Posted by: consigliere5 | March 9, 2010

March 09 2010

Political Content from dvds released on March 09, 2010: Up in the Air, Precious, Capitalism: A Love Story, The Stoning of Soraya M., Planet 51, Old Dogs, Hachi: A Dog’s Tale, The Boondocks Saints II: All Saints Day

1. UP IN THE AIR [Rated R for language and some sexual content]

summary from

Ryan Bingham is a corporate downsizing expert whose cherished life on the road is threatened just as he is on the cusp of reaching ten million frequent flyer miles and just after he’s met the frequent-traveler woman of his dreams.

starring: George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Melanie Lynskey, J.K. Simmons, Sam Elliott, Danny McBride, Zach Galifianakis

Conservo-Libertarian Reviews:
John Nolte at Big Hollywood
Carl Kozlowski at Big Hollywood
Christian Toto
Debbie Schlussel
James Bowman at the American Spectator
Sonny Bunch at the Washington Times
Kurt Loder
John Boot at Pajamas Media
Hollywood, STFU. Christian reviews

Poli-Bits: downsizing/outsourcing, unemployment epidemic, American individual spirit is dead, eevil corporations/capitalism

from Cole Smithey:

George Clooney’s intentionally ambiguous character Ryan Bingham is a poster boy for America’s lack of ethical direction in this thought-provoking satire about the nation’s unemployment epidemic. Unfortunately, this film fails to swing its hammer of simmering revolution hard enough.

from Hollywood, STFU:

However, when the movie started with a rendition of Woody Guthrie’s “This Land Is Your Land”, I knew that I was in for a treat./Under the surface, however, is where the real story lies. And Jason Reitman tells that story artfully and subtly, portraying the American individual spirit as a folk tale which no one believes any longer. “Up In The Air” presents us with one shot after another of American faces in disbelief, fear, anger, and tears as they learn that they are losing their jobs. They worry over their future. They worry over their healthcare. They shrivel, crumpled and devastated, at the news brought to them by the outsourced representative of a cold, evil company. A company which their own spineless, uncaring company hired in an act of shameless cowardice. Ryan is portrayed as villain and corporate tool who self-identifies in his inspirational speeches as a philosophically proud, misanthropic, self-directed shark. Self-sufficient and self-aware he reaps the substantial rewards afforded to such evil capitalist henchmen. To the sobbing mob he leaves in his wake, his reminders of the opportunity that another door opens as the one to their office closes is just another line from the script of the lying folk tale, delivered almost believably by faithful USA corporate tool, Ryan Bingham.

from Debbie Schlussel:

You can bear smug uber-liberal George Clooney in this movie because he essentially plays–and mocks . . . himself/And that’s when he realizes that life as George Clooney is actually a meaningless, empty life with no real purpose on the planet. A shallow, barren shell with no there there and lots of nothingness. Even his job, at which he excels, is mean and turns people’s lives upside down./So, if you don’t like the real life George Clooney, you’ll like this onscreen commentary that his life really isn’t all that./And, frankly, it’s a great statement on the emptiness of those who devote it all to their careers and eschew family and morality and that special “something more” we should all seek in life.


Ryan Bingham: [on getting through airport security] Never get behind old people. Their bodies are littered with hidden metal and they never seem to appreciate how little time they have left. Bingo, Asians. They pack light, travel efficiently, and they have a thing for slip on shoes. Gotta love ’em.

Natalie Keener: That’s racist!

Ryan Bingham: I’m like my mother, I stereotype. It’s faster.

i don’t want to say anything that’s anti-feminist… i really appreciate everything your generation did for me…

it was our pleasure…

but sometimes it feels like… no matter how much success i have… it’s not gonna matter until i find the right guy…

2. PRECIOUS [Rated R for child abuse including sexual assault, and pervasive language.]

summary from

In Harlem, an overweight, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.

starring: Gabourey Sidibe, Mo’Nique, Paula Patton, Mariah Carey, Sherri Shepherd, Lenny Kravitz

Conservo-Libertarian Reviews:
John Nolte at Big Hollywood
Carl Kozlowski at Big Hollywood
Christian Toto
Debbie Schlussel
Sonny Bunch at the Washington Times
John Boot at Pajamas Media
Kurt Loder Christian reviews

Poli-Bits the welfare state, poverty, incest, child abuse, illiteracy, obesity, teenage pregnancy, family abuse, failed educational system, eevils of welfare reform, big daddy government as savior, social workers, HIV/AIDS, organic produce vs. McDonald’s

from Kurt Loder:

Mary is a vile woman, endlessly battering her daughter and deriding her dream of bettering herself. (She keeps pushing Precious to go down to the welfare office and sign up for her own life of helpless dependence.)

from Debbie Schlussel:

Her mother beats and abuses her and lies to welfare authorities (including a glammed-down Mariah Carey) in order to keep getting welfare checks, so she can sit around all day smoking and watching television.

from Carl Kozlowski at Big Hollywood:

This may all sound like a vision from hell, but people like Precious exist all around us in modern society, where the welfare state and ingrained, multi-generational poverty and an often-negligent school system perpetuate rather than solve their problems. But in the new movie “Precious,” this starkly realistic portrayal of one fictional life points audiences in the direction of true hope by showing that it only takes a few concerned people to save a life and turn it around towards productivity and pride.

from John Nolte at Big Hollywood:

From here Precious finds a kind of salvation in that which only Hollywood believes there’s salvation: Gay school teachers, social workers, public education and pretty much everything else on the Big Daddy Government check-off list.

from Dustin Putman:

Those not in Precious’ precarious position can sit back and sternly judge her, stereotype her, or chalk her up to just being another rotten kid gone wrong. In some ways, that is exactly how she has gotten into the mess she is in. By hiding her grotesque home life—she lives with an unthinkably abusive mother (Mo’Nique) and has been impregnated both times by her otherwise mostly estranged father, resulting in one mentally challenged child they have distastefully named “Mongo”—and receiving little help from a negligent education system that lets her slide by without doing any work, Precious has spent her entire life slipping through the cracks. Everyone has failed her in the past, and so it is natural for Precious to remain skeptical when she is placed in an alternative school called “Each One, Teach One,” preparing illiterate students so that they may be able to eventually take classes to earn their GEDs, where the empathetic teacher, Ms. Rain (Paula Patton), takes an active interest in her well-being.


Nor could Precious have been saved by a trip to the farmer’s market. While she’s at the hospital, having just given birth to her son, a sexy male nurse tries to persuade her to change her diet. But she and her friends have no interest in his “organic fruits and vegetables”; they just want to go to McDonald’s.

from A. O. SCOTT:

These characters all can be seen as surrogate mothers, aunts and sisters, who together provide Precious with a more functional family (to say the least) than what she has at home. But their love is also enabled by institutions and government policies. An unstated but self-evident moral of “Precious,” set during Ronald Reagan’s presidency and based on a book published in the year of Bill Clinton’s welfare reform, is that government can provide not only a safety net, but also, in small and consequential ways, a lifeline.

the next four review snippets have to do with a montage featuring historical figures… including Oliver North, Malcolm X, Martin Luther King, Jr., Shirley Chisholm, and Martina Arroyo:


and the scene of Precious rotating amidst a bombardment of success icons—Martina Arroyo, MLK, Shirley Chisholm—to which she either relates or is ignorant.

from Slant Magazine:

At Each One Teach One, where Precious is sent after it’s discovered that she’s pregnant, images of African-African political chutzpah and attainment, including a speech by Malcolm X, are green-screened onto window blinds. This is after a trip to a museum and schoolwork that involves nothing deeper than writing letters of the alphabet on the chalkboard. So, between Precious and An Education, Lone Scherfig’s horrid BBC Afterschool Special, we now have the official theme of the upcoming, self-congratulatory Oscar season: the uplift of the races and sexes through higher learning.

from Home of the Urban Chameleon:

We see Oliver North, but that’s one of few blatant reminders of the Reagen era, and that’s unfortunate, because Precious’ mother, Mary Johnston (played by comedian Mo’Nique), would be considered a welfare queen as described by Reagan during his presidential campaign in the 1970s–an image that was reinvigorated in the 80s.


I really wish I could find a video link to the scene in which we are assured that Precious’ alternative schooling is working—subtly communicated by Precious watching an imaginary montage of the Oliver North trial, civil rights riots, and other historical events in her classroom as a clock with quickly moving hands floats by. “PRECIOUS IS LEARNING SO MUCH!!!” flashing on the screen would only have been a hair more obvious.

read all of John Boot’s review, entitled “Oprah’s Latest Movie Pick is Shamelessly Liberal”, here… take a look-see at just a little bit of it:

Don’t let the rambling title fool you, because this movie, which was the “breakout hit,” as they say, of last winter’s Sundance Film Festival, is fiercely focused on one concept: liberal porn./There’s even a little speech about the evils of welfare reform, an idea that was then much discussed (and later was codified as law, becoming such a success at lifting people out of poverty that even liberal newspapers were forced to take notice of the plain fact that unlimited welfare is counterproductive and destructive of morale).

a touch of dialogue:

can you spell slut then?

let’s explore that… you wanna spell “slut” Consuela? i’ll give you the first letter…

can you spell illegal immigrant then?

and finally, here’s the World Socialist Web Site’s perspective!

these brief snippets are but a taste of the fine thinking on display at the World Socialist Web Site:

Precious’s mother Mary uses her daughter and grandchild to obtain money from the welfare department./The depiction of Mary is particularly pernicious. She is the epitome of the “Welfare Queen,” an image that has been used by both Republican and Democratic Party administrations alike to criminalize poor people and justify cuts in welfare and other social programs./A more thoughtful (and socially critical) film might have probed the relations between the population and its environment, posing such question as: What happens to communities when masses are denied meaningful employment, crowded into filthy ghettos and stripped of any sense of self-worth? Is there no connection between the monstrous behavior of individuals at the bottom of the social heap and a society in which a few at the top have so much?/In the early part of the twentieth century, during the period of the Harlem Renaissance, for example, many novelists and poets described the oppressed conditions of life, but did so from the standpoint of fighting economic and social discrimination. The artists were inspired by the international struggles of the working class, particularly the October Revolution of 1917. In today’s art world, dominated by wealth and privilege, many directors are either overwhelmed by the social conditions they see or at any rate see no possibility of their being changed./The events and circumstances described in both Push and Precious are terrible, but it is the writer’s or director’s responsibility to make something artistic and enlightening out of even the worst circumstances, instead of this surrender to backwardness that will delight the right-wing ideologues who argue that the poor are poor because of their moral and intellectual inferiority. The filmmakers cannot see the woods for the trees./Many artists were involved and animated by left-wing ideas and saw their work as part of the process of social transformation. There is none, or very little of that here in Precious.

3. CAPITALISM: A LOVE STORY [Rated R for some language.]

summary from

Capitalism: A Love Story examines the impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). The film moves from Middle America, to the halls of power in Washington, to the global financial epicenter in Manhattan. With both humor and outrage, the film explores the question: What is the price that America pays for its love of capitalism?

starring: Michael Moore, Michael Moore, Michael Moore

Conservo-Libertarian Reviews:
Michael Covel at Big Hollywood
Carl Kozlowski at Big Hollywood
Pamela Geller at Big Hollywood
Kyle Smith
Debbie Schlussel
James Bowman at the American Spectator
Sonny Bunch at the Washington Times
Kurt Loder Christian reviews

Poli-Bits: Capitalism is Evil and must be destroyed. (among too many other things to list.)

I’m just too overwhelmed by this section. So I will just include a few review snippets and not try to be thorough.

from Kyle Smith’s review:

Then there are calls for armed revolution delivered in Moore’s trademark singsong, Bolshie bedtime-story voice. The movie ends with Moore telling us, “Capitalism is evil, and you cannot regulate evil. You have to eliminate it.” Then he plays the bloodthirsty Soviet national anthem “The Internationale.”

With one exception, his biggest “gets” aren’t much. A North Carolina family (no identifying details are provided here or in most cases, so there’s no way of looking into the real story) has locked itself in a foreclosed house. Noises outside. Handheld camera. How Blair Witchy! Except that the sheriffs enter in the most polite way imaginable, delicately popping out a lock instead of busting down the door.

A scarier foreclosure victim, whom Moore lovingly shows gathering his guns (his antigun position of “Bowling for Columbine” has become inconvenient), mutters about how he understands why, when it comes to banks, “People go in there with bombs, blow ’em up, shoot people . . . anything that happens to them, they deserve.” Moore approves. He tells us in voice-over, “The only thing we didn’t know is when the revolt would begin” — one of several cheers for armed uprising, although what exactly his viewers in Santa Monica and on the Upper West Side will rise up against is anybody’s guess. The return policy at J.Crew?

from Debbie Schlussel’s review:

There isn’t a shred of honesty in this movie after that dumb “economics” lesson in “Duh!” Much of this “love story” is the same old retreads you’ve heard before, including from Moore. Barack Obama is a and the “hero.” Children are shown saluting capitalism in classrooms like a Hitler salute. Moore trots out Abu Ghraib and Gitmo scenes and calls America a human rights abuser (yup, for America, Michael Moore has no “love” story–it’s pure hate-America baloney). Capitalism, Ronald Reagan, Republicans and corporations–not the weather–are responsible for Hurricane Katrina, people losing their homes across America, and the end of America’s middle class. Americans need socialized medicine. General Motors is “bad” and still won’t give Michael Moore the interview they actually gave him while he made “Roger and Me.” And America needs workers to own and run companies . . . except Michael Moore’s filmmaking company. That needs to be majority owned by its creator.

Not only are Reagan, Republicans, and businesses responsible for all of America’s ills, but these corporations want to murder their employees. That’s what Moore implies when he “explores” “dead peasants policies,” the derogatory term used by trial lawyers and lefties to describe life insurance policies that companies take out on their employees to recoup some of the costs of hiring and training a new employee and losing an already-trained one. Companies, in Moore’s view, are murderers who want to see their employees die so they can collect death benefits. And to make the point of how evil this is, he shows us a shot of George W. Bush on a commemorative plate in the home of a widow of a bank employee. Aha! Bush did it! I knew it!

Moore also tells us that the reason planes crash is that pilots aren’t paid enough. So it’s ironic that he uses testimony of Chesley “Sully” Sullenberger to bolster his argument, since birds were the reason his plane sank. Moore tells us that pilots have to work multiple jobs and go on food stamps to survive. That’s tragic. But it isn’t–as Moore claims–the reason pilots crash. It’s ironic, too, that a recent report just came out this week showing that a number of pilots engage in a good deal of chatter and other improper behavior at critical points in flights when they’re supposed to be paying attention. That’s not in Michael’s “Love Story.” But love means never having to say you’re sorry . . . or you’re wrong.

At the beginning of his cinematic screed, Moore laments the disappearance of the Fifties way of life in America, “when families could live on one income.” But later on, he decries Ronald Reagan’s opposition to feminism and the ERA–the Equal Rights Amendment. It’s lost on him that feminism implored women to go out and work to “prove their equality and worth,” and the economy adjusted to the dual income household. Yes, Moore’s cherished feminism and “equal rights” movement are the reason families need two incomes to survive today.

also from Debbie Schlussel’s review:

Then, there’s Bishop Thomas Gumbleton and sundry other left-wing Catholic clerics, telling us that Jesus was against capitalism./For decades, [Gumbleton has] been a vehement leader of the far-left liberation theology movement and a long-time communist who supported Daniel Ortega, the P.L.O., and every other enemy of the West. Of course, a commie is gonna hate capitalism. Einstein stuff, Michael Moore.

for more on the radically leftist Gumbleton.

one of the other Catholic priests in the movie is Father Peter Dougherty. Just to show how moderate and balanced he is, here’s an article about how he was helping a palestinian man who is a member of the terrorist organization, the “Popular Resistance Committees”. for more info on this org, go here

the 3rd Catholic official in the movie is the man who married Mikey, Father Dick Preston. I can’t really find anything about him.

4. THE STONING OF SORAYA M. [Rated R for a disturbing sequence of cruel and brutal violence, and brief strong language.]

summary from

A drama set in 1986 Iran and centered on a man, Sahebjam (Caviezel), whose car breaks down in a remote village and enters into a conversation with Zahra (Aghdashloo), who relays to him the story about her niece, Soraya (Marnò), whose arranged marriage to an abusive tyrant had a tragic ending.

directed by: Cyrus Nowrasteh

starring: Mozhan Marno, Shohreh Aghdashloo, James Caviezel

Conservo-Libertarian Reviews:
John Nolte at Big Hollywood
Pam Meister at Big Hollywood
Chuck DeVore at Big Hollywood
Seth Mitchell at Big Hollywood
Christian Toto at Big Hollywood
Christian Toto at Pajamas Media
Ed Morrissey at Hot Air
James Bowman at the American Spectator
Debbie Schlussel
Parcbench movie review
Parcbench dvd review Christian reviews


NY Times Calls ‘The Stoning of Soraya M’ Film ‘Lurid Torture-Porn’

Anti-Stoning Filmmakers Bashed for ‘Inflating’ of 9/11, Crucifixion of Jesus

Revolution in Iran: ‘Soraya’s’ Message of Defiance an Underground Hit
by Mark Tapson at Big Journalism

The Whitewashing of Soraya M.
by Mark Tapson at Big Hollywood

video interviews with director Cyrus Nowrasteh:

1. CPAC Interview by Ed Morrissey
2. with Lionel Chetwynd and Roger L. Simon at PJTV
3. on the Ed Morrissey Show

Poli-Bits: honor killings, sharia law, stonings, violence against women, Iranian revolution

from John Nolte at Big Hollywood:

Because of the violence, setting, and presence of Caviezel, comparisons to “The Passion of the Christ” are inevitable, but these are two very different films. “The Passion” was about helping the faithful to better understand the suffering of our Lord. “Soraya” isn’t about suffering. Instead it serves as a compassionate and at times visceral reminder that monsters, shielded by monstrous laws, international indifference and those selfishly comforted by the stability of dictators, walk among us; that even today, societies exist where an ideological poison breeds men capable of such wicked and inhuman acts.

But on the flip side, Nowrasteh does something equally important, does something not a single one of these dozen or so anti-war films has dared: he puts a real, human and accessible face on the people of the Middle East. Leftist bigots refuse to do this. It works in opposition to their depraved need to embarrass Bush and America by abandoning millions of Middle Eastern and Muslim innocents to terrorists and death squads. Certainly Nowrasteh shines a light on monsters, but he also sees Soraya and Zahra and Freidoune and children and two somewhat sympathetic but weak and conflicted men caught in a tide of something evil and impossible. “Soraya” is a first in many years, a film that introduces us to the good people of this region and reminds us of our common humanity.

Those images of brave Iranians demanding self-determination currently playing across our television screens will undoubtedly add an emotional resonance to “Soraya” when it opens this Friday, but there’s no expiration date on the broader themes at play here. There will always be evil and there will always be a need to point to it and call it by name.

from Chuck DeVore at Big Hollywood:

The film opens with Freidoune (James Caviezel) breaking down in his car on his way to the border. Spending unwanted hours in a small village, he is approached by Zahra (Shohreh Aghdashloo), a woman the villagers try to shoo away as they call her crazy. But Zahra has a terrible secret. She does all she can to get word to the journalist about a terrible injustice committed in the village the previous day when her niece, Soraya M. (Mozhan Marnò), falsely accused of adultery by her cheating husband, Ali (Navid Negahban), was stoned to death per Islamic law.

Stoning’s premise, repeated with numbing regularity around the world today, is made all the more pressing by the masses of Iranians protesting in the streets today while the brutal Basij militia tries to beat them into submission. But it’s one thing for a stoning of an accused “adulteress” to occur in Somalia, and quite another for it to happen in the soon-to-be-nuclear-armed Islamic Republic of Iran. If a nation thinks nothing of stoning women to death for the “crime” of adultery while killing peaceful protesters, it takes no imagination to think of what they will do when in possession of a nuclear bomb.

from Christian Toto:

The 2010 Oscar ceremonies have come and gone without a word spoken about “The Stoning of Soraya M.” The searing drama, based on true events, follows the torture of an innocent Iranian woman charged with adultery. It’s the kind of message movie Hollywood doesn’t much care for, stories showcasing horrors that can’t be directly blamed on western culture./But the drama, released today on DVD and Blu-ray, deserved a smattering of Oscar buzz all the same. What other movies bring the issue of Sharia law to light in such fashion? More importantly, why didn‘t Shohreh Aghdashloo’s blistering performance earn her a place in the Best Actress category?/“Stoning,” directed and co-written by “The Path to 9/11” screenwriter Cyrus Nowrasteh, takes us to a remote Iranian village under the thumb of Sharia law. Young, attractive Soraya (Mozhan Marno) is raising four children with little help from her husband, Ali (Navid Negahban). When Ali decides he’d rather be married to a 14-year-old Iranian girl, he tries to pressure Soraya into granting him a divorce./When she refuses, Ali accuses her of sleeping with a villager for whom she provides housekeeping duties./She’s clearly innocent, but Ali is able to muster enough manufactured evidence to reinforce his case. What follows is a harrowing march to the titular stoning, an unblinking vision of a culture which subjugates women and human decency./What sets “Stoning” apart is the detail Nowrashteh brings to the narrative. The villagers aren’t caricatures save for the villainous Ali, and we get to see the smaller moments of the village come alive.

here’s a snippet from leftist critic, Cole Smithey:

But there is something condescending and shoddy in the filmmaker’s subtext that seems to exonerate Western culture as somehow less complicit in the atrocious murders that it commits against innocent and guilty citizens alike. With American police beating, tasing, and shooting women, children, and men to death every week, the film could have been made with a more honest approach, as a more inclusive indictment of any form of capital punishment and authority-endorsed violence./Here is an example of on-the-nose exploitation filmmaking at its most unsophisticated level. Anyone with a BS detector will know it when you see it. It’s one thing to illustrate social injustice, and quite a different thing to reward it.

5. THE BOONDOCK SAINTS II: ALL SAINT’S DAY [Rated R for bloody violence, language and some nudity.]

summary from

The MacManus brothers are living a quiet life in Ireland with their father, but when they learn their beloved priest has been killed by mob forces, the duo return to Boston to bring justice to those responsible.

starring: Sean Patrick Flanery, Norman Reedus, Billy Connolly, Clifton Collins Jr., Peter Fonda, Judd Nelson, Julie Benz

Conservo-Libertarian Reviews:
Kyle Smith
Kurt Loder

Poli-Bits: Catholic church is a corporation, politically incorrect insults, anti-hippie, John Wayne references

not exactly a politically correct movie:

from Slant Magazine:

Lured back to New England, the two proceed to find a new comical partner in mulleted Romeo (Clifton Collins Jr.), a new federal co-conspirator in special agent Eunice Bloom (Julie Benz), and bountiful opportunities to complement their demeaning jokes about gays with equally crass ones about Mexicans.

from the Village Voice:

John Woo outgrew stylizing movies like this in the ’90s, but Duffy is still chasing his perfect slide-and-shoot, except now with more self-satisfied posturing, awkward pop-culture referencing, casual homophobia and racism, and the most vulgar co-opting of religious iconography this side of Dan Brown.


Cloaking vigilante justice (not to mention casual racism and homophobia) in religion eventually turns “Boondock Saints” from merely a bad movie to a distasteful one.


Murphy MacManus: You know, he was sort of a bada#s though, wasn’t he?
Connor MacManus: Shades of Eastwood. Charlie Bronson.
Rocco: Duke F###ing Wayne!
Connor MacManus, Murphy MacManus: Duke F###ing WAYNE!
Rocco: Men build things, then we die. It’s in our f###ing DNA! THAT’S WHAT WE DO!
Murphy MacManus: And when it all falls down?
Rocco: We build it right back up again.
Connor MacManus: But this time bigger. BETTER!
Rocco: Look! Look what we can do. Look how f###in’ beautiful we are. You think the men that built all this had it easy?
Murphy MacManus: Hard men!
Connor MacManus: Doing hard sh##!
Rocco: and that gives me a h###on… But not in a gay way or anything like that.
Murphy MacManus: No, ‘course not
Connor MacManus: Yeah it goes without sayin’
Rocco: I am so sick of all of this self help, twelve step, leftover hippie generation bulls##t!
Connor MacManus: Now they don’t want you to do anything, right? Just sit there. Don’t drink.
Murphy MacManus: Don’t smoke. Don’t drive fast.
Connor MacManus, Murphy MacManus, Rocco: Kiss my a#s!
Rocco: F### it! Do it all I say! Do you think Duke Wayne spent all of his time talking about his feelings with a f###in’ therapist?
Connor MacManus: There’s no f###ing way he did!
Rocco: John Wayne died with five pounds of undigested red meat in his a#s. Now that’s a man! Real men hide their feelings. Why?
Connor MacManus, Murphy MacManus, Rocco: Because it’s none of your f###in’ business!
Rocco: Men do not cry. Men do not pout. Men jack you in the f###in’ jaw and say…
Detective Greenly: Thanks for comin’ out.

during a protest scene, for the release from prison of the main characters:
referring to the Catholic church, one character says:

we got all the financial backing and protection of the biggest corporation in the world

6. OLD DOGS [Rated PG for some mild rude humor]

summary from

Two friends and business partners find their lives turned upside down when strange circumstances lead to them being placed in the care of 7-year-old twins.

starring: John Travolta, Robin Williams, Kelly Preston, Lori Loughlin, Seth Green, Bernie Mac, Matt Dillon, Rita Wilson, Amy Sedaris, Ann-Margret

Conservo-Libertarian Reviews:
John P. Hanlon at Big Hollywood
Kyle Smith
Sonny Bunch at the Washington Times
Hollywood, STFU. Christian reviews

Poli-Bits: politically incorrect insults/jokes, eevil enviro-destroying corporation, jailed for enviro-activism, eevil homophobic gun-nut scouting leader slash patriot

from: “Hollywood, STFU.”

Kelley Preston is Vicki, Dan’s old girlfriend who shows up with kids in tow. She leaves them with Dan because she has to do a two week bid in county prison about which the kids are unaware. Wait, Mom going to county prison in a family film? Well, yes, for a good cause. It seems that she chained herself to a bulldozer to stop the construction of an evil corporation which, naturally, was going to dump toxic waste in the stream next to where the kids play. But wait, there’s more. Matt Dillon is Barry, the Hollywood stereotype of the homophobic, gun nut, scout leader. He waxes fascistic about being “a patriot” and he imparts his wisdom that guns are the path to “a chest full of merit badges”. That’s right, kids, “Patriotism, scouting, guns, and corporations… bad. Chaining yourself to a bulldozer… good”. I did find it interesting, however, that the word “patriot” was used in Matt Dillon’s/Barry’s rant. My guess is that the Tea Party Movement is under someone’s skin in old Hollywoodland.

a bit of dialogue:

i’m going to jail… tomorrow… two weeks for trespassing…


a chemical company wanted to build a plant that would have drained into a stream near my house… so i kindof chained my self to a bulldozer and burned blueprints to the plant…

look at you! you’re a political activist!

well i had ulterior motives…

like… you’re… a career politician…

my kids… Zach and Emily play near that stream…

the elite leftist critics are none-too-amused by the political incorrectness and stereotyping:

from The Aisle Seat:

Still other jokes make us wonder what exactly we’re being asked to laugh at. While hauling the kids around, Dan and Charlie are repeatedly mistaken for either grandparents or a gay couple. The former is pointless (these guys are old enough, for Pete’s sake), the latter borderline offensive (yeah, this is another movie that thinks it’s “icky” to be mistaken as gay).

2 sections of dialogue in which they get mistaken for a gay couple:

that is why i’m going to be extra vigilant in protecting your children…

they’re seven, okay… and they’re his kids…

that’s progressive and i’m all for it…

he’s not our grandpa, he’s our dad….

you sure, Zach? my grandpa was like a dad to me, too…

he is, troopmaster Barry… he’s my dad… and that’s his partner…

it’s like we have 2 dads!

just found out…

trust me, it was a surprise…

been together, 30 years… feels like 50… we’re soul mates, really…

what’s all that racket?

oh i don’t know… maybe immigrants… i’m not sure… raccoons, most likely…

from Darien Patch:

I went to the Playhouse on a Monday night, and there were only two other people in the theater with me. They were laughing a lot more than I was. Perhaps they were drunk? I don’t know. Perhaps if you really like bathroom humor, homophobe humor, repeating humor, jokes about age, slapstick reactions to pharmaceuticals, a stupid tattoo that appears time and again, repeating humor (everything seems to be done at least twice), people misbehaving at a bereavement group, someone getting hit in the crotch, and then someone else getting hit in the crotch (the twice rule), then perhaps you will find this funny./Should kids see Old Dogs? I think it’s too terrible even for kids, but the politically-incorrect parent might want to try it on them.

from Week in Rewind:

Robin Williams and John Travolta have been best friends for life, and they work together as well. Just as they’re approaching a huge partnership with a deeply stereotypical Japanese corporation/What follows runs the low-brow comedy gamut, with the film finding humor in racism (Williams gets a pretty heavy tan–and every hispanic or Middle-Eastern person in the airport he visits attempts to speak to him in their language)

from The Password is Swordfish:

You would think Robin Williams wouldn’t get locked in a spray tan room, and then proceed to walk around with an offensive brown face, made more offensive by the fact that, ha, ha, ha, Indians and Spanish people repeatedly mistaken him for their own minority.

from Time Out New York:

A free-for-all of pratfalls and groin injuries ensues, as the buddies balance bad parenting with suck-up sessions to Japanese clients, whose cultural obtuseness is played for xenophobic laughs./Only the irrepressible Luis Guzmán, stuck in a walk-on bit as the stereotypical mooching Hispanic, is able to milk this cash cow and exit with his dignity intact.


The scout leader mistakenly thinks that Dan and Charlie are homosexuals and treats them with subtle disdain, calling them “ladies” and such.

7. PLANET 51 [Rated PG for mild sci-fi action and some suggestive humor.]

summary from

American astronaut Captain Charles “Chuck” Baker lands on Planet 51 thinking he’s the first person to step foot on it. To his surprise, he finds that this planet is inhabited by little green people who are happily living in a white picket fence world, and whose only fear is that it will be overrun by alien invaders…like Chuck!

voiced by: Dwayne Johnson, Jessica Biel, Justin Long, Gary Oldman, Seann William Scott, John Cleese

Conservo-Libertarian Reviews:
Kyle Smith
Sonny Bunch at the Washington Times
Hollywood, STFU. Christian reviews

Poli-Bits: eevil “Red Scare”, suburban repression, eevil military, protesting, sticking it to The Man, fear of the unknown and “the other”/xenophobia, the arrogant “Ugly American”, imperialist American flag-planting

from Hollywood, STFU:

However, this idyllic world, Planet 51, is inhabited by humanoid, yet non-human, little green men complete with antennae. In an allegory to our own ‘Red Scare’, the inhabitants of this world are obsessed with imaginary and violent, one-eyed invaders, the Humaniacs, which are a natural product of their own xenophobia. Unfortunately for Charles T. Baker, astronaut and actual human, a faulty probe showed Planet 51 to be uninhabited and uninviting. The probe was half right./Standing in their way are the military led by General Grawl (Gary Oldman), Professor Kipple (John Cleese), and Planet 51’s xenophobic society all of whom believe that any contact with a Humaniac will turn you into a mind controlled zombie./Chuck, as a typical stupid imperialist American, leaves his lander and is oblivious to the fact that he is in an inhabited neighborhood as he plants Old Glory and claims Planet 51 for the good old USA. Lem must choose to turn in or help Chuck and in doing so throw in with the blond haired, square jawed, righteously indignant, fascistic military leader, General Grawl or the peace loving, guitar playing, enlightened (despite his drug induced stupor) hippie, Glar. Grawl and Kipple accuse people at random of being zombies, the buffoonish and unquestioning regular soldiers arrest the accused, and Kipple removes their brains for study. In a puerile swipe at “The Rich”, once the brains of the accused are removed, the accused suddenly become ridiculously refined, eloquent, and effete. Glar outs with banalities like “The times they are a-different”, almost gets the girl despite his hippie funk, and teaches Planet 51 teens “a new thing called protesting”. And then there’s the scene which shows the depths of Hollywood’s bigotry toward the military. A search squad, which is about to locate Lem and Chuck, is distracted by Glar singing a protest song as a diversion. The soldiers in the squad knowingly and maliciously smile as they pull out their nightsticks and descend upon Glar to give him the beat-down of his animated life./With its cynical send-up of suburban life, loathing of the military, soundtrack selections like, “Stick It To The Man”, protesting alien teens chanting, “We’re really upset!”, and Chuck’s farewell of “Call me when you get to the 60’s”, this movie might have better stayed on ice in a secret underground facility.

from Kyle Smith:

Also hanging around soaking up screen time are some hippie aliens (their hovercraft is a VW bus, complete with clouds of interior smoke and guitar-strumming protesters)/Led by a paranoid Dr. Mengele-like scientist (John Cleese) and an equally hostile general (Gary Oldman), the green men threaten to crack open Chuck’s brain and that of anyone who has been contaminated by close contact with him, thus presumed to be a “zombie.”/while the satirical subtext that is the sole point of potential interest is a jumble./”Planet 51” at first mocks the idea that these peaceful, ordinary aliens with their barbecues and picket fences are anything to fear, then presents some of the little monsters as scary and violent little creeps who indeed want to do harm to anything they don’t understand. Yet the moral at the end is that we should all be more tolerant of different cultures./Is that really true, though, if the culture you’re trying to tolerate is trying to open your skull with a circular saw?

from The Hardvard Crimson:

immediately calls to mind an idealized 1950s America. White picket fences and pink-lipsticked Stepford alien wives make up the charming atmosphere of their small-town utopia./The blatant parallel with Cold War-era McCarthyism—which manifests itself through the growing paranoia of the aliens as they search for Chuck and accuse their fellow townspeople of being his zombie followers—is clever and original in a movie made for children. But most of the references will be lost on the film’s younger audiences, and reminders of the film’s political subtext—the aliens’ collection of UFO artifacts includes none other than the Sputnik satellite, complete with “USSR” imprinted in Russian—are frequent enough to be irritating to adult viewers./As the unexpected visitor, Chuck is self-centered and arrogant, and he struggles to understand why the celebrity status he enjoyed at home carries no weight in his new surroundings. As he’s pursued by an army led by the blandly malevolent General Grawl (Gary Oldman), Chuck finds himself forced—albeit predictably—to come to terms with his excessive narcissism. In a similar realization, Lem neatly delivers a moral lesson to his fellow townspeople regarding the danger of blindly fearing the unknown.

leftist critics not too pleased with some political incorrectness:

from Dustin Putman:

How about multiple scenes depicting ugly gay panic?/That the half-black/half-Samoan Dwayne Johnson (2009’s “Race to Witch Mountain”) has been instructed to voice a white protagonist is tantamount to animated black-face, as if a character of any other race or ethnicity is not worthy of being an astronaut or an animated hero.

8. HACHI: A DOG’S TALE [Rated G]

summary from

A drama based on the true story of a college professor’s bond with the abandoned dog he takes into his home.

directed by: Lasse Hallstrom

starring: Richard Gere, Sarah Roemer, Joan Allen, Cary-Hiroyuki Tagawa, Jason Alexander,

non-conservative reviews

Poli-Bits: Columbus not villified

a girl not villifying Columbus to her class:

so, even if Columbus got lost… and wasn’t the first to discover America… he’s still my hero… he was really brave to sail such a tiny ship over a really big ocean… and because of him, we get Columbus Day off of school


Here’s a new article from Ron Radosh at Pajamas Media about Oliver Stone’s upcoming 10-part America-is-Evil documentary which will be broadcast on Showtime.


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