Tag: film

Milo reviews Joker:

This is a film about a young man who is driven by the rampant, illegitimate cruelty around him to do appalling things. The message, the moral of the story, is that Joker is what is going to happen to us soon, unless these dissociated and disaffected young males find something better to believe in. This is our future, unless society starts treating them—treating us—with the respect and dignity we deserve.

In every outdoor shot, Arthur Fleck is surrounded by the signs of decadent late capitalism. This is a failed nostalgia because although the film is set some forty years ago, it could just as well be playing out today. Pornography and drugs flood the streets, and there are signs everywhere telling Fleck—and the viewer—to grin and bear it, to “put on a happy face.” We’ve been told that for some time now, haven’t we? We’ve been told to turn a blind eye to the excesses of modern feminism, because, well, ladies had it pretty rough back in the day guys, didn’t they? We’ve been told to go easy on race-baiting conspiracy theorists because, you know, you’re white and so you’ve inherited all that privilege, my guy! After all, aren’t we the aggressors—the historical oppressors of just about everyone else?

This nonsense, this desperate plea for pity in the face of historical reality, is wearing pretty fucking thin in 2019. While we are being bamboozled, society has become hostile to its own engines of progress and creation, alienating and spurning Christians, men, heterosexuals and, yes, white people. The after-effects of this terrible neglect are setting in, and the young men I know are searching for a means to sublimate their rage and pain. And they want someone—anyone—to say: You are right to be furious.

The filmmakers are mocking the rightful wrath that is to come because they fear it. But the day of Deus Vult is coming and there is no power on Earth that can stop it. Remember, every knee SHALL bow.

Willingly or unwillingly, even the haters and enemies of God will bend the knee before Jesus Christ.

I agree with Milo when he says the West is primed for a religious revival. The bankruptcy of the Enlightenment, the dead end of hedonistic degeneracy, the vacuousness of science, and the unadulterated wickedness of the satanists is becoming abundantly clear to everyone with eyes.

You are right to hate the wicked. And you are right to be furious.

When even the guys who managed to ruin A Game of Thrones in the final season are walking away from the Devil Mouse and Star Wars in favor of riding a debt-laden Netflix down into the ground:

David Benioff and D.B. Weiss, the duo who in 2011 launched the singular screen sensation known as Game of Thrones, have walked away from their much-publicized deal with Disney’s Lucasfilm to launch a feature film trilogy in 2022. Benioff and Weiss were supposed to usher in the post-Skywalkera era of the Star Wars brand with a 2022 new-start story that would stake out a new frontier for the era-defining cinema brand created by George Lucas. 

Think about how much damage the Devil Mouse has done to the Star Wars brand in just a few short years. It’s really astonishing to observe the extent to which the corporate cancer of social justice convergence destroys the value of even the most marketable brands.

And you know the sick freaks of Evilwood will kneel to power, as they always do, which is an indictment on the so-called “conservatives” of America:

In a shocking twist not unlike the ending of a Quentin Tarantino film or two, Once Upon a Time in Hollywood’s China box office ambitions appear to be going up in flames.

The critically acclaimed movie, starring Leonardo DiCaprio and Brad Pitt, had been approved for release in China on Oct. 25, but regulators have abruptly reversed course.

According to multiple sources close to the situation in Beijing, who asked not to be named because they weren’t permitted to speak publicly about the matter, Once Upon a Time in Hollywood’s local release has been indefinitely put on hold.

The film would have been Tarantino’s first proper release in China, and the country’s enormous market was expected to help push the title’s worldwide box office total past the $400 million mark (it has earned $366 million to date). The abrupt change-up comes as a blow to both Sony Pictures and the film’s Chinese financier, Beijing-based Bona Film Group.

As The Hollywood Reporter reported exclusively in January, Bona took a sizable equity stake in Once Upon a Time, which gave the company participation in the film’s worldwide box office, as well as distribution rights in Greater China. Bona’s CEO Yu Dong and COO Jeffrey Chan are both prominently credited as executive producers of the film.

As is typical in China, no official explanation for the cancellation has been offered by Beijing regulators. Bona didn’t reply to text messages and emails, and Sony’s China office could not immediately be reached.

But the story swirling through the executive ranks of China’s film industry Friday was that the decision stemmed from Tarantino’s somewhat controversial portrayal of martial arts hero Bruce Lee, the only character of Chinese descent in the movie. Friends and family of the late Lee have blasted the director for the depiction, saying the real-life action star didn’t behave as he’s portrayed in the film.

According to sources close to Bona and China’s Film Bureau, Bruce Lee’s daughter, Shannon Lee, made a direct appeal to China’s National Film Administration, asking that it demand changes to her father’s portrayal.

It’s amusing to see how the combination of Trump, Putin, and Xi is revealing the essential helplessness of the permanent inversives to everyone. The defeat of the West and the conquest of America has been shown to consist of nothing more than word spells cast by evil wizards of rhetoric upon an innocent and somewhat retarded people.

Ever notice how offending Christians is always defended as “artistic integrity” but they’ll cast that integrity aside the moment anyone actually stands firm? Never take a wizard’s spell at face value.

Actor and LGBTQ activist Billy Porter has confirmed that he will play the role of the Fairy Godmother in James Corden’s forthcoming live-action movie musical Cinderella.
“I have a couple of movies that I’m working on,” Porter announced on the New Yorker‘s Instagram Stories. “I’m gonna be playing the fairy godmother in the new Cinderella movie with Camila Cabello.”

E! News reports that the 22-year-old Cabello will play the role of Cinderella while also helping to write the film’s music. Porter and Cabello are currently the only two actors announced for the remake, which is described as a “modern re-imagining of the classic fairytale.”

See, he’s a FAIRY godmother. Get it! So clever. So brave. Thank you for this.

It never, ever, stops. Devil Mouse Wars is very pleased to announce its first gay pairing:

In a recent interview with the Coffee With Kenobi podcast, Star Wars Resistance producer Justin Ridge confirmed that Orka and Flix, a pair of alien starship-parts salesmen featured in the Star Wars Resistance cartoon, are the first openly gay couple on screen in the Star Wars mythos.

This exciting “news” comes just after the announced ret-conning and reduction of Emperor Palpatane with the revelation of the real power behind the Empire:

Star Wars has revealed the woman who was actually keeping the Empire together all those years, despite its incompetent leader: Imperial Minister Pitina Voor.

Every fan is going to want to know the woman born Pitina Mar-Mas Voor, twenty-five years before Sheev Palpatine began his rise to power. Married to a lame duck bureaucrat in the Empire’s ruling class of competing officers and governors, Pitina saw history repeating itself. That below all the bravado, intimidation, and posturing… the expansion of the Empire through brute force was killing it even as it spread (running out of both soldiers and money). And Pitina just might have led the Galactic Empire to total success, if not for once crucial weakness: Emperor Palpatine had absolutely no idea how to lead.

To the SJW, creativity and story-telling means replacing normal people with homosexuals, white people with black people, and men with women. So brave. Thank you for this.

The ultimate Devil Mouse crossover is all but inevitable at this point:

Disney appears to be shuffling the cards as Marvel Studios boss Kevin Feige will team up with Lucasfilm’s Kathleen Kennedy to produce a Star Wars film.

Walt Disney Studios co-chairman Alan Horn confirmed the project to The Hollywood Reporter stating:

“We are excited about the projects Kathy and the Lucasfilm team are working on, not only in terms of Star Wars but also Indiana Jones and reaching into other parts of the company including Children of Blood and Bone with Emma Watts and Fox. With the close of the Skywalker Saga, Kathy is pursuing a new era in Star Wars storytelling, and knowing what a die-hard fan Kevin is, it made sense for these two extraordinary producers to work on a Star Wars film together.”

Not only will Lucas be teaming with Kennedy for a Star Wars film, but THR reports, “One knowledgeable source says Feige has told a major actor that there’s a specific role he would like that person to play if and when he makes the movie.”

That report comes just hours after a rumor indicated Disney was looking to have Brie Larson play the lead role in an upcoming Star Wars film. It’s possible Larson could pull double duty in Star Wars and the Marvel Cinematic Universe.

I can’t wait to read all the hate reviews of the eventual bomb. The only question will be who hates the crossovers more, the Marvel fans or the Star Wars fans. In either case, there will be a considerably fewer of them.

As if there was ever even the slightest shadow of a doubt:

Disney CEO Bob Iger confirmed the company has a diversity agenda.

In a recent interview with the New York Times, interviewer Maureen Dowd pointed out to Iger that the top executives of Disney are white men in their TV, film, parks and consumer products, and streaming and international divisions.

Alan Bergman is the co-chairman Walt Disney Studios alongside Alan Horn. Bob Chapek is the Chairman of Disney parks, Experiences, and Products, Peter Rice is the Chairman of Walt Disney Television, and Kevin Mayer is the Chairman of Direct-to-Consumer & International.

Iger responded saying, “You have to look one level down, because we’ve done a lot.” However, he did acknowledge that Disney is “lacking” in diversity when it comes to the people who are directly reporting to him. He did make it clear he plans to change that before he leaves the company saying, “I’ll change that before I leave.” Iger is expected to retire from Disney in 2021.

What’s Iger going to do for an encore, announce that the only thing the Devil Mouse hates more than copyright is Jesus Christ?

Marvel is deeply committed to giving you more of what you don’t want:

Marvel Studios executive producer Trinh Tran recently commented about Marvel’s Phase 4 and beyond plans noting “this is the first step to more diverse characters and franchises.”

Tran spoke with Inverse shortly after San Diego Comic-Con to discuss Phase 4 and its “visibility of women and superheroes of color.”

Tran stated, “Female representation, the diversity of it all, is very important because this is the world we live in.” She added, “There’s so many different people out there and in order for us to relate to them, we have to make movies that are different. We can’t always be about one race or gender. That’s not the way to connect with the world.”

Tran would then go on to explain she’s excited about the upcoming Black Widow and Shang-Chi film before noting these Phase 4 films are just the first step for Marvel Studios.

“This is the first step to more diverse characters and franchises. I am hoping for more down the line. We have so many characters in the Marvel Universe, it’s a matter of picking which one makes sense to the MCU.”

She adds:

“In thinking about the future of the MCU and how all those characters are gonna connect, diversity is crucial in our future.”

Tran then states, “I think we’re heading towards the right direction. Ten years ago when we started making these movies, you probably don’t see much of that.”

Arkhaven is going in precisely the opposite direction. Time will tell which was the right choice.

Now media conservatives are beginning to talk about how the Conservative establishment should be doing what we’re doing already:

It’s time for conservatives and what Kurt Schlicter calls the “Normals” to have an entertainment industry of their own. Hollywood has effectively divorced conservatives (and the Normals). And after a divorce, as they say, “living well is the best revenge.”

The question is how. It’s not easy and one of the big reasons is the conservative world itself. Conservative financiers abjure the arts — indeed they seem even to fear them — unless it’s putting money in their local philharmonic to have their name on a plaque in the lobby. Problem is, we all love Beethoven but he doesn’t need our help at this point.

Conservative fat cats also put a ton of money in think tanks that aren’t particularly effective. I don’t mean to unnecessarily diss those tanks. Some of my best friends are, etc., etc…. but the truth is, one good movie or television series is worth more than a hundred, or even a thousand, position papers when it comes to moving society. Andrew Breitbart couldn’t have been more right when he said: “Politics is downstream of culture.” (He could have added education, which is in a sense part of the culture, now more than ever working hand-in-hand with entertainment for bad ends.)

What is needed here by investors on the right is a little guts for a change. It shouldn’t be so hard, but somehow it is — or has been. It’s obviously true that film, theatre, and publishing are risky investments, but the center-to-right audience is huge. Plenty of “proof of concept” exists with films like The Blind Side, Lone Survivor, and American Sniper — just some examples of box office smashes that fit that profile.

Not one word about Alt-Hero, Rebel’s Run, or any genuine alternatives, of course. And remember, this guy was given seven (7) million dollars by a billionaire investor back in 2004. Did he make a movie? Did he start a film studio? Did he even publish a single comic book? No, he spent it on a wildly overpriced blog.

On the plus side, however, it must be admitted that Mr. Simon was laudably open about the nature of his operation from the start.

A very thorough review of the classic Italian film – and novel – The Leopard:

Luchino Visconti’s masterpiece is his 1963 historical epic The Leopard (Il Gattopardo, which actually refers to a smaller spotted wild cat, the serval, which is the heraldic animal of the Princes of Salina in Sicily). Visconti’s film is a remarkably faithful adaptation of the 1958 novel of the same name by Giuseppe Tomasi di Lampedusa. The Leopard became the best-selling Italian novel of all time, carrying off many critical laurels as well. In its beauty of language, philosophical depth, and emotional power, The Leopard is one of the greatest novels I have ever read, and Visconti’s film does it full justice. Both are works of genius.

Set during the Risorgimento, the unification of Italy into a modern nation-state, The Leopard is sometimes called “the Italian Gone with the Wind,” which is an apt comparison, although The Leopard is better both as a book and a film. Like Gone with the Wind, The Leopard is a historical romance set against the backdrop of a war of national unification in which a modern, bourgeois-liberal industrial society (the Northern Kingdom of Piedmont and Sardinia, ruled from Turin by the House of Savoy), triumphs over a feudal, agrarian aristocracy (the Kingdom of the Two Sicilies, encompassing Sicily and Southern Italy and ruled from Naples by the house of Bourbon). Even the time period is basically the same. The novel The Leopard is set primarily in 1860–62, and the film takes place entirely in this time frame.

The story begins in May of 1860, when Giuseppe Garibaldi, a charismatic nationalist general, raised an insurgent force of 1000 volunteers and landed in Sicily to overthrow the Bourbons. The Garibaldini fought for no king or parliament. They fought for the nationalist idea. They fought for a unified Italy that did not yet exist.

Garibaldi fought his way to Palermo, declared himself dictator, then raised new troops to take the fight to the mainland, where he overthrew the last Bourbon king, Francis II. Then Garibaldi handed the kingdom over to king Victor Emanuel of Piedmont and Sardinia and retired into private life. Plebiscites were held throughout Italy, except in Venice, which was under Austrian rule. All of Italy, save the Papal States, agreed to unification under the House of Savoy. In 1862, Garibaldi raised an army to march on Rome and forcibly incorporate the Papal States, but he was stopped by troops loyal to the new unified kingdom.

Lampedusa was a Sicilian aristocrat and a partisan of aristocracy. As a study of classical aristocratic virtues, The Leopard can be placed alongside Aristotle’s Nicomachean Ethics. As a meditation on the decline of aristocracy into oligarchy, it can be placed alongside Plato’s Republic. Visconti, however, was both an aristocrat and a self-professed Communist. Thus his adaptation also highlights other aspects of the novel, dramatizing how the revolutionary energies unleashed by the ideas of the sovereign people and a unified national state were coopted by the old Italian aristocracy and corrupted by the rising middle classes.

The Leopard is very much the Italian Gone With the Wind. I’ve read it twice, and I highly recommend the novel to anyone. I haven’t seen the film yet, but I intend to do so soon. Read the whole review there.