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Leftists SLAM New Bruce Willis Movie as ‘Racist’, ‘Evil’ ‘NRA Commercial’

Leftists are slamming a new Bruce Willis movie as a “racist” “commercial for the NRA.”

Opening this weekend, “Death Wish,” a remake of the 1974 film of the same name, stars Willis as Paul Kersey, a Chicago doctor who turns vigilante to exact his revenge on a group of men who murdered his wife and brutally attacked his daughter. Here’s a synopsis from RottenTomatoes:

Metro-Goldwyn-Mayer Pictures presents director Eli Roth’s reimagining of the 1974 revenge thriller Death Wish. Dr. Paul Kersey (Bruce Willis) is a surgeon who only sees the aftermath of his city’s violence when it is rushed into his ER – until his wife (Elisabeth Shue) and college-age daughter (Camila Morrone) are viciously attacked in their suburban home. With the police overloaded with crimes, Paul, burning for revenge, hunts his family’s assailants to deliver justice. As the anonymous slayings of criminals grabs the media’s attention, the city wonders if this deadly avenger is a guardian angel or a grim reaper. Fury and fate collide in the intense action-thriller Death Wish. Paul Kersey becomes a divided person: a man who saves lives, and a man who takes them; a husband and father trying to take care of his family, and a shadowy figure fighting crime; a surgeon extracting bullets from suspects’ bodies, and a man seeking justice that detectives are quickly closing in on.

Sounds awesome, right? Leftist critics are hating on this movie, blasting it as “NRA-Agitprop” and white man “wish fulfillment.”

And then there’s NPR’s take: “A film ruthlessly engineered to target the pleasure-centers of the most fearful and fragile cohort of American maleness.” NPR!

So with all the leftist hate for this film dragging the NRA into another cultural controversy, conservatives are excited to see it.

The critic score on RottenTomatoes may be a measly 15 percent, but 80 percent of the audience loved it so far. “Death Wish” opens this weekend. Will all the leftist hate turn out conservatives to see this movie? (For more from the author of “Leftists SLAM New Bruce Willis Movie as ‘Racist’, ‘Evil’ ‘NRA Commercial'” please click HERE)

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‘Wonder Woman’ Is a Box Office Hit in US, but Its Star Is Controversial in Middle East

The new Wonder Woman movie has been a smash at the box office, having grossed $129 million in its first five days in U.S. theaters and more than $220 million worldwide.

While many movie fans are anxious to see the new Warner Bros. film, people in Lebanon won’t get the opportunity. That’s because the film was banned last week by the country’s ministry of economy and trade.

The ban was not because of content the country deems offensive but rather because of its lead actress, Gal Gadot. She is an Israeli.

Lebanon bans Israeli products because it is at war with Israel.

Supporters of the boycott say it’s not Gadot’s nationality prompting the boycott, but rather the time she spent in the Israeli military — a requirement for Israeli men and women over 18 — and her public support of the Israeli military in the 2014 Israeli-Gaza conflict in which more than 2,200 people died, many of them civilians. More than 2,000 of those casualties were Palestinians.

In a Facebook post in 2014, Gadot said she was sending prayers for Israeli soldiers “who are risking their lives protecting my country against the horrific acts conducted by Hamas.”

A group called Campaign to Boycott Supporters of Israel urged the Lebanese government to ban the film.

“The state took the right decision,” Samah Idriss, a member of the boycott campaign, told The Associated Press.

Officials in Jordan are also considering banning the movie in that country.

“We remind the Jordanians of their obligation to boycott the film, and we refuse to be partners to the crimes of the Zionists and to increase their profits from this film. The Arab audience will not be involved in projects that represent Zionism and the Israeli army,” said a statement from one of the Jordanian campaigns against normalization with Israel, according to Ynet, an Israeli website.

Not everyone in Lebanon agrees with the decision to ban the film.

“Resist what?” wrote popular Lebanese blogger Elie Fares of her government’s decision. “A movie about an iconic superhero who’s been part of pop culture for over 70 years. A movie in which the lead actress happens to be Israeli but who’s not portraying ANYTHING related to her ‘country’ in any way whatsoever.”

In Jerusalem, Gadot’s performance and the movie’s success are being hailed.

The Azrieli Towers in Tel Aviv displayed electronic billboard messages for Gidot this week that read, “We’re proud of you Gal Gadot” and “Our Wonder Woman,” according to The Jerusalem Post. (For more from the author of “‘Wonder Woman’ Is a Box Office Hit in US, but Its Star Is Controversial in Middle East” please click HERE)

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Faith-Based Film Filled With F-Bombs

An upcoming faith-based film is attempting to go where no previous movie from the genre has ever gone.

Generational Sins — directed by Spencer T. Folmar and written by Folmar, Dax Spanogle, Jason Spanogle, Casey Salviano and Fernando Salviano — is overflowing with profanity, including multiple uses of “f—,” “s***,” “b****,” “d***” and “ass.” . . .

Movieguide, a yearly report on the entertainment industry from a Christian perspective, breaks down films into several categories, and it will be giving Generational Sins its lowest ranking when it comes to language, given there are 32 uses of profanity in the film. “The movie won’t do well if it’s advertised as faith-based,” says Movieguide editor Tom Snyder . . .

Chris Stone, founder of Faith Driven Consumer, an advocacy group for Christians, says he’ll be recommending Generational Sins, but to adults and not families. “It’s more graphic than I’m comfortable with, but it’s not unrealistic,” he says. “It’s an accurate portrayal of brokenness and sin, and some Christians will opt out.” (Read more from “Faith-Based Film Filled With F-Bombs” HERE)

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Disney, Marvel Threaten Georgia Filming Boycott Over ‘Antigay’ Bill

Nathan Deal, the Republican governor of the state of Georgia, has a big decision to make.

He has until May 3 to either sign or veto a bill that supporters describe as defending “religious liberty” and opponents call “antigay.” House Bill 757 is attracting plenty of attention from beyond the state’s boundaries. Walt Disney Studios, maker of many superhero and animated films, chimed in Wednesday.

“Disney and Marvel are inclusive companies, and although we have had great experiences filming in Georgia, we will plan to take our business elsewhere should any legislation allowing discriminatory practices be signed into state law,” Disney said in a statement.

Marvel Studios, maker of the Avengers and X-Men films, is a subsidiary of Disney.

The Georgia bill would let faith-based organizations refuse the use of property “for an event which is objectionable to such faith based organization.” It would allow those organizations to refuse to provide services that “violate such faith based organization’s sincerely held religious belief.” This would also extend to hiring practices. (Read more from “Disney, Marvel Threaten Georgia Filming Boycott Over ‘Antigay’ Bill” HERE)

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Batman v. Superman – Why Do We Care?

This week, Batman V. Superman: Dawn of Justice hits theaters. Presuming you haven’t been living under a rock, you’ve probably noticed that comic book movies have become a huge trend over the last two decades. Just last year, we had four major comic book movies, and this year’s looking to set records with eight, count them, eight comic book blockbusters scheduled for release.

What is fueling this recent obsession with superhero stories? Superheroes have been around since the 1930’s, but they’ve never been as popular as they are today. Why now?

I’d argue that high quality CGI (computer animation) drove the superhero movie boom. Special effects finally caught up to the point that the over-the-top antics of comic book characters could be portrayed on the big screen without looking ridiculous. The massive success of two early 2000 films, Spider-Man and X-Men, opened the eyes of studio heads to the potential goldmine of superheroes. At the same time movie studios realized the potential for comic book movies, studios began to shy away from risky movies with original concepts and rely more on the safer bet of movie adaptations of material with pre-established fanbases.

Comic books provided the perfect market for adaptations since the comic industry has been testing out different heroes and concepts for nigh eighty years and building a devout following in the process. The long history of comics assures that these characters and movies have multi-generational nostalgic appeal, and Disney’s acquisition of Marvel in 2009 made it much easier to produce comic book movies with a shared universe which paved the way to the massively successful Avengers franchise which in turn pushed demand for superhero movies to new heights. In addition to all this, let’s not forget the simple fact that while the real world is coming apart at the seams and many Americans have reasonably lost all faith that their leaders will sacrifice their own interests for the public good, superhero movies provide an excellent dose of escapism that restores some faith in the potential goodness of humanity.

This last point indicates that there is more to the superhero obsession than just the visceral thrill of seeing people with amazing abilities and colorful costumes punching each other in the face. Superheroes stories operate on a deeper level by representing principles, struggles and heroic ideals. Spider-Man speaks to guilt, responsibility and redemption, Hulk speaks to the beast inside all men’s hearts that can be harnessed for good and Captain America speaks to a noble and principled form of patriotism.

So what do Batman and Superman represent?

In many ways, Batman and Superman stand as mirror images of one another. Through both heroes, they exemplify differing approaches to heroism which sometimes compliment and sometimes contradict one another.

Bruce Wayne suffered immense tragedy when a mugger murdered his parents right in front of his eyes. Rather than fleeing the darkness and pain that filled his heart, Bruce embraced it and vowed on his parents’ grave that no other children would ever have to lose their parents to violence. Using his righteous anger and learning how to control it, the young man honed his body and mind to a fine edge reaching the pinnacle of his human potential through sheer force of will and intellect. Having no superpowers as a crutch, Bruce gave himself an edge by becoming a figure of the night and releasing the darkness bottled inside him to inspire terror in the hearts of the cowardly and foolish criminals who prey upon the weak. Bruce hides his face behind a mask and similarly shuns humanity in his personal life keeping even those closest to him at arm’s distance sacrificing all for his grim yet noble quest. He can be cut, stabbed, burned, shot, beaten, bloodied, bruised and broken, but Batman always gets back up and triumphs.

In contrast, Kal-El never suffered tragedy. He lost his parents and his whole planet when Krypton exploded, but being sent to Earth as a baby, he suffered no trauma. Rather than being motivated by a desire for vengeance, Clark’s actions are motivated by a desire to live up to the simple, small-town values instilled in him by his goodhearted, adoptive parents, the Kents. Clark didn’t have to earn his superpowers; they were his birthright, so Clark’s is not a story of tragedy and triumph but of power and how to use it wisely. In a world where an Ubermensch could reshape the globe for a selfish cause, Clark chooses to serve others by being a figure of light, hope and inspiration. Clark doesn’t hide his face from the world. His Superman persona may be more bold than mild-mannered news reporter Clark Kent, but he strives to do what is right in all situations and his goodwill is always on display. He doesn’t hide from those he loves but embraces them fully without reservation. Rather than imposing his will on others, Clark always offers the best of himself and seeks to bring out the best in others. Superman may have the power to lift mountains, but it’s his willingness to make the hard decisions which makes him a true hero.

Batman and Superman work as a complimentary yin yang typology. Batman is a figure of dark justice geared towards bringing retribution on the guilty whereas Superman is a figure of bright hope who does all in his power inspire everyone to be their best. Batman teaches us that through determination, dedication, endurance, and industriousness mankind can overcome obstacles and achieve greatness whereas Superman teaches us that true greatness of power is meaningless without an equal share of greatness of charity, hope, kindness and faith. These characters carry weight for us because they tell us something about ourselves and show us who we should strive to be. That is why we care about Batman V. Superman. (For more from the author of “Batman v. Superman – Why Do We Care?” please click HERE)

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The author also notes that another reason we care is, “it’s fun to watch people with amazing abilities and colorful costumes punch each other in the face.”

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Jennifer Garner’s ‘Miracles From Heaven’ Movie Takes in $18M in 5 Days

Christian-themed film “Miracles From Heaven” had a strong opening this past weekend, bringing in $18.6 million over five days (the film opened on Wednesday, March 16). The film made $15 million over the March 18 weekend.

“Miracles From Heaven” is based on the memoir by Christy Beam (played in the film by Jennifer Garner), whose young daughter (played in the movie by Kylie Rogers) made a miraculous recovery from an incurable disease. Joe Roth and minister T.D. Jakes produced the film, which came in No. 3 after “Zootopia” and “The Divergent Series: Allegiant.” which opened March 18 and made $29 million. Animated film “Zootopia,” which was released March 4, made $34 million over the weekend. “Zootopia” has grossed over $200 million.

In fourth place was “10 Cloverfield Lane,” a horror movie which was released March 11 which made $12 million over the weekend and has grossed over $45 million. In fifth place was “Deadpool,” the R-rated superhero film that was released February 12 and has earned over $340 million. Rounding out the top ten are “London Has Fallen,” “Whiskey Tango Foxtrot,” “The Perfect Match, “The Brothers Grimsby,” and “Risen.” (Read more from “Jennifer Garner’s ‘Miracles From Heaven’ Movie Takes in $18M in 5 Days” HERE)

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The Big Short Movie Truth Spoiler: The Feds Masterminded the Banksters’ Implosion of the Housing Market

It is a good thing when Hollywood attempts a portrayal of the facts without overtly distorting history beyond recognition in the process. So, hats off to the creative team behind The Big Short. It is necessary, however, to fill in the gaps with facts that may not fit into a film’s limited timeframe. Real world events are always more unwieldy than a tightly knit movie script. There are no spoiler alerts in what follows. We all know the ending. It is how we got there that matters.

So picture this, if you will, as you go back in time and tap into the remnants of an article that I wrote in 2012 that revealed a real life disaster that was not made in Hollywood, but in Washington, DC.

Old news, except it isn’t. In regard to the devastating housing fraud that helped collapse the U.S. economy, a Reuter’s headline read: “U.S. Sues Bank of America for Alleged Mortgage Fraud.” According to Reuters, Barack Obama’s Justice Department “filed a civil mortgage fraud lawsuit against Bank of America, accusing it of selling thousands of toxic home loans to Fannie Mae and Freddie Mac that went into default and caused more than $1 billion of losses.”

That’s right, the banks did it. In reality, it is another glaring example of Barack Obama and the Progressive Democrats’ adeptness at avoiding culpability and deflecting blame. After all, to this date, they have fooled so many about their role in perpetuating the housing collapse that thrust the economy into a nose dive. They are counting on voters lacking enough information to connect-the-dots as they point accusingly at their partners in crime. Obama’s sycophantic media obediently reported that it was all the fault of greedy bankers, mortgage brokers and Wall Street derivatives. What they failed to report was that the Democrats set-up the alchemy, the opportunity for greed that bated the bad players into joint accountability.

The question the American people should ask is: Who were the svengalis of the economic collapse, the architects whose scheme worked so well that they virtually escaped the blame? Historically, it will go down as one of the liberal Democrats’ all-time big lies to the American people. Democrats led by Barney Franks (D-MA), Chris Dodd (D-CT), Maxine Waters (D-CA) and Greg Meeks, (D-NY) are on video, in effect, in support of glutting the housing market with unsustainable mortgages in the form of bad loans.

In Capital, Azi Parbarah reported in 2011 that New York Mayor Michael Bloomberg pointed the finger squarely at the Democrat-controlled Congress as instigating America’s financial collapse:

“If there is anyone to blame for the mortgage crisis that led to the collapse of the financial industry, it’s not the “big banks,” but Congress. [They] were the ones who pushed Fannie and Freddie to make a bunch of loans that were imprudent. They were the ones that pushed the banks to loan to everybody. And now we want to go vilify the banks because it’s easy to blame them and Congress certainly isn’t going to blame themselves.” Bloomberg added, “It was not the banks that created the mortgage crisis. It was, plain and simple, Congress who forced everybody to go and give mortgages to people who were on the cusp.”

What Bloomberg failed to mention is that Obama, himself, adamantly demanded that banks make more loans to low-income borrowers. Subprime loans became the great American rip-off. Obama and the Democrats both enticed and strong-armed lenders to give loans to people who could not repay them. The plan? In exchange, grateful new homeowners would obligingly ply the Democrats with their votes.

The ugly and inevitable consequences forced the poor, mostly Hispanics and Blacks, out of their unaffordable houses through wide scale foreclosures. Home prices fell, construction workers lost jobs, the housing industry began a free-fall and America’s AAA credit rating was downgraded for the first time since 1917. The result: The worst economy in recent memory. Today, America bears the brunt of the Democrats’ manipulation of the housing market resulting in lost homes and lost jobs. Hawking for votes, Obama and liberal Democrats put politics over people.

Many harken back to former Democrat President Bill Clinton igniting the long fuse that led to the crisis when in 1998 he removed the barriers between commercial banks and investment banks. After Clinton repealed the Glass-Steagall Act, big banks suddenly had federally insured money to play with. Greed from Congress to Wall Street spread unabated.

Some claim Clinton’s deregulation of banks was not a factor. Yet, the Guardian reported a direct correlation as cited by economist Robert Kuttner in his testimony before Congress. Kuttner’s testimony revealed Clinton’s actions as both a cornerstone and an early catalyst that seeded the greed years:

“Since repeal of Glass-Steagall in 1999, after more than a decade of de facto inroads, super-banks have been able to re-enact the same kinds of structural conflicts of interest that were endemic in the 1920s – lending to speculators, packaging and securitizing credits and then selling them off, wholesale or retail, and extracting fees at every step along the way. And, much of this paper is even more opaque to bank examiners than its counterparts were in the 1920s. Much of it isn’t paper at all, and the whole process is supercharged by computers and automated formulas.”

Obama and the Democrats counted on an already embedded need for greed. Some banks and lenders found policy and conditions enabling corruption to be irresistible. The lure of big money that was ill-gotten — crossed political and commercial lines and made bedfellows out of adversaries as deals were made and commissions increased to all-time highs. As financial institutions dove head-first into irresponsible behavior, Democrats looked the other way and feigned innocence during the housing and market collapse that followed.

All the while, two government-sponsored finance giants, Fannie Mae and Freddie Mac, were reportedly hiding their role in the subprime and low-rate mortgage loan business. Harold Raines, former head of the Budget Office for Clinton and Fannie Mae’s CEO in the mid-1990s, told the Washington Post that Fannie Mae is “the equivalent of a Federal Reserve system for housing.”

Democrats were entrenched in Fannie Mae and Freddie Mac’s top management. According to Bethany McLean of CNNMoney, “The same article noted that Fannie’s financial moves generated more than $100 million a year in fees for Wall Street firms …. guaranteed a stunning $1 trillion of mortgages and held $376 billion of mortgages and mortgage-backed securities on its own books.” A Security and Exchange Commission investigation uncovered accounting irregularities in Fannie Mae’s books and a false reporting of $9 billion in past profits. At the time of Raines early retirement from Fannie Mae, the Democrat reportedly earned $20 million in salary and bonuses.

What the film, The Big Short, was short on was the role the government played in short-changing the American taxpayer and the tragic aftermath on unqualified mortgage holders forced into foreclosures. Controlling the nation’s purse strings in Congress, the Democrats steered the economy toward the fiscal cliff. With the DEMS behind the wheel, some Republicans jumped on for the ride amid the financial melee.

Based on voter backlash against Obama’s handling of the economy, in the 2010 midterm elections the Democrats lost control of the House. In the 2014 midterm elections, still feeling the financial sting, voters took away the Democrats majority in the Senate. In addition to filling in the gaps of a Hollywood movie, this tale of greed, arrogance and deception at the expense of the American people should serve as a warning to both Democrats and Republicans in regard to the mood of a betrayed constituency come the 2016 elections.

Sharon Sebastian, author of the book, “AGING: WARNING– Navigating Life’s Medical, Mental & Financial Minefields,” is a columnist, commentator, and contributor in print and on nationwide broadcasts on topics ranging from healthcare, culture, religion, and politics to domestic and global policy. Sebastian’s political and cultural analyses are published nationally and internationally. Website: www.AgingWarning.com

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San Andreas Ready to Blow – in Theaters AND in Real Life

Admit it, there’s nothing more fun than sitting in a dark theatre, munching on a bucket of buttery popcorn, and watching the Earth get demolished. In the latest round of catastrophic flicks, California is destroyed as the famous San Andreas Fault unleashes unimaginable (and unrealistic) devastation across the state.

The new film, San Andreas, depicts the rupture of an unknown fault near the Hoover Dam in Nevada, which gets the destructive ball rolling by setting off powerful earthquakes along the San Andreas Fault. And although earthquakes are nothing new to Californians, and pose serious threats along the famous fault, Hollywood has once again thrown caution (and science) to the wind in order to feed our catastrophic needs.

The San Andreas Fault is a very real hazard. At almost 800 miles long, the fault marks the boundary where the North American plate meets the Pacific plate. And it’s the movement of these plates against each other that causes the powerful quakes characteristic to the region.

A recent report by the U.S. Geological Survey shows the inevitability of just such a quake, which is predicted to hit within the next couple of decades.

“The new likelihoods are due to the inclusion of possible multi-fault ruptures, where earthquakes are no longer confined to separate, individual faults, but can occasionally rupture multiple faults simultaneously,” lead author of the study and USGS scientist, Ned Field says. “This is a significant advancement in terms of representing a broader range of earthquakes throughout California’s complex fault system.” (Read more from “San Andreas Ready to Blow – in Theaters and in Real Life” HERE)

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Faith-Based Action Film ‘Beyond the Mask’ Nabs Distribution Deal [+video]

beyond_the_maskThe faith-based historical action drama Beyond the Mask is set to get a nationwide theatrical rollout following its on-demand debut in April. Freestyle Releasing is distributing the film, saying it will debut in 100 cities.

The film opened through the Gathr on-demand platform in 440-plus theaters nationwide last month. “Gathr allows us to continue to schedule premieres across the country. So if the film isn’t in a city, fans just reserve a theater and bring it,” producer Aaron Burns said in a statement.

(Read more from “Faith-Based Action Film ‘Beyond the Mask’ Nabs Distribution Deal” HERE)

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Offended Native American Actors Quit Adam Sandler Movie

US-ENTERTAINMENT-PREMIERE-MEN WOMEN CHILDRENA group of American Indian actors have walked off the set of an Adam Sandler movie production following complaints over stereotypes and offensive names.

Actor Loren Anthony told The Associated Press on Thursday that he and eight others quit the production of satirical western “The Ridiculous Six” after producers ignored their concerns about its portrayal of Apache culture.

Anthony says the script also included offensive Native American female characters named “Beaver’s Breath” and “No Bra.” He says producers told them to leave if they felt offended.

“Right from the get-go, it didn’t feel right. But we it let it go,” said Anthony, a Navajo actor who started work as an extra on the movie Monday. “Once we found out more about the script, we felt it was totally disrespectful to elders and Native women.”

“The Ridiculous Six” is produced by Sandler and Allen Covert and is slated for a Netflix-only release. Production began this month in Santa Fe and elsewhere in northern New Mexico. (Read more from “Offended Native American Actors Quit Adam Sandler Movie” HERE)

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