If all you offer the world is so-called “lesser evilism” then don’t be surprised when people consider you evil.
Ferris Bueller’s Day Off
A Clockwork Orange
A Boy and His Dog
10 Things I Hate About You
Fast Times at Ridgemont High
The Stoned Age
Back to the Future
Pump Up the Volume
Send requests for additions to:
polfilmblog at gmail dot com
BBC put out their list, and it includes some real pretentious miscues.
I’m realizing how little I agree with all you people… and yet sometimes…
Eternal Sunshine of the Spotless Mind (2004)
Spirited Away (2001)
The Lord of the Rings: The Two Towers (2002)
District 9 (2009)
Requiem for a Dream (2000)
O Brother, Where Art Thou? (2000)
Moulin Rouge! (2001)
A.I. Artificial Intelligence (2001)
Dawn of the Dead (2004)
Life of Pi (2012)
In Bruges (2008)
Black Swan (2010)
Sophie Scholl: The Final Days (2006)
The Prestige (2006)
Even the Rain (Meme La Pluie) (2011)
The Diving Bell and the Butterfly (2007)
The Wrestler (2008)
Europa Report (2013)
Tropic Thunder (2008)
Red Cliff (Chi Bi) (2009)
Moonrise Kingdom (2012)
The Wolf of Wall Street (2013)
Mulholland Drive (2001)
War is first and foremost about propaganda, dividing the world into worthy victims and unworthy victims–who are ignored. Hundreds of thousands of civilians have been massacred in the completely illegal proxy war waged on Syria by AMERICA, its NATO allies and its GULF TYRANT PARTNERS. Follow the weapons. I wrote about the bogus propaganda offensive back in 2012:
Let’s recall the outrageous mass murder that prompted that article, shall we?
Numerous civilians were killed on May 25, 2012 in Al-Houla, Syria. Immediately, the Assad regime was blamed (as always) by the opposition public relations sources, those so-called “activists.” The Syrian government’s artillery fire was noted by the United Nations. The world’s press picked up on this opposition “activist” story, and soon the Syrian ambassadors were booted out of the US, Canada, UK, France, Germany, Italy, Spain, Australia, the Netherlands and Switzerland. Exactly like a rehearsed and coordinated bit of political theater.”
But, of course, the Syrian government wasn’t the perpetrator of the atrocity. America’s psychotic head-chopping Sunni terrorists were.
“Then a Russian news team investigated exactly who was killed, how and why. This investigation was followed by a German investigation by FAZ, one of Germany’s largest newspapers, and both reports come to a very different conclusion than that of the “activists.” While the murders of women and children were brutal, barbaric and disgusting, it is the perpetrators that matter here. The civilians were not killed by artillery shells, but by small arms fire and/or knives. They were not killed because of their opposition to the regime, but were families known for supporting Assad. Several were Shiite living in the predominantly Sunni neighborhood. “
The propaganda lies have only gotten progressively worse since 2012. The only reason that particular Syrian boy above is all over the world’s press today is that his plight can be blamed on Russia, the real enemy in these illegal, covert wars of aggression. As if Russia began the conflict, or even wants it to continue. Utter nonsense. The true perpetrators are in Washington, London, Paris, Riyadh, Ankara.
CNN proclaimed the child “the face of Syria’s civil war,” while the anchor-woman theatrically burst into tears recounting his story.
The New York Timescalled him “a symbol of Aleppo’s suffering,” while USA Today published a short editor’s note reading, “This Syrian boy is Omran. Will you pay attention now?”
More direct in its approach was the British daily Telegraph, which headlined an article: “For the sake of Aleppo’s children, we must try again to impose a no-fly zone in Syria.”
“When the US military killed 73 civilians in Syria last month, images of the carnage, like the one below, didn’t make the cut, for some strange reason.”
The Political Rally
a participatory stage play
Smiling CLOWNS are ushers. Happy mimes escort you in toward your seats. Balloons and banter. Intro MUSIC can’t decide if it’s a Kremlin military march or a circus pipe organ.
THE CLOWN occupies the center aisle. He is large and mic’d. He entertains and welcomes the audience into the performance.
Oh, yes! Please! Sit! Enjoy yourselves! Everyone, we’re going to have a fun time. (sings) A fun time for everyone, everyone, sing, sing, sing with me. Fun time for everyone! Sing! You’re not singing. A fun time for everyone, ha-ha-ha-ha.
The Clown performs standard clown tricks, draws the crowd in, and jokes with the patrons that pass by him.
On the stage, a lovely ARYAN BLONDE sits off to the side. REPORTERS from the 30’s crowd the front and periodically snap flash pictures of her, between silent interviews.
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A Pointless Mess
Rarely do we witness such incompetence in well-funded storytelling. The meandering timidity of this film sank it before it even managed to exit the harbor.
While cinematography and heavy stylization made for an intriguing trailer, that’s as far as it got. Cribbing tropes from Cronenberg, Gilliam and Kubrick should have provided more than enough raw materials, but here produced only facile emptiness. The story is an adaptation of a novel, and doesn’t seem to have translated well.
The main character isn’t doing anything in particular for almost the entirety. He’s unworthy of his own film. It’s more of a location full of oddballs, but without enough glue to keep the High Rise from crumbling. It’s like they didn’t know what they wanted to say but were hell-bent on saying it anyway.
At one point, a midpoint perhaps, the rich upstairs group decides to throw a party to…
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By now I have a serious love/hate relationship with The Purge. Dammit. My feelings toward this movie seem to mirror my feelings toward American culture generally: I like the freedom, but not the scumbags who abuse it.
Greg Palast, BBC, had perhaps the best zinger of the modern age: “Armed Madhouse.”
Installment three of The Purge is exactly what you’d expect if you’re up on the franchise. We have a dystopian satire and a straight action movie cliche-fest wrapped into one. For every plus there is a minus. So the thing hovers near zero, but leans slightly positive.
I’m talking great class war metaphor and cheesy dialogue from the school of Roger Corman or something. It’s hard to accept the narrative when it is so chock full of cliches and glaringly BAD WRITING!
Example: the “climax,” if that’s what it’s supposed to be, is indistinguishable from that of the film
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