You still have time,” Xavier implores.
It was three years ago that I saw an ad for a Keanu Reeves movie called John Wick pop up on my Spotify account. It had been awhile since I had seen something of his that I liked (i.e., 2005’s Constantine), but I said to myself, “This looks cool. I’m there opening weekend.”
Fast-forward t0 2017. We now have John Wick 2, thanks to good word-of-mouth that made the original hit. The first film pulled in $89 million globally on a $20 million budget, and John Wick: Chapter 2 has already amassed $90 million in two weeks. That’s because Reeves, director Chad Stahelski, and writer Derek Kolstad have offered fans a little bit more of everything the liked the first time around — cool cars, cool guns, and cool fights — while still managing to expand the universe in fun ways.
I don’t want to give away any spoilers, so all I will say is that this film mainly serves as a bridge to what I’m assuming will be a finale of epic proportions. The last film sent a message that we cannot escape the repercussions of our past sins while JW: Chapter 2 emphasizes that attempting to solve violence through violence usually exacerbates the problem. The main character desperately wants to leave the lifestyle of evil behind, but that is next to impossible since he spent years building up a reputation as “Death’s emissary.”
Long story short, if you enjoyed the first movie then you probably should do yourself a favor and check out this one. Laurence Fishburne reunites with Reeves in grand fashion, Common does an excellent job as “Cassian,” and the ending has a well-done homage to Bruce Lee’s Enter The Dragon.
If you’re an action-movie fan who still needs more convincing, then head on over to Conservative Book Club for a more extensive review that I wrote up last week.