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STOP THE RINO PLAGUE

Posted on by Posted in Politics
alf_landon

There have been plenty of articles explaining why Donald Trump—as the non-politician, not beholden to special interests—has taken such a commanding lead in the polls. Likewise, many Republicans, who are either flat-out liberal, or simply give lip service to conservative values, are being called out as “Republicans In Name Only…RINOs.”

At the same time, much less dissension is visible on the Democratic side. Let’s explore this situation, bearing in mind that any elucidation of the RINO phenomenon must acknowledge the “No True Scotsman” fallacy. As such, we must take care to define our terms carefully. Indeed, poor use of labels has helped to cause the RINO phenomenon.

Those of us on the Right consider any so-called Republican who does not embrace conservative values to be a “RINO.” Sadly, this moniker seems to include most Republicans, because there are far too many who talk tough, and probably, deep down are conservative, but fold like a cheap suit when challenged.

For starters, what does the Republican party stand for? I don’t know, and neither does anyone else. We have a Big Tent! Pro-abortion; pro-life; pro gay marriage; pro traditional family; conservative; “compassionate” conservative (read: liberal); religious; atheist; pro gun rights; “sensible” gun laws (read: anti-gun). Kind of makes your head explode.

Meanwhile, across the aisle, the tent is not only tiny, it is doctrinaire in a manner that would make the Nazis blush. No one in the Democratic party strays from socialism; atheism; second amendment bashing; open borders; unlimited abortion, heavily financed by the government; destruction of the traditional family; destruction of the healthcare system. Or, as T.H. White noted, “Everything not forbidden is compulsory.”

If the Dems have any dissent, it is only with regard to how radical their hatred is for Western Civilization.

The Republican party’s notion of the big tent probably goes back to Goldwater’s landslide loss, which came only a few years after Robert Welch and others started to blow the whistle on Team R’s disastrous post-war policies. But, there were RINOS well before the Goldwater debacle.

The nicest thing you can say about “Republican” Dwight Eisenhower is that he was a RINO. Many—including this writer—believe that far worse adjectives could be used. Perhaps national security concerns prevented Thomas Dewey from telling the truth about walking dead man FDR in the 1944 election, but his non-campaign against Truman in 1948 was an epic fail. Arguably, the 1948 loss was one the most significant in the post-war era.

And who can forget all time loser (and self-described progressive) Alf Landon’s horrific 1936 run against FDR? The pathetic Kansas governor was surely a RINO—he of the “New Deal—light.”

You want more? What about turncoat (and socialist) Teddy Roosevelt, whose splitting of the vote in 1912 gave us the utter catastrophe of Woodrow Wilson. Funny how TR pledged never to run again in 1908. Even worse is how so many idiot Republicans extol the guy.

The only way to stop the RINO plague is to nominate someone far outside the system. This time around, that would be Donald Trump.

THE GIFT

Posted on by Posted in Movies

the_gift

Plot holes are overcome by strong performances, and a narrative that does not succumb to Fatal Attraction (1987) style cliches. Fun to watch, but you’ll be discussing the flaws on your drive home from the theater.

As the pic opens, the camera pans around a window-filled empty house in LA’s San Fernando Valley. The house is being shown to Simon (Jason Bateman) and his wife Robyn (Rebecca Hall), by a real estate agent. The couple has moved to LA from Chicago, although Simon is originally from LA. The move back is a result of a promotion, and it looks like our happy couple is on the way up.

Soon after, as they are at a store, arranging delivery of some items for their new home, a guy (Joel Edgerton) comes up to Simon, and introduces himself as Gordon Mosely, a high school classmate of Simon’s. They exchange a few pleasantries, and Gordon aka Gordo leaves, but inadvertently discovers the couple’s address, as they are giving it to the store clerk.

Next thing you know, Gordo keeps showing up at their house bearing gifts, including a bottle of wine, and some fish for their Koi pond. He even helps stay-at-home Robyn hook up her cable TV. This is making Simon uncomfortable, but maybe he is overreacting. He tells Robyn that Gordo was known as a weirdo in high school. Still, Robyn forces Simon to accept Gordo’s invitation to dinner, which ends up being at a surprisingly nice home. However, all is not quite what it seems, as details on the pasts of both Simon and Gordo slowly emerge.

A few “menacing” events occur and the tension builds. All is explained in the last act, which also includes Gordo’s final gift.

 

***SPOILERS AND OTHER COMMENTS***

What are the chances that Gordo appear just as Simon is telling his address to the clerk? Since the entire story hinges on Gordo showing up unannounced, this was a pretty pathetic device for him finding out where the couple lives. It would have added more to the tension if he had followed them home to gain this knowledge, don’t you think?

Simon is supposed to be an exec with a computer security firm, yet another key plot point is driven by him being pretty lax with security of certain documents at his own home. We could also ask why his home has no alarm system.

Yet another key plot point is driven by Simon being told the name of his chief rival for a promotion. It is extremely unlikely that such information would be revealed in real life.

On the one hand, we are asked to believe that Simon’s dark side is released only by encountering Gordo. On the other hand, Bad Simon comes to the fore regarding the promotion matter, as well—which has nothing at all to do with Gordo. Thus, how likely is it that Robyn would never have noticed this aspect of Simon’s personality?

Many critics describe Gordo’s final gift as “ambiguous,” and in one sense it is. Of course, that’s the whole point, as you will see—even if they did not.

HILLARY AND THE HOMECOMING QUEEN

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Hillary

Most of us are familiar with the bromide “Real life is more like high school than college.” This proverb is widely accepted, for the simple reason that it is—as the Brits would say—bang on. Supposedly childish high school elements such as cliques, gossip, outward displays of wealth and status, risky behavior, base envy, pettiness, and romanticization of criminal elements are all found to play dominant roles in real life.

Consider the unlikely career of one Hillary Rodham Clinton, who after a shockingly inept tenure as Secretary of State considers herself worthy to be president. Objectively, Hillary has accomplished these few things on her own accord:

1.     Valedictorian of Wellesley College (1969)

2.     Marrying Bill Clinton

3.     Mounting two successful campaigns for the US Senate

While these accomplishments are legitimate, and surely look good on the résumé, some deconstruction is in order.

Hillary’s major at Wellesley was political science, generally regarded as one of the easiest fields. Moreover, its content is extremely subjective, and performance is judged largely on bloviations, rather than intellectual problem solving. Throw into the mix Hillary’s barracuda personality and the ease she must have had intimidating her spineless male professors no doubt caught up in the 1960s ethos, and this notch in her belt looks a bit less impressive.

As to marrying Bill Clinton, the phenomenon of a popular young rake marrying a homely bookish woman to make himself appear more serious for political reasons is not exactly unknown. Nor is the serial adultery that occurs afterwards. FDR is the most obvious example of this, with his miserable wife Eleanor being raised to iconic status in Democratic circles. Ironically, Bill Clinton’s role model, JFK, saw no need to go with homely and instead injected class with Jackie. Yet, the serial adultery remained.

While Hillary’s two senate victories cannot be denied, few Republicans have been elected to the US senate from New York in the last hundred years, and the longest tenured, Jacob Javits, was a quintessential RINO. It must also be noted that in her 2006 re-election effort, the Republican opposition was weak and disorganized.

What is undeniable, though, is that she was undistinguished in the Senate and disastrous at State. Yet, she enjoys tremendous support—especially among women. But, why?

For an answer, let’s journey back to high school, contrasting my own experiences at a public institution, with my sons’ at an all-boys’ Catholic High School. At my coed public school, the homecoming queen was elected by the entire student body, and was never the best-looking girl. Instead, she was the one superficially perceived as the “sweetest” and most mainstream, while still being reasonably attractive. It helped if she had some position in student government.

At my boys’ school, though, the homecoming queen was chosen from their partner all-girls’ school, and voted on only by the boys. The winner was always the best-looking girl. What’s more, her princesses were inevitably the beauty contest runners-up. The winner one year was an astonishingly beautiful girl, who, in keeping with the high school ethos, had no time for the high school boys, and dated an older college guy. Tragically, as she and her boyfriend sped toward Las Vegas one summer night, as her parents thought she was attending a local party, she was killed instantly in a single car accident.

My take is that women support Hillary because she is ugly, and has achieved success in a man’s world, even though her actual accomplishments are few. Indeed, women also supported Eleanor Roosevelt, because of her appearance, her “heroic” acceptance of FDR’s cheating, and despite her personality being even worse than Hillary Clinton’s.

You see, ultimately, there is hope. If these ugly women with miserable personalities can make it, so can I. And, if not, I’m still better looking and my guy doesn’t cheat on me, right? How high school…how real life can you get?

HEAVEN IS FOR REAL

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Heaven Is For Real

Sincere effort, featuring a number of good performances. The movie will likely yield few conversions; rather, it succeeds best as preaching to the choir. More inventive production design with respect to our glimpses of heaven would definitely have helped.

The pic opens with a scene in Lithuania, showing a young girl painting, and quickly shifts to Imperial, Nebraska. Todd Burpo (Greg Kinnear) installs garage doors, coaches high school wrestling, serves on the volunteer fire department, and is also the pastor of the local Wesleyan church. Todd has suffered a few medical setbacks, and despite money problems, his wife Sonja (Kelly Reilly) convinces him to take the family to Denver, for a little R&R.

The Burpos have two kids, Cassie (Lane Styles) and younger brother Colton (Connor Corum). One of the activities in Denver involves handling a tarantula, which is too scary for four-year-old Colton. Upon their return, both children fall ill, but Colton does not recover. With a soaring fever, he is taken to the hospital, and is diagnosed with acute appendicitis. His prognosis is not good.

Yet, the boy does make a full recovery, and begins to speak of his visions of heaven–through an out-of-body experience. Colton’s story is not taken too seriously by his parents, until he mentions seeing his great-grandfather (and recognizing a picture of him) along with telling his parents he met his heretofore unknown stillborn elder sister. He also spent some time with Jesus himself, who–according to Colton–doesn’t look anything like the typical renderings. His big takeaway from all this is to not be afraid of anything. Indeed, once well, he gets to prove it by returning to Denver and holding the tarantula.

As you might imagine, visits to heaven are difficult to keep quiet, and before long, controversy ensues, with all to be disclosed–and mostly resolved–during an inspirational homily given by Todd.

 

***SPOILERS AND OTHER COMMENTS***

Prince of peace

The Lithuanian girl shown at the beginning of the film is revealed to be Akiane Kramarik, a child prodigy artist, who also had visions of heaven. Her painting of Jesus matches Colton’s description. Apparently, Jesus looks like a younger Kenny Loggins. Akiane also speaks of the amazing color palette in heaven, as did Colton. Frankly, a movie about the incredibly talented and articulate Akiane would have been far more interesting.

Reviews from most of the pro critics run along the lines of “Yeah, I used to be a believer when I was a kid, but how can any rational adult believe any of this crap?” Also included in many of those reviews are snarky references to how dull the characters are, and whatever happened to the meth labs and the barflies, which are supposed to be endemic in the Midwest?

The most important change from the book to the movie is the PC deletion of Colton saying that one has to believe in Jesus to get to heaven.

Colton is an equal opportunity offender, since the Sola Scriptura crowd has attacked him on many counts. What’s not to like?

NOAH

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Noah

A large budget, plenty of FX, and familiar biblical source material can’t make up for an awful script, and an overall twisted concept from helmer Darren Aronofsky. Ginned up by the controversy gained by its less than faithful adherence to the bible story, Paramount/Regency should see brisk business, at least at first.

The Noah saga comprises Genesis 5:28 through 9:29, and runs around 2300 words. There is little dialog, of course, and it is all spoken by God—inexplicably called the “Creator”—in this movie. Yes, Aronofsky is an atheist, but his Creator with supernatural powers sounds a lot like God to me. At any rate, fleshing out a 138 minute feature based on such limited material will necessitate some flexibility with the story line. And, therein lies this movie’s big problem.

The pic starts off with a crash course on the early people from Genesis. Given that Noah is only a few generations removed from Adam himself, writers Aronofsky and Ari Handel do provide a clever touch when young Noah is given a very special snakeskin (from Eden) by his father Lamech (Marton Csokas). Alas, this bliss is very short-lived as father and son are attacked by Tubal-Cain and his band of cutthroats. Noah escapes and Lamech is killed.

Tubal-cain is mentioned in Gn 4:22, and is another son of Lamech although this is not stated in the film. However, our movie’s Tubal-cain is the chief baddie, and seeks Lamech’s land to build a mine. Gn 4:22 does credit him with being the “ancestor of all who forge instruments of bronze and iron.”

Grown-up Noah (Russell Crowe) and his family are revealed to be vegans—just like Aronofsky. It is a great mystery how Noah, his three sons, adopted daughter Ila (Emma Watson) and wife Naameh (Jennifer Connelly) can survive as vegans in an environment that looks about as fertile as the moon, but I guess the Creator will provide. Yet more violence occurs as Noah must kill a group of hunters who threaten them.

Soon after, Noah gets visions in which the Creator intends to kill all of humanity because of its wickedness, and supreme among their sins is that they eat meat, and have destroyed the ecosystem. The visions suggest that Noah will play a part in rebuilding the world, and a large vessel will be utilized. Pretty heavy stuff, so Noah decides to consult with his grandfather Methuselah (Anthony Hopkins). Since the Bible says nothing about this character except that he lived to be 969 years old, we can cut Aronofsky some slack. His Methuselah is kind of a Yoda figure, complete with special powers. His mission here is to tell Noah to go for it.

As to building the ark, no sweat! The Watchers—fallen angel/giant rock creatures—formerly dedicated to serving man before wanting to destroy him, now get on-board with Noah and help him with the ark building.

Our heroes will face many perils though, including an absolutely ludicrous and lengthy sub-plot involving a major family dispute, before ending up on Ararat.

 

***SPOILERS AND OTHER COMMENTS***

The older Tubal-cain (Ray Winstone) leads an army against Noah, and is the lone survivor after their battle with The Watchers. Naturally, he becomes a stowaway on the ark for no reason other than to have a final fight with Noah, and be killed by his would-be protégé Ham.

It tells you plenty about the writers that they impose their own Green prejudices in a laughably anachronistic manner on the source material. But that’s just a warm-up.

The sub-plot referred to above is so mind-numbingly stupid that I had to remind myself that it really was unfolding on the screen. While the Bible states that Noah, his wife, and his sons and their wives are taken on the ark, Aronofsky and Handel put their own spin on the situation. And, as Nancy Pelosi might say, “Embrace the suck.”

In their version, only the eldest son Shem gets a wife, who just happens to be Ila. Noah creates an enemy in middle son Ham by not helping him bag a spouse from the nearby town, and in fact turns the other way when the girl is killed. The youngest son Japeth presumably doesn’t care about girls yet. The way Noah sees it, all mankind except those aboard are supposed to die off, and fortunately for Ila, she is barren, due to a childhood injury.

And now for your plot twist. Before the voyage, Methuselah blessed Ila, and cured her infertility. Sure enough, she gets pregnant on the ark. You’d think this new grandchild would be welcome, but no! Noah says that if it’s a girl, he must kill her. Even though he doesn’t in the end—heck, she has twin girls—this nonsense takes up an inordinate amount of running time.

As an added bonus, the Noah getting naked and drunk scene (Gn 9:21-27) is crammed in and botched, leaving audiences puzzled.

All in all, this Noah is about what you’d expect from an atheist vegan director with way too much money to spend.

TALKING BACK TO DENNIS THE MENACE

Posted on by Posted in Current Events, Movies, Religion

It is surely indicative of our secular era that the error-filled bloviations of media figure and self-styled moralist Dennis Prager have such wide acceptance. I think I’ve finally figured out why, but more on that later. At this point, let’s take a look at his recent column entitled “Noah: One of the Most Moral Stories Ever Told,” sparked by the upcoming release of Darren Aronofsky’s film.

Prager begins by reminding us that he has taught the Torah for more than 40 years, and that most of his teachings are available for download—for a small fee. He doesn’t go into much detail as to why the Noah story is one of the most moral, beyond saying that God hates evil. Dennis does, however, offer this observation:

God values goodness more than any other human trait. Thus, the only reason Noah was saved was that “Noah was a just man and perfect in his generations” (Genesis 6:9).

Odd how Torah expert and proud Jew Prager has forgotten the most important passage for Jews in the OId Testament, known in English as “The Great Commandment” and in Hebrew as “The Shema” (Deuteronomy 6:4-5):

Hear, O Israel! The LORD is our God, the LORD alone! Therefore, you shall love the LORD, your God, with all your heart, and with all your soul, and with all your strength.

And, just so there is no misunderstanding here, Moses adds (Dt 6:6-9):

Take to heart these words which I enjoin on you today. Drill them into your children. Speak of them at home and abroad, whether you are busy or at rest. Bind them at your wrist as a sign and let them be as a pendant on your forehead. Write them on the doorposts of your houses and on your gates.

It seems quite clear that what God desires most from humans is for them to love Him. Besides, what exactly is “goodness,” other than some vague touchy-feely concept that can score points for a phony like Prager? How much “goodness” does a man need, and how much makes up for his inherent evil? Dennis doesn’t say, but gives us this gem:

When God saw how cruelly human beings treated one another, He decided that He would start over. Once people reach a certain level of widespread evil, life is pointless.

But, Dennis neglects to explain to us how this view squares with another passage from the Noah story (Gn 8:21):

When the LORD smelled the sweet odor, He said to himself: Never again will I doom the earth because of man, since the desires of man’s heart are evil from the start; nor will I ever again strike down all living beings, as I have done.

Have we never again achieved a “Noah” level of evil?

Prager’s most absurd mistake in the piece occurs when he attempts to answer the question “Isn’t the Biblical flood story just a fairy tale?” His gives two answers, and his first one is a double whopper:

First, this is so only if you believe that the Biblical flood story states that the entire earth from the North Pole to the South Pole was flooded and that every living creature from penguins to polar bears, except for the animals and the people on Noah’s ark, was killed. But that is not what the story says. The narrative speaks of the world where Noah lived: It is expressly stated in Genesis 9:10 that there were other animals in the world that were not killed by the flood.

OK, Dennis. What part of Gn 7:21-23 do you not understand?

All creatures that stirred on earth perished: birds, cattle, wild animals, and all that swarmed on the earth, as well as all mankind. Everything on dry land with the faintest breath of life in its nostrils died out. The LORD wiped out every living thing on earth: man and cattle, the creeping things and the birds of the air; all were wiped out from the earth. Only Noah and those with him in the ark were left.

And, please explain how Gn 9:10 proves your contention. Here is Gn 9:8-10:

God said to Noah and to his sons with him: See, I am now establishing my covenant with you and your descendants after you and with every living creature that was with you: all the birds, and the various tame and wild animals that were with you and came out of the ark.

Torah expert Prager wrongly claims that the entire world is not destroyed and cites an irrelevant passage to prove his point.

As to Prager being widely accepted, here’s why:

Even a “Cliff’s Notes” synopsis of the Bible would not dare make such erroneous assertions, but if your audience were those who won’t read the Bible on their own, why not slice and dice Scripture to suit their taste? This is truly cynical. Prager has no problem citing chapter and verse, because he knows his fans will never check it out for themselves. And, the icing on the cake is all that “goodness” nonsense.

Very few people in all human history have ever thought of themselves as evil. I assure you that Hitler and Stalin and their crew, as well as present-day terrorists had good intentions. If bad things had to happen, it was for the greater good, right?

So, let Dennis make you feel good about yourself, and never venture beyond his inaccurate and watered down views of Scripture and morality. You’re basically good people, you have high self-esteem, and that’s all that counts.

NON-STOP

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Non-Stop

Mostly engaging claustrophobic thriller, featuring unlikely action hero Liam Neeson. It’s nearly done in, however, when preposterous baddies are finally unmasked. A popcorn flick that should be enjoyed for the ride, and not the outcome.

As the pic opens, TSA Air marshal Bill Marks (Neeson) is sitting in a parking lot at JFK airport, having a coffee spiked with a little bourbon, before he boards—and works—a flight to London Heathrow. As per the Airport movie franchise tradition, the flight seems to comprise a cross-section of America, even though there are only a scant 150 on-board. Marks is clearly a troubled soul, and the first chance he gets, he goes to the lavatory, duct tapes over the smoke alarm and enjoys a quick cigarette.

Not back at his seat for a minute, the fun begins. Marks gets a text on his secure network saying that unless $150 million is transferred to an offshore account, someone on the plane will be killed every 20 minutes. Bill sets the timer on his watch to 20 minutes. While all threats must be taken seriously, how likely is it that people can be offed—without detection—in an aircraft? Still, he reports this to the captain, even if no one is yet taking the matter seriously.

Realizing that fellow marshal Jack Hammond (Anson Mount) is on the flight, he begins to think that Hammond could be the one sending the text messages, which he still regards as a prank—albeit a sick one. Marks confronts Hammond, and a struggle ensues, causing Hammond to say that he needed the money, and will cut Marks in. Hammond goes for his gun, and in short order, he’s shot: the first victim. At that, Bill Marks’ 20-minute watch timer sounds.

Further details emerge. The account number given by the texter/extortionist identifies an account in the name of Bill Marks. As to Hammond “needing the money,” it is revealed that he was smuggling cocaine on the flight.

A second suspect is questioned, exposed via a neat virus that will identify cell phones currently operating. Unfortunately, he inexplicably goes into convulsions and dies—in keeping with the 20-minute schedule. Amidst numerous red herrings, many, including the TSA, believe that the perp is really Marks, who is hijacking the plane. As if he didn’t already have enough to worry about.

Marks is not the bad guy, and I’m betting you won’t be satisfied when you discover who it is.

 

***SPOILERS AND OTHER COMMENTS***

The flow of text messages drives the plot, but it is never explained how the perp gained access to the closed federal security network, nor how he obtained so much information on Bill Marks’ personal life.

Two of the killings use a poison dart arrangement that would have required far more preparation than the movie allows.

Hidden within the cocaine being smuggled by Hammond is a bomb, and it is unclear why it cannot just be cast off the aircraft at the appropriate altitude, as opposed to the risky strategy employed instead.

Complicating matters, one of the passengers is an NYC cop, as was Marks, who—until late in the game—is Marks’ adversary. Shouldn’t Marks have tried to enlist his aid from the get-go?

Marks is able to shoot one of the perps during a zero-gravity dive. Talk about your lucky shot.

But the worst problem is the perps. Would you believe a soldier in it for the money teaming up with the son of a 9/11 victim out for revenge? Me neither, but that’s what is in the script.

PRISONERS

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Prisoners

An intense thriller, that is strangely both too long yet skimpy on portions of the narrative, this movie portrays a number of dark themes. Despite near unanimous critical praise, there are gaping plot holes, PC cliches galore, and precious little character development.

As the pic opens, Pennsylvania contractor and survivalist Keller Dover (Hugh Jackman) and his teenage son Ralph (Dylan Minnette) are hunting a deer. The meat will be used for their Thanksgiving dinner, to be held at the home of their friends and neighbors the Birches: Franklin (Terrence Howard), Nancy (Viola Davis) and daughters Eliza (Zoe Border) and Joy (Kyla Drew Simmons), the youngest. Keller’s wife Grace (Maria Bello, wasted in this role) rounds out the group.

After dinner, the four kids—including Keller’s young daughter Anna (Erin Gerasimovich)—go outside near their homes, and Joy and Anna climb around on a parked RV. The older kids pull them off, and they return to the Birch home. A few minutes later, Joy and Anna go by themselves to Anna’s house to search for Anna’s missing emergency whistle.

In short order, it is clear that the girls have been abducted, but Ralph remembers the parked RV, only it is no longer there. This is reported to the responding police detective Loki (Jake Gyllenhaal), and the authorities soon find the RV and its driver Alex Jones (Paul Dano). Upon interrogation, Alex is of no help, having the “mind of a ten-year-old,” and supposedly not understanding the questions he is being asked. Keller asks how such an individual could obtain a driver’s license, but this rather logical query is ignored.

Keller becomes even more furious when Alex is released 48 hours later due to lack of evidence, and appears just as the former suspect is being led out of the police station. Keller manhandles Alex a bit, and hears him say “They didn’t cry until I left them.” However, this is not heard by anyone else, and Alex’s aunt and guardian Holly Jones (Melissa Leo) says that her nephew uttered no such thing.

Loki is not pleased that Alex had to be released, and continues to pursue all known sex offenders. Meanwhile, Keller kidnaps Alex, and keeps him imprisoned in an old apartment building, hoping to force the truth out of him. Keller is convinced that Alex knows much more than he is saying. One thing is certain: The investigation is going nowhere fast.

The final reveal, upon reflection, is not a big surprise, but give credit where it’s due. Getting there is a compelling ride.

 

***SPOILERS AND OTHER COMMENTS***

For all the anti-torture posturing of the movie, and its associated spinning by the critics, no one seems to have noticed that absent Keller torturing Alex, the crime would not have been solved, albeit indirectly. Besides, Alex is hardly an innocent lamb, and seems to enjoy tormenting his dog.

Loki is clearly a troubled soul, replete with tics and tatts, yet we are given no back story despite the film’s 153 minute running time. No doubt, much of this is on the proverbial cutting room floor.

The perps are revealed to be serial abductors and killers of children, but just how they were able to get away with their life of crime for so many years—operating within a small geographic area—should reflect on miserable police work. However, if that is a theme of Prisoners, it is well-hidden. Moreover, Alex and another suspect are past victims of the same perps, and their keeping quiet is a bit much to swallow.

A subtle anti-Catholic bias pervades the proceedings, including Loki’s interrogation of a pedophile priest. Too bad that what the priest tells him is ridiculed, as it is the key to the entire case.

It is no secret that the girls are spirited away in the RV, yet forensics maintains that there is no fiber evidence—and there would not be, without a struggle. This is preposterous. I challenge the screenwriter to get in and out of a vehicle (with no struggle) yet leave behind no trace evidence. More than that, how many little girls would willingly get into the RV of a stranger?

The motive behind the abductions is said to be to “spite God,” since the perp’s own child died of cancer. Now there’s a motive for crime only a screenwriter could love. Grieving parents become vicious serial killers. Happens every day, right?

The name “Alex Jones” is taken from the famed conspiracy theorist and Internet celebrity. But why?

Keller Dover is portrayed as a survivalist, by keeping what appears to be at least a year’s worth of food and supplies in his basement. I guess we’re supposed to think of him as a clueless jerk since he can’t even protect his own daughter in front of her own house. Fair enough, but how can Loki be portrayed as a hero and super-cop, given the soporific pace of his investigation? Maybe he thinks the girls are already dead.

As Loki rescues Anna, he has been shot by the perp (whom he kills) and then decides that he himself must drive her to the hospital, in an impaired state, rather than call for an ambulance. Really?

A disturbing theme is the powerlessness of everyone—especially the women. One strong female does emerge, but she’s not exactly a heroine.

DP Roger Deakins gives the film an unrelentingly bleak look—very much in keeping with the overall downer tone.

As to “mind of a ten-year-old,” come on. A three-year-old kid could have responded better. The late Roger Ebert used to speak of “idiot plot” elements, whereby the entire conflict of the script could be resolved, only it isn’t. In this case, proper interrogation of Alex would have solved the case instantly.

My friends and I speak of those “Wait a minute…” moments that occur on your drive home from seeing a movie, whereby you suddenly recognize major problems. Sadly, Prisoners is loaded with them.

A STOP AT WILLOUGHBY (1960) RETROSPECTIVE

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A Stop At Willoughby

This episode of The Twilight Zone was first broadcast on May 6, 1960, and is said to be one of series creator Rod Serling’s favorites. Perhaps that’s because this bittersweet little gem reflected some of the tensions running through Serling’s own real life at the time.

The story focuses on stressed-out (complete with an ulcer) NYC advertising exec Gart Williams (James Daly), and as the pic opens he is seated with several others in a board room. They’re all awaiting the arrival of Williams’ protégé Jake Ross, who is supposed to be bringing in a large automobile account. Instead, they get a belated note that Ross has resigned, and has taken the account to his new firm.

At this, Williams is berated by his boss Mr. Misrell (Howard Smith), who reminds him that advertising is a “push” business. “It’s push, push, push. All the way, all the time…right on down the line.” Shortly thereafter, we segue into Serling’s voice-over:

This is Gart Williams, age thirty-eight, a man protected by a suit of armor all held together by one bolt. Just a moment ago, someone removed the bolt, and Mr. Williams’ protection fell away from him and left him a naked target. He’s been cannonaded this afternoon by all the enemies of his life.

His insecurity has shelled him, his sensitivity has straddled him with humiliation, his deep-rooted disquiet about his own worth has zeroed in on him, landed on target, and blown him apart. Mr. Gart Williams, ad agency exec, who in just a moment will move into the Twilight Zone—in a desperate search for survival.

The scene then shifts to his commuter train home, the New Haven Line, traveling to his stop at Westport/Saugatuck. This being November, it is snowing outside. He drifts off to sleep…

Williams awakes in an old-fashioned train, stopped at a place called Willoughby. The conductor tells him it’s July, 1888, and Willoughby is the town just outside, “…where a man can slow down to a walk, and live his life full measure.” Alas, this was only a dream as he really awakens to be in his familiar New Haven Line train. He tells the present-day conductor he just had a crazy dream, but still inquires about any station stop known to the conductor called “Willoughby.”

As Gart pours himself a drink at home, his none-too-sympathetic wife Janie (Patricia Donahue) having already been apprised of what went on at the office, by “well-meaning” friends. Relieved to find out he wasn’t fired, she accuses him of being in a permanent state of self-pity. Accustomed to her bitchy attitude, he nonetheless tells her a little about his Willoughby dream, and says that he is just not cut out for the big ad agency job or their expensive home, or their country club membership.

Not surprisingly, this goes over like a lead balloon. He truly has no support at home.

A few days have passed. He’s now back on his ride home on the commuter train, and it’s snowing again. In a bit of a tease, the present-day conductor shouts out “Willoughby,” but this was just to get Gart’s attention. He tells Gart that there has never been a stop anywhere near there called “Willoughby.” Gart replies that it was only a dream.

Speaking of dreams, he falls asleep, and sure enough, he’s back on that 1888 train at the Willoughby stop. He decides to disembark, but the train pulls away just before he can. And, he awakens into the present day. But he promises himself that next time, he will get off the train in Willoughby.

The next day, he’s back at work, and nothing seems to be going right. In fact, he cracks. He can’t take it anymore. So, he calls Janie to tell her he’s coming home, but she hangs up on him. Undeterred, he boards his normal train home, and once more after dozing off awakens in Willoughby—with a smile on his face. This time, the conductor beckons him to disembark—and he does, leaving his briefcase on the train.

He is greeted by two boys and a depot bus driver who call him by name. He heads toward the village green and bandstand, the 1880s-era conductor looks at this watch…But then, the scene changes back to the present day. Only now, the train is stopped.

The present-day conductor says that Mr. Williams shouted something about “Willoughby” and jumped off the train, being killed instantly. As the men load Gart’s body into the ambulance, we see the name on the back “Willoughby & Son Funeral Home.”

Serling’s ending voice-over:

Willoughby? Maybe, it’s wishful thinking, nestled into a hidden part of a man’s mind. Or maybe, it’s the last stop in the vast design of things. Or perhaps for a man like Mr. Gart Williams, who climbed in a world that went by too fast, it’s a place around the bend where he could jump off.

Willoughby? Whatever it is, it comes with sunlight and serenity, and is a part of the Twilight Zone.

For May, 1960, this pic was ahead of its time. The discontent was just beginning for the generation that came of age during the war and post-war years. Misrell is surely the miserable boss, and dear Janie’s final hang-up could have been purposely calculated to push Gart over the edge, no doubt with plenty of life insurance, now vested against any suicide exclusion clause.

And the name “Willoughby”? As Serling said, it’s wishful thinking. A sort of foreshadowing of itself, as “Will it be.” Too bad Gart’s “life full measure” meant that he had to die. Quiet desperation, indeed.

 

WHITE HOUSE DOWN

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A weak script, uneven casting, plot holes, and a PC-skewed viewpoint mark this entry as mostly inferior to its very similar predecessor Olympus Has Fallen.

As the pic opens, young Emily Cale (Joey King) observes helicopters flying over her home in Washington, DC. One of the choppers contains President James Sawyer (Jamie Foxx) and Special Agent Carol Finnerty (Maggie Gyllenhaal), making their way back to the White House. However, they must first buzz the Reflecting Pool and the Lincoln Memorial, since Sawyer is quite taken with Abraham Lincoln.

Emily’s father John (Channing Tatum) is a U.S. Capitol officer detailed to Speaker of the House Eli Raphelson (Richard Jenkins). John, though, would much rather be a Secret Service agent, and has arranged an interview with Finnerty that very day. What’s more, since he is on the outs with his daughter—now living with his estranged wife—he scores some White House passes and brings president/White House obsessed Emily with him to the interview.

With Emily waiting for a White House tour to begin, John goes into the interview, and there it’s revealed that beyond his multiple military deployments, his work record has been anything but exemplary. Finnerty says, sorry, but she’s not interested. Telling Emily he may have a shot at the Secret Service job, they go on the White House tour, led by Donnie (Nicolas Wright).

About the time that you’ve grown tired of super-gunner—not to mention obnoxious—Emily answering every single one of the questions Donnie puts to the tour group, all Hell breaks loose, and there is a large explosion in the Capitol building. That, of course, is merely a diversion, which allows a group of mercenaries headed by Emil Stenz (Jason Clarke) to take over the White House, killing nearly every officer defending the facility.

In addition, they take the 30 or so unarmed people remaining in the White House hostage. As luck would have it, though, Emily does not get nabbed, at least right away, since she was in the bathroom, and John escapes from the baddies, while grabbing a gun. Emily is able to capture some video of the perps on her phone, which will later appear on TV.

Meanwhile, the president has supposedly been led off to safety, but let’s just say…not really. Cale will eventually rescue him from his captors, but the duo still needs to find Emily, and prevent further disasters.

 

***SPOILERS AND OTHER COMMENTS***

Tatum is convincing enough as an action hero, but there is zero chemistry between him and Foxx—and that’s bad news since much of the plot involves their “buddy” relationship. To make matters worse, Foxx is far from believable as a president. Heck, you get the impression that helmer Roland Emmerich is well aware of this, and is playing it partially for laughs.

It is most unlikely that such a small number of people would be in the White House on a weekday, but since this “Washington DC” movie was mostly filmed in Montreal, all bets are off.

Did we really need that bit about “Get your hands off my Jordans” (as voiced by President Sawyer)? Talk about silly product placement.

The notion that we would withdraw all military force from the Middle East, based on promises from a suddenly peaceful Iran, beggars the imagination. So does the idea that a conspiracy of the “Military/Industrial complex,” aided and abetted by numerous mercenary dupes with their own agendas, would promote such devastation.

Plot holes abound, but much of the action depends on the baddies being able to bring literally tons of weapons into the White House, including guns that can effectively repel a full-scale assault by attack helicopters. And, don’t even get me started on the hacker hired by the perps, who has some sort of magic decoding tool that can break into top secret military computers. Assuming a type of “brute force” password-breaking method were in place, it would still take days, and not minutes to get in.