In a world where USDA bureaucrats decide what you should eat…
20 years after Mrs. Brown, Dame Judi’s back in Victorian era wardrobe as… Queen Victoria. Audiences have been positively clamoring for Judi to reprise her role as the 19th century’s most famous baby factory so fair warning: FAKE SPOILERS BELOW!
Never has such a short book title filled so many pages. (1,138 to be exact) Remember when flipping past the old TV version would fill your nightmare quota for a month or two? Well, on September 8th you’ll have to drive all the way to a theater to get scared for 14 bucks (plus another 10 for the worst nachos you’ve ever eaten). To better prepare you for a night of thrills and chills, here are the Top Ten Fake Spoilers for IT…
“The Siege,” starring Denzel Washington and Annette Bening, is a story of ‘blowback’ and the extreme measures government will implement to maintain control.
After the bombing of a U.S. facility abroad, American military forces capture and place in custody the man suspected to be responsible (the Sheik). It’s this action that sets off a chain reaction of retaliation. Soon after, in New York, unnamed Islamic terrorists attack the city and its people, demanding the Sheik’s release. Denzel, as the FBI’s chief counter-terror agent, chases the terrorist cells through the city, always rooting his actions in law and order, despite the directions of others. It’s when the terrorists blow up a federal building, killing 600, that the President steps in and declares martial law. The army goes block by block, door to door, and rounds up any and all Muslim people that fit their broad profile: male, 14-30 years of age. Beyond that, the military sees no moral conflict in torturing suspects for information, despite Denzel’s eloquent plea against it. In the end, the FBI works in the shadows to legally take down the terrorists and arrest the military men responsible for the reprehensible actions in the city.
This film deals with several major liberty themed points, namely: the idea of blowback, the morality of torture, law & justice, and the dangers of ‘racial profiling’. The film’s jumping off point is the tactical take-down of the Sheik, the man responsible for the bombing of an American facility abroad. While it is understandable to seek retribution for such an act, the film brings to light the idea of blowback – that foreign policy actions have unintended consequences. In this particular example, a “rouge” elements of the U.S. military engaged in his illegal extraction, undoubtedly invoking contempt that manifested itself in the bombings. This isn’t to say legal means of capturing the man would have had a different effect, but it is to say every action has an equal and opposite reaction.
Beyond this, though only a minor plot point, it is revealed that Annette Bening’s CIA trainees are the very same individuals now terrorizing the United States. In regards to torture, and martial law in general, Denzel’s character has a rather powerful monologue, in which he regards the current situation as “shredding the constitution”, and in that effect “they’ve already won”. Finally, one of the biggest thrusts of the film is in regards to Islam and people’s fear of it in the wake of religiously charged attacks. It is in this point that the film’s message is most relevant given current American fears and political rhetoric. To this, the film shows the “lump sum” attitude as misguided, as the large net the military stretches to round up the last remaining terrorist cells doesn’t even catch one lawbreaker. Instead, this net catches the innocent, a point made by Denzel’s Lebanese partner searching frantically for his 13 year old son in the large cages.
1) Is martial law ever a reasonable option?
2) Is it a coincidence that the military’s racial profiling of Muslim individuals was completely ineffective? Was this a conscious decision by the film-makers?
3) Is this film an indictment of America’s foreign policy? In what ways is it?
A guest post from Brian Watt of Ricochet.com
Yes, there are spoilers herein. If you are planning to see Dunkirk at a theater near you and don’t want to read about how the new Christopher Nolan film treats this historical event then you may be excused. Here’s a trailer of the film below that should serve as a visual break in this Ricochet post before the review begins.
Let me begin by articulating that I am an admirer of Nolan’s work. He breathed new life into the Batman stories and made something that had been targeted previously primarily to adolescent boys something that adults could find entertaining and at times thought provoking, exploring such themes as chaos, evil and nihilism. With Interstellar, he and his screenwriting brother, took the time to explore the actual science of the astrophysics that the film relies upon with renowned physicist Kip Thorne, so it would have an air of authenticity and highly-probable believability (well, the ending was a stretch). If only Ridley Scott had applied Nolan’s same discipline and attention to detail to the laughably unscientific, Prometheus.
“I’ll see you again in 25 years,” Laura Palmer promised Special Agent Dale Cooper in the Red Room. That was 1991, the end of the second season of Twin Peaks. Since then, there has been a prequel movie, Fire Walk With Me, and multiple books to expand on the mythology of the series. But this year, creators David Lynch and Mark Frost returned to the small screen with Twin Peaks: The Return on Showtime.
The small screen has gotten bigger in the intervening years. TV has become more cinematic, with series like Game of Thrones. CRTs have given way to 65-inch flat screens. Video production technology has made special effects cheap and seamless. And streaming services have changed the TV business model by trying to attract subscriptions from niche audiences. So it’s only natural that Lynch and Frost would revive their legendary television show.
Travel DAYS: Sunday, July 2 – Tuesday, July 4
The flight from LA to Dubai went across Greenland and produced memorable views like this one:
The flight on Emirates was among the best I’ve ever had. In addition to tons of new movies, TV shows, and albums, they also had some classics, so I thought it appropriate to rewatch Casablanca given that we’ll be there in a few weeks:
I picked up my first Thomas Pynchon novel on Saturday, Inherent Vice, for the plane rides, primarily because I liked the movie and have been studying the genre (LA Detective mystery ala Raymond Chandler):
Scarily relatable, surprisingly humorous, undeniably intriguing, Eric Ford Holevinski’s indie film “The Restaurant” has it all—from moments every food industry worker will understand to startling, jump-out-of-your-seat scares. As his first endeavor in filmmaking, Ford seems to have found subject material that draws from personal and universal experiences, while maintaining both humorous and horrifying themes. “The Restaurant,” a comedy-horror centered around a fast-paced New York City Italian restaurant, leads viewers into a spiral of scares and laughs as the busboy discovers a dark secret the manager is keeping. The secret? A customer-hungry entity in the basement that must be fed for the rave reviews to keep flooding in. Being his first foray into the indie film industry, Ford explained the motivations, developments and experiences of his career in the film industry in a Q&A.
I never grew up reading the Captain Underpants book series by Dave Pilkey; they were as us old-folks say “before my time.” Still, something about the trailer spoke to me, and I found myself watching the film Captain Underpants: The First Epic Movie (2017).
In the film, best friends Harold and George, a storyteller-artist tandem obsessed with creating comic books, find themselves at odds with their fascist Principal Krupp. The Principal is obsessed with order, structure, and efficiency; all of which come at the expense of his student’s creativity, and innovation. With the use of a cereal-box hypno-ring, the two hypnotize Principal Krupp into believing he is the embodiment of their comic book magnum opus, Captain Underpants. With Captain Underpants as their principal, their harmless pranks become a welcomed addition to school, and art and music are returned to the school curriculum. They spend their day helping the Captain blend in as a convincing principal, and making sure he does not accidentally return to his natural Krupp state.
What would happen if everyone was connected via social media? What if all their information was public? What if there were cameras literally everywhere to make sure that any and every experience was accessible to all? What if people voluntarily agreed to this world because a slick talking ceo convinced them it was better? These are just some of the questions raised by “The Circle.”
While many critics didn’t like “The Circle,” I actually thoroughly enjoyed it. I think some of those issues came from the marketing of this movie, as the film isn’t really worthy of the title “gripping thriller” that it claimed. “Thought-provoking drama” is more appropriate. The story starts when Mae (Emma Watson) gets a job at “The Circle,” which is like the love child of Apple and Facebook.
Two years ago, I joined Liberty Island Media, a start-up book publishing company focusing on genre fiction, as their West Coast Editor and began acquiring and editing novels. I also started writing my own novels and helping other writers develop their stories. Now, in this ongoing series at Smash Cut Culture I’m going to start highlighting the authors who I’ve returned to most often in working with writers. As I’ve studied and met both fiction and non-fiction writers over the years these are the ones with the most depth, originality, and humanity. Reading their books and understanding the ideas that matter to them has helped change my life for the better and I hope it can do the same for you.
Andrew Klavan has worn many writer’s hats over the years: hard-boiled thriller novelist, Hollywood screenwriter, essayist for The Wall Street Journal and contributing editor for City Journal, longtime new media innovator in blogging, hilarious YouTube videos, podcasting at the Daily Wire, and now celebrated memoirist with The Great Good Thing: A Secular Jew Comes to Faith in Christ.
I don’t know about you, but I have been anxiously awaiting a “Wonder Woman” feature film since rumors circulated in the late ’90s of one starring Sandra Bullock. For me, the films near twenty-years in pre-production hell was well worth the wait.
For starters, “Wonder Woman” is the film that we needed to finally prove the Exec’s wrong. The belief that female superhero films cannot be successful is farce! You may remember leaked emails from 2015 revealing their suspicions that female characters were not a draw in the box-office. The failure of female comic book movies – or any comic book movies for that matter – has nothing to do with the sex, gender, or ability of the character. No instead, as fans have always maintained, the failure of comic book films is the result of shoddy film making at the hands of filmmakers who do not understand the properties they are working with. “Wonder Woman” is a film seeming created by those who seem to understand, and love, the character. And what a difference it makes.
I first watched the trailer on the same day the first episode aired and was instantly intrigued. The history buff inside me initially took it as a historical series due to Elizabeth Moss’s hood and petticoat. As the video went on I realized that the plot was much more complicated than meets the eye.
Of course, this was all happening in the middle of finals week, so I decided to postpone watching the series until after my exams were done; until then I did a reasonable amount of research. To be brutally honest: prior to watching the promo, I had never heard of Margaret Atwood’s feminist novel. The plot immediately blew me away—set in New England, a Christian fundamentalist group overthrows the U.S. government, replacing the Constitution with a very strict, Puritan-esqe version of the Bible. Bit by bit modern working women are stripped of their jobs, bank accounts, and identities. They are reduced to their fertility and levels of obedience. The fertile ones become “handmaids” forced to bear children for the new society’s elite and their barren wives.
Have you seen this commercial for Ancestry.com, one of the genetic testing companies?
Kyle’s self-identification, based upon how he was raised and his family’s perception, was German-American but after genetic testing in the service of researching family history, he discovered his ancestors were primarily Scottish.
Adam Carolla and Dennis Prager are teaming up to make a new documentary about the “safe space” phenomenon that is plaguing college campuses across America. The pair has been filming for the past few months, but now they’ve launched an Indiegogo campaign for $500,000 to help them continue production on “No Safe Spaces.”
Have you ever heard of the GI Film Festival? Since 2007, this annual festival has been building community and film-making around subjects of military and veteran experience. The festival is “dedicated to preserving the stories of American veterans past and present through film, television and live special events.”
In “The Lord of the Rings,” trilogy a young hobbit named Frodo, is picked to go on a journey to destroy an all powerful ring. These rings were created to give unearthly power to whoever possessed them. One was created to rule over all of them. Frodo was picked because his heart was pure and wouldn’t be so easily corrupted by its power.
Judah and the Lion’s latest music video, “Suit and Jacket” continues the folk-hop band’s 7-year conversation with youth, adulthood, death and meaning within the context of a new outer-space theme. The video, off their new Folk Hop and Roll Deluxe album, features an opening scene with band members Judah Lee Akers, Nate Zuercher, Brian Macdonald and Spencer Cross sitting in a small blue-lit bedroom. Akers sings, “I ain’t trading my youth for no suit and jacket.” His is a common refrain within the lyricism of the band. He continues, “I ain’t giving my freedom for your money and status,” folding imaginary bills in his left hand.
I like to laugh. I like action. I like smart-ass characters and clever dialogue. Needless to say, I loved the “Guardians of the Galaxy 1” Like so many others, I waited with joyful anticipation for “Guardians of the Galaxy 2.”
I’ve read other reviews that weren’t very positive and all I have to say is, It’s based on a comic-book and it’s only a 2-hour 18-minute movie. It’s longer than the average movie but there is only so much character development you are going to be able to cram into 138 minutes, but for what it is, the writers did a hell of a job. The story reveals more well-rounded characters and yes, I felt the attraction between Quill and Gamora even though it was just one of many character relationships forming. As far as pacing, there is a lot of story going on in this movie. The writers are trying to tell an important back-story about Quill and his origin, bring us to the major conflict in this film and set up for the next movie all the while giving us more character development than you would expect in a movie based on a comic-book starring a variety of alien creatures.