Showing posts with label Clint Eastwood. Show all posts
Showing posts with label Clint Eastwood. Show all posts

Friday, November 11, 2016

America: Drastic Changes 70 Years After World War II

An interesting article from http://www.ucg.org/ about the wars of the veterans of the U.S. This follows this post about Communism and Christianity. This follows this post about the immigration threat. For a free magazine subscription or to get the books recommended for free click HERE! or call 1-888-886- 8632.


America: Drastic Changes 70 Years After World War II

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Seventy years ago the guns in Europe and Asia fell silent as World War II concluded. After six years of battle and the loss of many millions of lives, the Axis powers of Germany and Japan surrendered to Allied forces. Soldiers returned to civilian life. Two world wars in 34 years had reshaped the global map.
Seventy years following the end of World War II, America is in a “valley of trouble.” It does not understand the depth of the peril it faces.
Suddenly America stood in front of the world as the dominant power. It was a moment of great opportunity.

The scene

In 1945 Europe was shattered. Hitler’s Third Reich was over. Germany was bled both physically and morally. The Nazi regime abused the Teutonic virtues of a proud and fruitful nation to terrorize the world with a bestial brand of horror. France, Belgium and the Netherlands were brutally violated and pillaged by the six years of occupation. Add to this the residual devastation from World War I, and Europe needed serious help for a fresh start.
The Russian-dominated Soviet Union suffered enormous losses at the hands of the Nazis. Its troops pushed far into Europe, and when the surrender came it occupied half of Germany, Poland and other Eastern European nations. The Soviet empire made territorial gains it didn’t want to give up. The Western powers led by the United States had real concerns that Soviet troops might push further west, seeking larger gains in retribution for war losses.
The prostrate condition of Western Europe posed grave peril for the future. The armies of Europe were broken. Great Britain was drained financially. It still held its colonies, but its glory was in the past. The British Empire would recede. It would no longer be able to assert itself as it had in the past.
In Asia, Japan was pushed back into its island borders and had lost several islands in the north to the Soviets. With the dropping of two atomic bombs on the cities of Hiroshima and Nagasaki and threats of more to come, the nation was coerced into submission. Japan surrendered on the deck of the American battleship USS Missouri (pictured above) . Under General Douglas MacArthur, an American-led occupation force settled into control of the nation.
By September 1945, America surveyed a worn and tattered world. Unlike other nations, it hadn’t suffered the impact of relentless bombardment, invasion or occupation. Other than the 1941 Japanese bombing of the American naval fleet at Pearl Harbor, Hawaii, in 1941, and the invasion of Guam and several of the Aleutian Islands, no U.S. soil experienced the war firsthand. This safety, coupled with vast material resources, allowed America to produce ships, tanks, planes, food and other material to supply Allied troops throughout the Pacific, North Africa and Europe.
America’s rise to military, economic and political dominance positioned the country for what would become its great historic role in world affairs. What it did for the postwar world was unprecedented among the nations.

America the great provider

In 1947, U.S. Secretary of State George Marshall gave an address at Harvard University outlining a bold initiative to provide money to assist in rebuilding the economies of Europe, especially that of former foe Germany. What became known as the Marshall Plan eventually poured billions of dollars of development aid into Europe.
Recovery in Europe was slow. The populations were open prey for social upheaval. With the Soviet Union threatening to absorb more territory, it was necessary to bolster the defeated and weary. America alone had the economic power to sustain others. Congress approved the plan, and in only a few years the European economy was on the rise. American troops remained in Germany. In time a new alliance between North America and Western Europe called the North Atlantic Treaty Organization (NATO) was formed, with joint defense forces arrayed on the continent.
Extending a helping hand to rebuild the economy of a defeated enemy was an unprecedented move. It was a practical necessity in shoring up the West against Soviet ingress, but it still remains one of history’s most remarkable acts of generosity.
America’s postwar presence in Europe was essential to restoring economic and political order. By remaining engaged with troops, money and close political relationships, the United States did the exact opposite of its actions in Europe after World War I ended in late 1918. At that time America went home and left Europe to its own devices. The result was social chaos, Hitler and World War II. U.S. leaders would not repeat the same mistake in 1945.
Concurrent with the rebuilding in Europe was an even more dramatic restructuring of the conquered Japanese state. Japan had been led by a cult of the emperor. Centuries of tradition had established the holy warrior culture that erupted in the 1930s. In 1945 America imposed a military rule that replaced emperor worship with a Western-style democratic government. Japan’s constitution was rewritten, and it included a non-violent clause that remains to this day.
The years that followed the end of World War II were the zenith of the American century. Historians have even termed America’s newfound position an “empire.” The United States became the indispensable nation by all essential measurements of a great power.
America’s prime position remains to this day in spite of setbacks in recent years and many calls for other nations to rise to take their turn in the spotlight of the world stage. Current U.S. leadership has downplayed America’s world role by a policy of “leading from behind” and deemphasizing the country’s status as an exceptional nation. A less prominent America is the world’s new reality.

It’s different today

Since 1945 the United States has been involved in five major conflicts requiring massive deployment of troops and materiel—Korea, Vietnam, the Persian Gulf, Afghanistan and Iraq. None of these conflicts were openly declared wars as was World War II. None ended with the kind of victory achieved in World War II. None allowed America to reshape the regions in any manner as they did after World War II.
In the case of Korea, the peninsula was divided into two nations, North and South Korea. The North remained a communist state, and today, with an unstable and erratic government, it is a major source of international terror and a clear threat to the region. American troops still patrol the fragile border between the two states, keeping a peace that could evaporate should the North Korean government gamble that an invasion would not be met with enough resistance to force it back.
America entered Vietnam with the intent of containing the spread of communism in Southeast Asia. More than 500,000 troops fought. More than 50,000 died before a treaty was signed in early 1973. Vietnam was left a divided country—the communist North and the democratic South.
But in early 1975 North Vietnam invaded the South, and within two months the South Vietnamese army and government collapsed. Vietnam became a fully communist state. America did not shape this region into its own democratic image, and the blow to morale had significant repercussions in the following years. Vietnam became a buzzword for American defeat and limitation.
Fast forward to 1991. America had experienced a comeback in terms of its will and pride of power. The decades-long Cold War with the Soviet Union was coming to a close as the monolithic Soviet Union was cracking under the weight of economic and political decline.
In the Middle East, Iraq under Iraqi President Saddam Hussein invaded the tiny Persian Gulf nation of Kuwait. In response President George H.W. Bush led the United States to assemble a coalition of nations that successfully drove Iraqi forces back into their own borders, liberating Kuwait in the process. But the region was still not safe.
In 2001, the United States experienced its greatest terrorist attack at the hands of al-Qaeda, whose leader Osama bin Laden was being harbored in Taliban-controlled Afghanistan. When demands to turn him over were refused, President George W. Bush launched a massive military campaign with the help of close allies (and eventually the NATO alliance). The United States and its partners dislodged the Taliban and took control of much of the nation, but resistance continued, especially after America’s efforts became divided due to the next big conflict.
In 2003, concern that Iraq’s Saddam Hussein possessed weapons of mass destruction and was flouting United Nations resolutions led President George W. Bush to order another invasion. This time Hussein was overthrown, and an occupying Allied force set about trying to install a democratic form of government—a new attempt at nation building like in postwar Europe and Japan.
But most in this formerly dictator-ruled Muslim nation did not understand this Western style of rule, nor did Western leaders grasp how challenging it would be to instill such a change. The same proved true in Afghanistan. Religious and ethnic divisions in this region have proven resistant to Western-style reform.
In 2013 America pulled its ground troops out of Iraq after a decade, leaving the Iraqis to fend for themselves in resolving their differences and combating Islamic fundamentalism. The result has been a humanitarian disaster.
The past year has seen the rise of a radical terrorist organization proclaiming a renewed caliphate. The group known as the Islamic State or ISIS is imposing a rigid reign of terror through the parts of Iraq and Syria it controls. The central government in Iraq has not been able to mount a credible defense of its northern borders and cities. In effect, the Iraqi state left behind by America no longer exists.
The War in Afghanistan is still not over, nearly 14 years after it started. U.S. and NATO forces officially ended combat operations in 2014, but America intends to maintain a residual force there until the end of 2016. Bin Laden was eventually found and killed in Pakistan, a supposed ally in America’s war on terror. Yet Afghanistan itself has for a while been on the verge of Taliban reconquest.

To kill a people

Where Vietnam became a byword for American failure after the mid-1970s, Iraq and Afghanistan are taking on that mantle for this generation. It seems the sacrifice in lives in towns like Ramadi, Fallujah and Marjah have been for nothing. Such impotence and miscalculation kills the soul of a people. The sight of America’s wounded warriors from these Middle Eastern wars creates cynical disregard for the vain political statements made by leaders.
The United States entered the Middle East to bring justice to its attackers and to unseat a dangerous tyrant. But soon it took on the noble mission of installing Western-style democracy to the region—except this region did not possess the necessary cultural foundation to sustain such change. Events to date have shown the folly of that plan. Today the Middle East is a region in conflict on many fronts. The American-led invasions of 2001 and 2003 and the Arab Spring of 2011 have contributed to unrest and civil war in several countries from North Africa to Pakistan. The lack of American resolve and leadership in the region has significantly contributed to a crisis that has global implications.
That’s not so say that the United States hasn’t played a significant role in the world. It has. The last half of the 20th century was the apex of what is often called the American Century. The political, military and economic power of America continues to be the single most effective element in the balance-of-power equation of today’s world.
On balance, when all is measured, the United States, along with the other English-speaking nations of the world, has contributed from its God-given blessings to the well-being of many peoples. From medicine to education to direct charitable aid, in so many cases America has benefited the world.
These words need to be carefully considered against the doubt, the attacks and the indifference toward the power and wealth and global dominance of America. Islamic fanatics call America “the Great Satan.” Russia and other totalitarian regimes portray America as an evil “hegemonist” force, bent on undermining their security. Terrorists hate American culture and seek to destroy it and its citizens.
Sadly, even some America leaders and intellectuals undermine its role in the world by subtle criticism and doubt. America to them is not “exceptional.” America, this line of thinking goes, is like every other nation and should feel “guilty” for having so much more than others. Denying the nation’s many blessings from God, they see the country’s biblical, Christian heritage as a source for shame and loathing.
As a result, we have entered into a time of many thinking it would be better to retreat from the world and let others bear the burdens long shouldered by the benevolence of America.
Recent U.S. actions have been less intrusive and more managerial. America is an empire, but a reluctant one. It is more willing to lead from behind, using drones and carefully managed insertion of special forces teams to perform surgical cuts to the enemy.
But such reticence on the world stage creates a vacuum of power, and history teaches us that other, more malignant, forces will always fill a vacuum. As America retreats, the world is becoming a more fragmented and dangerous place.

A hinge of history

Seventy years after the conclusion of World War II is a time for Americans to wake up and realize the signs of the times. The world has reached what historians call a “hinge of history.” The door of history is opening into a different time. Events are turning the world into something far different than what was created in the last 100 years.
We have to go to the end of the First World War to better understand the shape of the world today. With the Middle East crisis, the borders of states created in the wake of that war a century ago are being erased and redrawn. The limits of American power are now exposed, with unforeseen and unintended consequences ahead. And Europe—ever present, ever dangerous—still rumbles like a dormant volcano with the potential to erupt on the world, spilling a molten flow to scorch all in its path.
To the prophet Habakkuk God said: “Look at the nations and watch and be utterly amazed. For I am going to do something in your days that you would not believe, even if you were told” (Habakkuk 1:5 Habakkuk 1:5Behold you among the heathen, and regard, and wonder marvelously: for I will work a work in your days which you will not believe, though it be told you.
American King James Version×
, New International Version).
God was answering Habakkuk’s complaint that “justice is perverted … [it] never prevails” (Habakkuk 1:4 Habakkuk 1:4Therefore the law is slacked, and judgment does never go forth: for the wicked does compass about the righteous; therefore wrong judgment proceeds.
American King James Version×
). Everywhere he looked in his nation, the prophet saw destruction and violence and unresolved conflict (Habakkuk 1:3 Habakkuk 1:3Why do you show me iniquity, and cause me to behold grievance? for spoiling and violence are before me: and there are that raise up strife and contention.
American King James Version×
). He grieved that his country, Judah, so blessed by God, was so morally and ethically corrupt. We could survey the culture of America in 2015 and say much the same.
God’s answer revealed the rise of a new power called Babylon, an efficiently cruel empire that could quickly move through a land, destroying and consuming all in its path. Babylon was the instrument God would use to deal with the decayed culture of Judah, the remnant of the nation of Israel.
America and the English-speaking nations are in the same position as Judah in this scene from the ancient prophecy. These verses about moral decline could describe events any day in the United Sates.
The past year saw race riots erupt on the streets of Ferguson, Missouri, and Baltimore, Maryland. Street violence is a raw symptom of the breakdown of the family structure among the black American community. This moral collapse has been eating away at black America for the better part of the 70 years since the end of World War II.
In 1965 a government report titled “The Negro Family: The Case for National Action” described the negative impact of the breakdown of the nuclear family (one with a father and mother present) within the American black community. The report foretold that unless certain economic and cultural trends were not reversed, a total breakdown of families in this community was guaranteed. We are seeing the continued effects today.  Instead of improving, the breakdown of the family has spread to other segments of American society with devastating consequences.
America is entering another presidential election cycle. The issues the candidates are debating and the qualifications of the individual candidates reflect the current moral, political and even spiritual condition of America. Cynicism surrounds this election cycle. The political leaders of the nation lack moral clarity in addressing and dealing with the pressing issues facing America. Look for this election cycle to highlight the deepening divide within America on all fronts. Regardless of who wins the presidency in 2016, America will face a changed world.

A new world without America?

The critical question of the hour is what America’s role will be in this changed world. For more than six years of the current presidential administration, the United States has not shown effective world leadership in the areas that matter. What matters is moral and spiritual leadership. America has lost its way and has not led the world on the high ground of morality and ethics.
The nation’s time to build a region and shape the destiny of peoples seems to have passed. Whatever vestige of righteousness America had 70 years ago in the wake of World War II has evaporated like the dew in the morning sunlight.
The United States leads the world in creating and glamorizing godless lifestyles of every form. Through its Hollywood entertainment complex it exports every kind of immorality and perversion. Adultery, pornography, drugs and addictions, and every form of sexual immorality are put into music, film and television and exported throughout the world.
On the home front, the issue of same-sex marriage has replaced abortion as the litmus test for social correctness today. This fact alone speaks volumes about the spiritual condition of the land.
The question is whether it’s too late to turn around this decline and restore the nation to a previous standard of right and wrong.
It’s not our place to answer this question. It’s our place to point out the problem and show the way forward for any who might choose to read their Bible and believe what it says. It’s every person’s responsibility to follow God to a better, more righteous life. It’s our place to stand in the public arena like the prophets of old and place the words of God before the people. What will you do with what you’ve heard?
Seventy years following the end of World War II, America is in a “valley of trouble.” It does not understand the depth of the peril it faces. But people of faith—people who know there is a God—someone one like you who has read this far in this article—understand that something is wrong with the world and our peoples.
It’s time to shake yourself from the fog and stupor surrounding the issues and reach out to God, who is faithful and who will bring the nation and the world through this time of trouble. His purpose stands. God cannot lie. You can get to know that God now. You can step into the story He is creating. You can make sense of your life and escape the frustration and futility you see around us.
God says, “I will … transform the valley of trouble into a gateway of hope” (Hosea 2:15 Hosea 2:15And I will give her her vineyards from there, and the valley of Achor for a door of hope: and she shall sing there, as in the days of her youth, and as in the day when she came up out of the land of Egypt.
American King James Version×
, New Living Translation). Grab hold of that hope today and begin making a better life for yourself and others your life touches!

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Sunday, January 18, 2015

Wknd Box Office: American Sniper, Blackhat, The Wedding Ringer, Glen Campbell: I’ll Be Me

Here is an interesting article from http://www.debbieschlussel.com/ reviewing some of the movies that came out over the past weekend. This follows this post about some of the movies from last week and THIS POST about some movies that have been released over the past few years that you might have missed! This all follows this post about guidelines to choosing good movies to watch yourself!


Wknd Box Office: American Sniper, Blackhat, The Wedding Ringer, Glen Campbell: I’ll Be Me



By Debbie Schlussel
The only thing I recommend, new at theaters today, is a documentary. The rest are a waste of time and money. I did not see “Paddington,” as the screening was held on the Jewish Sabbath.
americansniperblackhat

weddingringerillbeme









* “American Sniper“: There is no way the liberals who dominate “the Academy” would have just nominated this movie for Best Picture and Bradley Cooper for a Best Actor Academy Award for his role as a sniper if this were a patriotic, pro-American movie. It is no such thing. In fact, this is a whiny, melodramatic, anti-war movie. Nothing else. But I’m sure that the lumpenconservatariat who uncritically digest whatever FOX News serves them up will go see this in droves and mistakenly believe they saw some “rah-rah America!”, conservative, patriotic movie, even though this is anything but that. Those fools should ask themselves why Rosie O’Donnell is raving in approval over this movie.
I found this movie to be long, boring, and an annoying waste of time. Cooper’s Texas accent is unintendedly hilarious. Hilariously awful. The movie is full of endless scenes of Cooper as Kyle questioning his role as a sniper because he sometimes must kill women and children (Muslim women and children who are terrorists and killed and still kill Americans). It’s also filled with endless scenes of Siena Miller as Kyle’s wife, whining, shrieking, screaming, nagging, and cajoling Kyle that he needs to be in America with her and their kids and not serving America at war. Waaah, waaah, waaah! Um, yaaaaaaawn. She married a man she knew was a career military guy who went to war and shot people to protect our troops. I cannot believe the real-life Mrs. Kyle was that much of a crybaby naghag, though she told People mag that, in 2009, she told Kyle that if he did not stop going to war zones, she would leave him and take the kids away. Um, why did she marry this guy, knowing he was a Navy SEAL Sniper? Oh, and the rest of the movie is Kyle being mentally afflicted after serving America in war.
You might protest to me that this was directed by Clint Eastwood who mocked Barack Obama via an empty chair at the Republican National Convention. Well, that brief return to sanity by Clint Eastwood is NOT on display here. Instead, very much on display is the Clint Eastwood who has pandered to Hollywood liberals for years in repentance for ever having dared play “Dirty Harry.” Very much on display is the director of two previous anti-war, anti-American movies, “Flags of Our Fathers” (read my review) and “Letters from Iwo Jima” (read my review), and the director of liberal propaganda movies, “Million Dollar Baby” (read my review) and “J. Edgar” (read my review).
This movie is supposed to tell the story of Chris Kyle, how and why he became a Navy SEAL and sniper, his war experiences as America’s supposed most successful sniper with at least 160 kills, and the circumstances of his death at the hands of a mentally afflicted war veteran with PTSD. I liked the scene at the beginning of the movie, in which his father tells a young Kyle that if someone starts a fight with him, he should finish it. I liked the scene in which the little boy Kyle beats an instigator to a pulp. But after that, the movie goes downhill and becomes the maudlin mess I’ve described here.
Although this movie was initially released in a scant few theaters at the end of last year in order to qualify for Oscar nomination voting, it’s debuting in most of the country in January, the second pet cemetery where Hollywood sends the crappy movies to die. In this case, that’s fitting.
It’s just not a good movie. Not even close.
TWO MARXES PLUS TWO OBAMAS
karlmarxmovies.jpgkarlmarxmovies.jpgplus.jpgobamasmilingsmallerobamasmilingsmaller
Watch the trailer . . .

* Blackhat: This movie is preposterous. But the most preposterous–and objectionable part of it is that, for most of the movie, the main terrorist is a Christian Arab Lebanese Phalangist. For those unfamiliar, the Phalange were the Lebanese Maronite Christians who fought with the Israelis to get rid of the PLO, who raped and tortured the Lebanese and took over Lebanon in the 1970s and early ’80s. The Phalange wanted to make peace with Israel and Phalange Party co-founder Bachir Gemayel was elected leader of Lebanon, but he never got to assume the Presidency. After his election in 1982, he was assassinated by Muslims because he wanted to rid Lebanon of Syrian and PLO control and make peace with the Jews. It’s ironic that, while just a week ago Muslim Arabs were shooting up a French magazine and a Kosher supermarket in the name of allah, Hollywood tells us the villains and terrorists are Christian Arabs (generally the Middle East’s most persecuted and extinct species next to Jews). Yeah, that’s the ticket!
And then there is the ludicrous, hard-to-believe “plot.” Terrorists (the Arab Christian fellow!) are targeting and hacking into the world’s mainframes. First, they hacked into China’s computer world and caused a Chinese nuclear reactor to melt down. Then, they hacked into the U.S. futures market and drove up the cost of soy to ridiculously high levels, and cashed in on it to the tune of $74 million. And here’s the absurd part: the U.S. government recruits two Chinese who are the kids of a Chi-Com government minister or general to stop the hackers . . . because, even with Silicon Valley, we have no one in America to do the job?! Huh? And, then, they get the U.S. government to release their hacker, criminal friend (who has robbed several banks via hacking), Chris Hemsworth, from jail to help them. Uh-huh, like that would really ever happen.
Soon, the two Chinese and Hemsworth are in China to find the hacker, the Christian Arab terrorist, who of course lives in China, speaks Spanish to his henchmen, and engages in warfare against a legion of Communist police and fighters, as well as an FBI agent and Federal Marshal, defeating them all and escaping in a ship. The FBI agent and Federal Marshal are shooting up all of China and allowed to do so, because isn’t that the Chi-Com way? And they know China like the back of their hands. But, of course, they are murdered by the terrorists and only Chris Hemsworth is the expert marksman and warrior able to defeat the terrorists, while engaging in a romance with the Chi-Com girl, even though there’s no chemistry whatsoever. There’s more ridiculous stuff in this movie, but you get the gist.
Bachir Gemayel, who gave his life trying to restore order and peace to his country in the face of savage jihadists, is turning over in his grave over this crappy, nonsensical propaganda garbage.
TWO MARXES PLUS TWO OBAMAS
karlmarxmovies.jpgkarlmarxmovies.jpgplus.jpgobamasmilingsmallerobamasmilingsmaller
Watch the trailer . . .

* “The Wedding Ringer“: Absolutely awful. I loathe Josh Gad, the stereotypical, zhlubby, fat, liberal Jew In Name Only (JINO, or in his case, Va-JINO, my term for female Jews in Name only). He became a star mocking Mormons on Broadway in “The Book of Mormon” (um, when is “The Book of Muslim” coming out?). He stars in this horrible, disgusting, incredibly stupid waste of time, as a stereotypical, zhlubby, fat, liberal Jew In Name Only, so there ain’t much acting here. By the way, he’s a tax attorney. Can you think of a more stereotypical Jewish profession? He’s engaged to Kaley Cuoco-Sweeting, a semi-beautiful blonde, who insists on the perfect wedding. Except that Gad has no friends, and so he rents a “best man service” in Kevin Hart, who pretends to be his lifelong best friend (for a fee) and rounds up a group of ragtag rented fake “lifelong friend” groomsmen for his wedding party.
Lots of lies and ragtag activities and gags ensue, all of which are dumb, dopey, and pointless, and not that funny for what is supposed to be a comedy. Unless you think depraved scenes–like the one in which peanut butter on Gad’s genitals with a dog licking it off while he’s blindfolded–is funny. It’s not only sick, but unoriginal. I reviewed another disgusting, stupid movie on this site with the same, um, “procedure” going on.
And then there is Joe Willie Namath, who makes a cameo here. I was a big fan of Namath and even remained loyal through his drunken Suzy Kolber “I want to kiss you” episode. But no longer. Namath’s lines in this movie are, “[You’re gonna] blow me” and “Up the a–” (finishing the line of another character who begins with, “We’re gonna do your girlfriend”). He also physically mimics having sex. Wow, Broadway Joe must be quite desperate for a paycheck . . . or attention.
I hate, hate-hate-hated this movie. High quality Gitmo torture material (as long as Gitmo is still open).
FOUR MARXES PLUS FOUR ISIS BEHEADINGS
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Watch the trailer . . .

* “Glen Campbell: I’ll Be Me“: I was really touched by this documentary about Glen Campbell’s affliction with Alzheimer’s Disease and his struggle through his farewell tour along with his children (who play in his band) and his current wife. Campbell is/was an incredible talent, playing guitar, acting in movies and TV, and writing/singing some great ’70s hits, like “Rhinestone Cowboy,” and my favorite, “Southern Nights.” Hearing him croon those songs is sad because it reminded me of another time, growing up in the ’70s, when America was in a better place and stronger and tougher on the world stage. And it is sad to see Campbell struggle, to the point at which he does not know where the bathroom is in his own home. But, on stage, for the most part, he is in his element.
The movie, executive produced by Jane Seymour, begins with Campbell watching video of his various kids and wives and not knowing who they are. But Campbell’s inability to identify his wives is understandable even for someone without age-related dementia. After all, he’s had four of them. His current wife, a devout Christian, is an incredible soul, helping him through it all as they tour the country to say good-bye to Campbell’s many fans. Campbell’s beautiful young daughter and his sons are in his band. And his daughter tells us of her deep Christian moral beliefs and how those guide her in life. Although I am not a Christian, I appreciated that positive depiction of Christianity, long under attack by Hollywood and the entertainment industry.
I could have done without the snippets of pontificating egomaniac Bono, but otherwise this was a decent documentary. Now, Campbell is in a nursing home living his last years (he is almost 80), and this is a nice, fitting, but bittersweet good-bye to an American talent.
THREE REAGANS
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Watch the trailer . . .

Glen Campbell Performs “Southern Nights” on TV’s “Burt Sugarman’s The Midnight Special” in 1977 . . .

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Monday, June 23, 2014

Wknd Box Office: Jersey Boys, Night Moves, The Rover, SuperMensch: The Legend of Shep Gordon,

Here is an interesting article from http://www.debbieschlussel.com/ reviewing some of the movies that came out over the past weekend. This follows this post about some of the movies from last week and THIS POST about some movies that have been released over the past few years that you might have missed! This all follows this post about guidelines to choosing good movies to watch yourself!


Wknd Box Office: Jersey Boys, Night Moves, The Rover, SuperMensch: The Legend of Shep Gordon,



By Debbie Schlussel
These are the new movies in theaters today (I did not see “Think Like a Man Too” – so sad, too bad):
jerseyboysnightmoves>

theroversupermensch

* “Jersey Boys“: I have mixed feelings about this movie, which (according to reports) very closely follows the Broadway musical of the same name and tells the story of Frankie Valli and The Four Seasons from Valli’s and producing partner Bob Gaudio’s, point of view (they produced the movie, and you must keep that in mind while viewing it). Directed by Clint Eastwood, the acting is excellent, the period costumes, sets, and accoutrements are fabulous (except for a couple of anachronistic-looking Lincoln cars at the 1990 Rock and Roll Hall of Fame induction), and the story is somewhat entertaining.
But the movie is what I call “men-lodrama”–my word for male melodrama. This movie hits you over the head with a two-by-four of depressing stuff over and over and over. The drama is non-stop, and there are four male drama queens in this competing for attention. I felt like I was watching “Dream Girls With Men,” which is basically what this movie is. Think VH-1′s “Behind the Music” on steroids and spanning 2.25 hours. It is so damned depressing, I walked out of there feeling bad. And feeling like I really would have rather not seen how the Franki Valli Four Seasons salami was made. After seeing this, I really didn’t like any of the people in this movie. They were mobbed up jerks who grew addicted to fame, which only messed up their families. And maybe that’s the message of this movie, but it’s not the kind of escapist, uplifting movie I would want to spend my money to see on a summer weekend.













The story: Franki Valli and three other Italian Americans from New Jersey form a band after three of them (including Valli) are repeatedly caught up in petty crime and entanglements with a mobster (Christopher Walken). Ultimately, they become famous because of Valli’s falsetto voice and Gaudio’s catchy songwriting. And fame is not the godsend. It’s tragic, and the Four Seasons men get caught up in the lifestyle of extramarital girlfriends, mob protection (from whence they already came in Jersey), abandoning their families and being absentee fathers, and gambling debts (in the case of one of them).
Like I said, I didn’t find any of these people or their lifestyle particularly likeable. And, on top of that, they faced drama after drama. You can see better for free in divorce court, especially now that there will soon be gay divorce court in most states (not that any of “The Four Seasons” were gay, but in this movie, at least, they are definitely drama queens). So, I think I’m being generous in reluctantly giving this . . . .
ONE REAGAN
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* “Night Moves“: This long, slow boring movie is about three far-left hipster environmentalist terrorists somewhere in Northwest America who plot to blow up a dam in a river. Why they are blowing up the dam–other than to make some nebulous statement about Americans mistreating a river and its fish–is really not that clear. What is clear to me (though it was not intended by the filmmakers, who clearly root for these scumbags) is that all three of these individuals (Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard) are annoying, aimless vagrant types without any apparent roots, friends, or family. Two of them work as farmhands and one of them works at some weird New Age spa. Their bombing causes the death of a man, and Eisenberg–worried that Fanning is going to tell police on them–kills her. Oh, and then he moves on from his farmhand job to working at an outdoorsy sporting goods store. The end. Don’t waste your time or money on this. A far superior choice of similar ilk is “The East” (read my review).
TWO MARXES
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* “The Rover“: Mainstream liberal movie critics are raving over this movie. Don’t believe the hype. This long, boring, pointless movie should be nicknamed, “Boring, NOT Mad Max.” It takes place a decade after some plague or upheaval has destroyed the government and infrastructure of Australia, and everyone takes the law into his/her own hands. The movie takes place in the desolate country, and Guy Pearce (a great actor who is usually in very good movies) plays a tough, brave man whose car is stolen. Even though the thieves left a far better car–which he manages to start–he spends the rest of the movie chasing after the thieves to get his car back. On the way, he picks up the mildly retarded (oh, wait, am I no longer allowed to use that word?) brother (Robert Pattinson) of one of the thieves, who was left to die by his brother and helps Pearce track them. Inexplicably, the mildly retarded character has a Southern American accent. What he is doing in Australia is never told. Nor are we told why there are so many Asian bodyguards and hangers-on all over post-apocalyptic Australia. Not that I cared about either of these enigmas in this long-slog-of-nothing-on-film. The movie is violent, bloody, boring, and a waste of time. Skip this waste of time.
THREE MARXES
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* “SuperMensch: The Legend of Shep Gordon“: I can’t remember the last time I’ve seen such a pretentious, self-absorbed, Hollywood insider movie glorifying a scumbag. Made by Mike Myers (remember him? he’s now fat and sporting strange reddish hair), the movie is essentially a gushing “thank you” because the rich Hollywood insider who is the subject of the movie once let Myers stay at his luxe Hawaii mansion for two months. Myers would have done the world a favor had he stuck to sending a gift basket as thanks instead of this long bore. And make no mistake about the deceptive title. Shep Gordon, the subject of the film, is not a “SuperMensch.” He’s not even a mensch. Just a schmuck. And not anyone America should be celebrating. (That’s why it figures that Myers is Canadian.)
Shep Gordon is an aging far-left, self-hating Jewish In Name Only (JINO), Hollywood liberal–the kind of Hellenist JINO the Maccabees would have beheaded with appropriate zeal. He spent the ’70s, ’80s, and ’90s bringing down America through filth and sexual depravity and violence by representing various rock and showbiz acts and pushing the envelope in promoting them. His most prominent client was Alice Cooper. (And, PUH-LEEZE, don’t tell me–after performing naked and posing naked with a snake–that now that he’s a senior citizen, I should somehow respect Cooper for making some conservative statements. When it counted, he was on the wrong side. Now, he’s an aging has-been a la Dennis Miller, struggling to stay relevant.)
If you’re annoyed by the disgusting, depraved behavior of performers like Miley Cyrus (or as we call her here, Miley Virus), you have only Shep Gordon to thank for that. He pioneered lewd-and-lascivious-behavior-as-marketing-technique with Cooper. Gordon explained that in order to get Cooper noticed and to sell his records, he wanted parents and authority to hate Cooper. So, to this end, Gordon instructed Cooper and his band to perform in the nude under completely transparent raincoats, so that parents would hate them and kids would love them. Then, he called the police to arrest them. Also, he instructed Cooper to pose in the nude with a snake, and he instructed truck drivers–whose trucks bore the nude poster–to pretend to break down and stall in the middle of main thoroughfares of London, so people would be held hostage by these nude posters. Of course, today, none of this is anything because Gordon pioneered the “art” of depraved marketing to the point that over the decades the envelope has been pushed far worse. By the way, to make the point about Cooper’s affinity for snakes, we are “treated” to an in-your-face close-up of a snake head swallowing a live mouse. Charming.
Gordon also bragged about how he threw a live chicken into the audience at a music festival and revels in the fact that the audience tore this creature to pieces and threw the parts in the air and back at Cooper. We are also “treated” to charming visions of a chicken being torn up. Where is PETA when you need them? Today, police would rightfully arrest this rich jerk for his cruelty to animals and he’d probably do jail time, as he should. But the movie makes no negative judgment on this, or Gordon laughing at this savagery. Nope. All the movie does is applaud Gordon’s bragging about his life of sex and hard drugs and the wealth he acquired through it all.
Gordon repeatedly mentions how his mother was a typical Jewish parent because she was cruel. And he doesn’t seem to like Jews or Judaism. His Hawaiian mansion is filled with statues of Buddha. He is into New Age crap and meditation. He hung out at the Playboy mansion and had sex with and married a Playboy bunny. Then, he married a young New Age, raw food chef, who could have been his granddaughter. And, throughout, he partied and did drugs with all the famous clients he repped and promoted.
But for some reason, we are supposed to believe–as this movie obviously does–that this is a great guy because 1) he once “dated” (euphemism) Sharon Stone (as a fellow movie critic said coming out of the screening, “who didn’t?”) and 2) he paid money to raise the orphaned family of his dead, single-mother, former model, Black ex-girlfriend. Because Gordon got Communist Groucho Marx’s finances in order in Marx’s old age. Oh, and because Shep Gordon created the era of the celebrity chef and cooking channels on TV. And he invites celebrity friends like Sly Stallone, Michael Douglas, and Arnold Schwarzenegger to hang out at his Hawaii mansion and cooks for them. Therefore he must be great (in the world according to Hollywood pop culture). Who cares? I certainly did not.
What I do care about–and so, likely, do you if you are reading this site–is the future of this country, and because of “men” like Shep Gordon, that future is much dimmer. He is the father of the Kardashians and the Teen Moms and the Real Housewives and Miley Cyrus. He made noxious stuff like that hip. He is one of the major architects of the counter-culture, anti-authoritarian BS that took America down and continues to do so to date. I don’t applaud anyone who thinks nude performers in public aimed at kids, chickens being torn apart alive, doing a ton of drugs, and sleeping around with Playboy sluts is funny or cool. But Shep Gordon brags and laughs about that throughout this whole self-absorbed fake-umentary.
A mensch is a good guy–a “person of integrity . . . someone who is responsible, has a sense of right and wrong.” Shep Gordon is none of these, “super” or otherwise. In fact, he’s quite the opposite. And so the title of this movie should have been, “SuperSchmuck” or “SuperShtunk.” This hedonist jerk is the kind of ugly stereotype lustfully utilized by anti-Semites, who look for Jews that are bad for America, as fodder for their Jew-hating propaganda. In fact, if I were a member of the Klan or Stormfront, I’d make Shep Gordon my poster boy. Or if I were the ghost of Bin Laden or Arafat. Gordon was exactly the kind of guy Hitler would have loved to make just such a movie about. But Leni Riefenstahl is dead, and so a brainless, moronic has-been who was once the king of Wayne’s World, Mike Myers, has unwittingly assumed the position.
Shep Gordon shouldn’t be celebrated. He should be condemned. When he’s gone–and it looks like that time is coming soon–America will be better off. But the damage he wrought on this formerly great country is irreparable.
FOUR MARXES PLUS FOUR BIN LADENS
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Monday, September 24, 2012

UPDATED: Wknd Box Office: End of Watch, Trouble With the Curve, House at the End of the Street, The Possession, Dredd

Here is an interesting article from http://www.debbieschlussel.com/ reviewing some of the movies that came out over the past weekend. This follows this post some of the movies from last weekand THIS POST about some movies that have been released over the past few years that you might have missed! This all follows this post about guidelines to chosing good movies to watch yourself!

UPDATED: Wknd Box Office: End of Watch, Trouble With the Curve, House at the End of the Street, The Possession, Dredd


By Debbie Schlussel



Here are my reviews of the new movies debuting at theaters, this weekend. “Dredd” was not screened for critics, though I may go see it over the weekend and, if so, will post my review, next Friday. I am also posting my review of “The Possession,” which is almost a month old and wasn’t screened for critics. I was asked about it by so many readers that I decided to go see it for myself. *** UPDATE, 09/23/12: My Dredd review is below. ***



* “End of Watch“: I have mixed feelings about this cop buddy movie about two partners who work the beat of South Central Los Angeles. I don’t like Jake Gyllenhaal and Michael Pena, and they are even more annoying together. Their characters are also annoying, conceited, and, at least with Gyllenhall, not nearly as smart as they think they are (Gyllenhaal has this problem in real life, too, so not much acting needed). The most likeable character in the movie is the Sarge (Frank Grillo), but the movie’s not about him.



The movie is also extremely violent and bloody, not to mention, filthy (not in images, but in themes, language, and dialogue). There are depictions of dismembered bodies, including limbs and decapitated heads. Why pay to see that (unless you’re a sicko)? Also, I hated the silly herky-jerky video, taken from the cops and gangsters filming themselves and each other. Um, is there some reason any director on earth still thinks they are helping me by doing a “Blair Witch Project” video? It’s been done . . . to death.



On the other hand, the cops in the movie are generally honest, decent, and heroic, unlike the way they are generally portrayed. And they constantly sacrifice themselves for others (all while they face and are soon hunted by cold-blooded, south central members of a drug gang, after the cops’ assassination is ordered by a drug cartel). It’s a nice change to see the police as the good guys (even if they are filthy), especially since the movie is made by the writer of “Training Day,” David Ayers. The cops become more likeable toward the end than they are at the beginning. But the movie seems more like a slice of cop life, rather than anything with a discernible plot or anything of value.



Since the dangers of the lives police live every single day to patrol dangerous urban America are portrayed here well and the police are the “heroes” for a change, I give this a better rating than I would normally give such a graphic, gritty, violent, filthy movie. If you are a cop in the inner city and live this life, you will like it far more than I did. But, then, if that’s your life, why would you pay to relive it in your free time? And if you aren’t a cop like this, I ask the same question: why would you pay to see this?



One other thing: Immigration and Customs Enforcement (ICE) has a couple of cameos, with ICE agents making appearances in one scene and ICE surveillance footage portraying a drug kingpin ordering a hit. The “POLICE ICE” jackets and t-shirts make several appearances, and I get the feeling that ICE brass cooperated in making this movie, but I could be wrong. On the other hand, those shirts have since been changed at great cost to the government, with “HSI” (Homeland Security Investigations) replacing ICE on a good deal of the gear.



HALF A REAGAN


* “Trouble With the Curve“: I had mixed feelings about this movie, too. Clint Eastwood plays an aging Major League Baseball scout for the Atlanta Braves. He has macular degeneration, a debilitating eye condition for which there is no known cure (the movie doesn’t say that, but my late father, an ophthalmologist told me that). A younger Atlanta Braves employee is gunning to have him fired, and his job depends on a scouting trip to see a high school ball player. But with his eyesight severely affected by his condition, he’s in bad shape as far as scouting goes. His hard-charging, ambitious lawyer daughter (Amy Adams) is chasing a partnership at her law firm, to which she devotes her entire life, at the cost of romance and a life. She resents her father and isn’t close with him for reasons we’re not initially told. But she risks her career to accompany her dad on the scouting trip so he can keep his job (or try to).



I liked the fact that, ultimately, the movie shows a very loving father who did the best he knew how to take care of and raise his daughter after his wife/her mother died when the daughter was only six years old. But on the way to learning this, we must endure the insufferable, constant melodrama of the daughter shrieking at her father, accusing him of being a bad, absentee dad. Even after he explains what actually happened and why he did what he did (to protect his daughter), she still shrieks at him. Had no use for that.



Also, I couldn’t help but notice that there is a bigoted juxtaposition between like characters of different ethnicities that goes along with the typical liberal narrative. A high school baseball prospect heavily scouted by Eastwood and other Major League Baseball teams is a complete jerk, and he’s, of course, a White guy with a Southern accent, who is blindly lauded by fellow White Southerners. A Hispanic kid (who is ostensibly the son of Mexican illegal aliens–his mother is a motel maid) is polite, obedient, and constantly berated by the White guy with the Southern accent. When you see what happens between them in the end, it’s quite obvious that the filmmakers wanted to make a statement . . . against Whitey and for the illegal alien Hispanic.



And, finally, I had no use for Justin Timberlake, whose acting is, per usual, awful, and whose presence wasn’t needed. But other than the melodramatics that briefly invade a few unenjoyable scenes, the movie is light and entertaining. And, since it stars Clint Eastwood, the only thing missing is an empty chair.



ONE-AND-A-HALF REAGANS



* “House at the End of the Street“: I like a good thriller, a good creep-fest of a movie. This is neither. It was just hilarious. At times that I was supposed to scream, I laughed out loud. And even though the movie is clearly aimed at tweens (unfortunately), teens, and 20-somethings, the many from these age groups that attended the same showing I did just laughed, too. And, as with many horrible thrillers not worth the time or money, the “twist” at the end that explains everything isn’t even hinted at anywhere until the very end. Clumsy.



Jennifer Lawrence of “The Hunger Games” movies plays the 17-year-old daughter of divorcee Elisabeth Shue. They’ve left Chicago to live in a swanky town somewhere in the country. They can afford the rent because the house behind them was the scene of two murders, and that has made the rent cheaper than it normally would have been. A daughter murdered her parents and disappeared. The only surviving member of the family, a son, lives at the house where the murders took place. He spends most of his time at the house because he’s ridiculed and treated like a pariah by the rest of the people in the town, who are upset that the murders lowered their property values. Lawrence befriends him, despite the worries and concerns of her mother, who did not care much about her when they lived in Chicago. Is he what he seems–a misunderstood nice guy, who is unfairly the victim of being the survivor of a family of murder victims? I didn’t really care much because the movie is laughable and its creepiness isn’t creepy in an entertaining way. Just obviously manipulative and stupid. The only exciting parts are toward the end of the movie, but by then, it’s too late.



TWO MARXES


* “The Possession“: Acrimonious divorced parents (Jeffrey Dean Morgan, Kyra Sedgwick) have two daughters of whom they share custody, though the mom is the neurotic, over-protective one, per usual. One of the daughters buys a mysterious wooden box at a garage sale. It turns out the box is a “dybbuk (Yiddish for “evil spirit”) box,” which the father learns after the daughter becomes possessed. He seeks out Chassidic rabbis to perform an exorcism on his daughter and gets the son of one of them (Matisyahu) to come on the Jewish Sabbath to perform the exorcism. There are a few technical errors regarding Orthodox Jews and the Jewish Sabbath. For example, at first, the movie shows Matisyahu listening to his iPod on the Jewish Sabbath, which is forbidden (something Matisyahu, who is an Orthodox Jew–or was, should know). Also, Matisyahu says, “I can go with you on the Jewish Sabbath because of pikuach nefesh.” But he doesn’t explain what the term means, even though I doubt the many non-Orthodox Jewish moviegoers who see this movie (it was #1 two weekends in a row and has done very well) will know what the term means (it means you are allowed to violate the laws of the Jewish Sabbath and most other Jewish religious laws to save a life.



As exorcism movies go, this wasn’t very scary or thrilling. But it was fine for teens and isn’t dirty.



ONE REAGAN



* “Dredd“: This comes in both 2D (regular movie) and 3D. I saw the 3D version, and unlike most movies, the 3D in this is very cool and worthwhile to see. This is yet another movie I had mixed feelings about. It’s incredibly, graphically violent, and unnecessarily so. Human beings are skinned and thrown off the 79th floor of a tall building. And they show the beginning of the skinning. And there is other blood, guts, and gore I didn’t need to see. I abhor that stuff, and we are seeing more and more of it in the movies coming out of Hollywood, these days. On the other hand, there is a clear good-versus-evil narrative in this movie. Unlike in most movies today, we feel for the officers of law and order and definitely are against the criminals, who are cold, unsympathetic, and completely evil. And I like actress Olivia Thirlby, who is up-and-coming and mostly unsung after having been a force in many independent films.



The movie takes place in the future, and I’m told it’s more loyal to the comic books on which it is based than the Sylvester Stallone bomb, “Judge Dredd.” Dredd (Karl Urban) is like all of the judges in the future, the police, the judge, the jury, and the executioner. They keep the streets clean in a post-apocalyptic America in which 800 million people live in the buildings that have emerged from the ruins of a great cataclysm over the world that we know. Dredd is assigned to shepherd a new recruit–a woman, named Anderson (Thirlby), who is substandard and doesn’t meet qualifications. But she’s been given a special exemption because of her unusual psychic abilities, which she has because she’s a mutant, like many who were exposed to the nuclear chemicals, etc. Anderson and Dredd go to the bleak, dark “Peach Trees” housing development, where 96% of the residents are unemployed and living on government assistance and where several of the top floors are ruled by drug kingpin (or is that queenpin?) and former prostitute, “Ma-ma” (Lena Headey). The two judges are there to respond to a report of three skinned bodies having been thrown to their deaths by Ma-ma and her gang. They also learn that Ma-ma and her gang are the exclusive producers of an illegal drug. They capture one of Ma-ma’s top henchmen, and Ma-ma is afraid he will talk, and she will be executed because of it. So, she traps the judges and their prisoner in the Peach Trees project and sends her people to hunt them down. The rest of the movie is the judges trying to escape and out wit Ma-ma.



While the adventure is thrilling and suspenseful, it’s nothing I haven’t seen before–although with far less graphic violence–in such movies as “Escape from New York” and the more recent “Lockout” (read my review). And, as I said, I liked that there a stark good-versus-evil narrative, as well as cool 3D effects. But the movie is yet another push-the-envelope notch in the ever more graphic and, frankly, disgusting violence and torture that we’re served up from Hollywood. Maybe that’s why they didn’t screen this for Detroit-area critics. This movie is a hard “R” rating (and should probably be NC-17). Don’t be a dummy and take or send your kids. It’s not for them. It’s also not for the faint of heart . . . or even those with a pretty tough stomach. And it’s why, while I’d normally give this TWO REAGANS, I will only give it. . .



ONE-AND-A-HALF REAGANS