“The system is screwed. It’s fixed, and I hate it.”
Greg Palast has made the most important documentary of the past few years. He also posted it to Facebook to watch forfree. Three and a half thousand people saw the live stream when it aired, but that’s simply not enough. Not only has Palast produced the documentation, but he has revealed the connections: proving that election 2016 was outright stolen by the Republican/libertarian state governors financed by the Koch brothers.
Seven million minority voters were purged from voting rolls.
Palast proves the kakistocracy, or the oligarchy if you prefer, that truly corrupts every governing institution in this country. Numerous schemes are implemented to disenfranchise American voters, particularly low-income and minority voters. The film climaxes with a roundup of all the various election fraud machinations, and the propaganda lies that sell them to the ignorant. US propaganda is well-financed, and the Koch brothers are the main source in this arena.
The billionaires have been unleashed via Citizens United, and they put their bets on Donald Trump to deliver the government to their hatchet men. The game plan is to slash and burn for the next four years, to disempower citizens and to eliminate regulations or even entire cabinet departments.
Economic devastation for Americans and obscene and increased wealth accumulation for the owners, that is the plan. The contempt with which the Kochs and their ilk hold the American people is sick and depraved.
Trump’s “Drain the Swamp” con has been so successful, despite all evidence to the contrary. The swamp overflows today like a clogged up toilet, with Donald Trump’s extreme-right radical and super-rich cabinet appointees. Their agenda couldn’t be clearer, and it is class war. Shots have been fired.
Palast’s film has his over-the-top satirical stylings woven throughout. He’s a character, and he does try to make it fun. That’s a good thing, as these are complex plots, which is the reason they get away with them, that and the open bribery of high officials. The finest moments of the film are when he catches the perps directly lying, cuts to the truth, and then back for the next lie.
As Palast is capable of exposing these high crimes against our country, so we might want to ask why Barack Obama’s Justice Department (sic) did absolutely nothing about them. Nothing.
It is the rampage of the billionaires. It’s criminal. It’s ongoing. And these are not victimless crimes. It is nothing short of the rise of fascism in America. Every American needs to see the evidence. Hurry while the film is still streaming.
Before the horrible opening sequence even ended I was hoping for an atomic detonation to wipe out the entire plastic, bullshit town, and hopefully take out the filmmakers as bonus. The tone, the vapidity, the falseness, the obviousness, and the assault on intelligence did not portend pleasant experiences.
There is always a possibility that it was a setup, and that it might flip the script and become recognizable as tethered to the real world. Not the first scene, not the second, and her annoying voice-over continued its unfunny, unnecessary narration.
I imagined that Bad Moms was the type of material Guantanamo might play for captured Taliban, to break them. How much of this could I stomach? Smartly, I kept pausing its onslaught in order to articulate my disgust.
This was the strategy that pulled me through Cloud Atlas as well.
And so we continue…
Bad Moms is like a Perfect Storm
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For masochists only, I didn’t watch the full film.
Had I known it was primarily about a farting corpse and only two characters, I wouldn’t have rented it. Chalk it up to being fooled by the “indie” film websites again.
Even the filmmakers say that this is a “film about a farting corpse.” It’s stuffed with gross-out humor and a boring relationship between two dudes, one dead.
The film has flashbacks inserted, but I couldn’t bring myself to care. One reason was that the flashbacks themselves (at the beginning anyway) were inconsequential, pointless: cuttable. The other reason was that I never did buy into the absurd premise and was left rolling my eyes alone up in the bleachers.
The Making Of feature was more interesting than the actual film. It showed how easily pleased the people behind it were, and how a juvenile gag can be stretched out for…
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For a film that’s 75% an imitation of Ex Machina it’s not so bad. I guess we’re at that point of acceptance of AI robots coming to haunt our futures. It seems so inevitable that only the details remain unsettled.
They took it seriously as most of these attempt to do, excepting Lucy.
And I found out in the end credits that Morgan was little Witch Anya-Taylor Joy. How could I not have recognized her?
So they did something right. I’ll not say what it was. If you’re inundated with these AI films already you may be too burned out to appreciate the subtle differences. It does prompt a few ideas about limiting intelligence to certain areas of operations, rather than allowing expansive cognitive development–freedom.
So chew on that, and lock up your IPhones before they come for you in your sleep. Be assured someone is watching, collecting, waiting.
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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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