Category Archives: Movies

2001: A Space Odyssey of Transcendent, or Transcendental, Evolution? by Doug “Uncola” Lynn

Here’s another intriguing think piece, combining cinema, science, art, philosophy, and a wildly creative imagination, from Doug “Uncola” Lynn at theburningplatform.com:

By Doug “Uncola” Lynn via TheBurningPlatform.com

The screen is dark.  Eerie and oddly dissonant music begins to play. The screen remains black.  At two-minutes and fifty seconds the music stops, followed by six seconds of silence over the blank nothingness before the Metro-Goldwyn-Mayer MGM logo fills the screen as the symphonically ascending chords and drumbeats of Richard Strauss’ Also Sprach Zarathustra increase in volume.  In a view from the moon, the sun rises behind and then above the blue sphere of the earth.

The Dawn of Man

A series of colorful still-shots reveal a primordial sunrise then transition to daylight shots of desert scenes, against the isolated sound of the wind howling.  White bones are shown on the dry, rocky ground under mammals resembling pigs that are rooting in near proximity to prehistoric monkey-men. Two separate tribes of the ape-like creatures scream and wildly gesticulate on each side of a watering hole before one side cautiously retreats.  An ancient ancestor of the leopard lies prone over the neck of its dead zebra prey; the leopard’s eyes reflective, like mini-suns embedded in the shadow of its skull, ever watching.

The viewer feels a part of the experience, eons ago, sensing the danger and harsh living conditions of multitudinous mammals teeming on the austere earth beneath the strangely serene, ancient sky. The nights appear cold in blue moonlight as the tribe of monkey-men huddle in a cave, listening to the guttural growls of predators nearby.  Primeval primates, male and female alike; waiting anxiously, their bloodshot eyes shifting in apprehension.

To continue reading: 2001: A Space Odyssey of Transcendent, or Transcendental, Evolution?

Zombies R Us: ‘We the People’ Are the Walking Dead of the American Police State, by John W. Whitehead

The American people have become the zombies that populate their own worst nightmares, and many of their movies and TV series. From John W. Whitehead at rutherford.org:

RIP George Romero (1940-2017).

Romero—a filmmaker hailed as the architect of the zombie genre—is dead at the age of 77, but the zombified police state culture he railed against lives on.

Just take a look around you.

“We the people” have become the walking dead of the American police state.

We’re still plagued by the socio-political evils of cultural apathy, materialism, domestic militarism and racism that Romero depicted in his Night of the Living Dead trilogy.

Romero’s zombies have taken on a life of their own in pop culture.

Zombies also embody the government’s paranoia about the citizenry as potential threats that need to be monitored, tracked, surveilled, sequestered, deterred, vanquished and rendered impotent.

Case in point: in AMC’s hit television series The Walking Dead and the spinoff Fear the Walking Dead, it’s not just flesh-eating ghouls and cannibalistic humans that survivors have to worry about but the police state “tasked with protecting the vulnerable” that poses some of the gravest threats to the citizenry.

Why the fascination with zombies?

Perhaps it’s because zombie fiction provides us with a way to “envision how we and our own would thrive if everything went to hell and we lost all our societal supports.” As Time magazine reporter James Poniewozik phrases it, the “apocalyptic drama lets us face the end of the world once a week and live.”

In other words, zombies are the personification of our darkest fears.

Fear and paranoia have become hallmarks of the modern American experience, impacting how we as a nation view the world around us, how we as citizens view each other, and most of all how our government views us.

The propaganda of fear has been used quite effectively by those who want to gain control, and it is working on the American populace.

Despite the fact that we are 8 times more likely to be killed by a police officer than by a terrorist, we have handed over control of our lives to government officials who treat us as a means to an end—the source of money and power.

We have allowed ourselves to become fearful, controlled, pacified zombies.

 

To continue reading: Zombies R Us: ‘We the People’ Are the Walking Dead of the American Police State

EXCLUSIVE: Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA US military intelligence agencies have influenced over 1,800 movies and TV shows, Tom Secker and Matthew Alford

Every get the feeling, watching a TV show or a movie, that you were watching propaganda? You probably were. From Tom Secker and Matthew Alford at medium.com:

Published by INSURGE INTELLIGENCE, a crowdfunded investigative journalism project for people and planet. Support INSURGE to keep digging where others fear to tread.

Tom Secker and Matthew Alford report on their astonishing findings from trawling through thousands of new US military and intelligence documents obtained under the Freedom of Information Act.

The documents reveal for the first time the vast scale of US government control in Hollywood, including the ability to manipulate scripts or even prevent films too critical of the Pentagon from being made — not to mention influencing some of the most popular film franchises in recent years.

This raises new questions not only about the way censorship works in the modern entertainment industry, but also about Hollywood’s little known role as a propaganda machine for the US national security apparatus.


When we first looked at the relationship between politics, film and television at the turn of the 21st century, we accepted the consensus opinion that a small office at the Pentagon had, on request, assisted the production of around 200 movies throughout the history of modern media, with minimal input on the scripts.

How ignorant we were.

More appropriately, how misled we had been.

We have recently acquired 4,000 new pages of documents from the Pentagon and CIA through the Freedom of Information Act. For us, these documents were the final nail in the coffin.

These documents for the first time demonstrate that the US government has worked behind the scenes on over 800 major movies and more than 1,000 TV titles.

The previous best estimate, in a dry academic book way back in 2005, was that the Pentagon had worked on less than 600 films and an unspecified handful of television shows.

The CIA’s role was assumed to be just a dozen or so productions, until very good books by Tricia Jenkins and Simon Willmetts were published in 2016. But even then, they missed or underplayed important cases, including Charlie Wilson’s War and Meet the Parents.

Jon Voight in Transformers — in this scene, just after American troops have been attacked by a Decepticon robot, Pentagon Hollywood liaison Phil Strub inserted the line ‘Bring em home’, granting the military a protective, paternalistic quality, when in reality the DOD does quite the opposite.

Alongside the massive scale of these operations, our new book National Security Cinema details how US government involvement also includes script rewrites on some of the biggest and most popular films, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes.

A similar influence is exerted over military-supported TV, which ranges from Hawaii Five-O to America’s Got Talent, Oprah and Jay Leno to Cupcake Wars, along with numerous documentaries by PBS, the History Channel and the BBC.

To continue reading: Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA US military intelligence agencies have influenced over 1,800 movies and TV shows

Hollywood Blames Critics for Its Movies Being Unimaginative Pieces of Sh*t, by Kevin Fallon

Ask Hollywood’s favorite politician, Hillary Clinton. It’s always easier to blame someone else for your misfortunes. From Kevin Fallon at thedailybeast.com:

PHOTO ILLUSTRATION BY THE DAILY BEAST

This past weekend, two very bad movies came out and no one went to see them. This theoretically should be the most logical sentence ever written. In practice, though, it’s apparently shocking.

In what was the worst Memorial Day box office weekend since 1999, the fifth Pirates of the Caribbean movie—the one that everyone kept forgetting was coming out—got lost somewhere in the Bermuda Triangle, despite riding in on an ostentatious $230 million ship. While certainly not chump change, its $78 million gross is hardly the treasure haul the Johnny Depp franchise, which at its height opened to twice that amount, is used to.

And the relentlessly promoted new, raunchy Baywatch comedy starring Dwayne “The Rock” Johnson and Zac Efron similarly arrived at the box office like a rotting beached whale. It earned just $28 million over the weekend when pundits had been tracking a debut of $50 million.

The connection between both box office bombs—beyond their susceptibility to water puns—was that they both had also been decimated by a tidal wave of horrendous reviews from critics.

And in the wake of the dual box office shipwreck, industry publication Deadline reported that insiders close to the movies are not happy with critics for warning people off these sinking ships. (Puns are over, I swear.)

The Deadline piece cited the rancid Rotten Tomatoes scores for the films—32 percent for Pirates; 19 percent for Baywatch—and argued that the aggregation site, which runs its scores on movie ticket purchaser Fandango, is to blame for the bad box office returns. Not, you know, the fact that the films were bad themselves.

Why Hollywood as We Know it is Already Over, by Nick Bilton

This is an excellent obituary for the Hollywood we’ve long known, and its star system and stars, many of whom we don’t like, from an unlikely source, Vanity Fair. From Nick Bilton at vanityfair.com:

With theater attendance at a two-decade low and profits dwindling, the kind of disruption that hit music, publishing, and other industries is already reshaping the entertainment business. From A.I. Aaron Sorkin to C.G.I. actors to algorithmic editing, Nick Bilton investigates what lies ahead.

A few months ago, the vision of Hollywood’s economic future came into terrifyingly full and rare clarity. I was standing on the set of a relatively small production, in Burbank, just north of Los Angeles, talking to a screenwriter about how inefficient the film-and-TV business appeared to have become. Before us, after all, stood some 200 members of the crew, who were milling about in various capacities, checking on lighting or setting up tents, but mainly futzing with their smartphones, passing time, or nibbling on snacks from the craft-service tents. When I commented to the screenwriter that such a scene might give a Silicon Valley venture capitalist a stroke on account of the apparent unused labor and excessive cost involved in staging such a production—which itself was statistically uncertain of success—he merely laughed and rolled his eyes. “You have no idea,” he told me.

After a brief pause, he relayed a recent anecdote, from the set of a network show, that was even more terrifying: The production was shooting a scene in the foyer of a law firm, which the lead rushed into from the rain to utter some line that this screenwriter had composed. After an early take, the director yelled “Cut,” and this screenwriter, as is customary, ambled off to the side with the actor to offer a comment on his delivery. As they stood there chatting, the screenwriter noticed that a tiny droplet of rain remained on the actor’s shoulder. Politely, as they spoke, he brushed it off. Then, seemingly out of nowhere, an employee from the production’s wardrobe department rushed over to berate him. “That is not your job,” she scolded. “That is my job.”

To continue reading: Why Hollywood as We Know it is Already Over

Hollywood’s Screen of Lies, by Uncola

Meryl Streep gives America yet another reason not to pay attention to Hollywood and its stars. From Uncola at theburningplatform.com:

On Sunday, January 8, 2016, while waiting for the 10PM local news, I surfed through some channels and landed on NBC as the actress Meryl Streep was speaking. It was during the Golden Globes and I caught the tail end of her speech after she won the Cecil B. DeMille Award. This once-in-a-lifetime award is an honor conferred by the Hollywood Foreign Press Association for “outstanding contributions to the world of entertainment”.

As Streep was speaking, she appeared to have had the entire room entranced, even moving some of the Hollywood stars in the audience to tears. As the cameras panned over the brigade of befuddled, bespectacled, bearded and bare-legged clowns, you could see them overcome by raw emotion before Streep’s heartfelt words. Paradoxically, her delivery was not meant to be comedic. As I watched the scene unfold in complete disbelief, I thought to myself: “This isn’t a parody. It is real. It isn’t an act. It is actually happening”.

Referring to President Elect Donald Trump, Streep said:

It was that moment, when the person asking to sit in the most respected seat in our country imitated a disabled reporter; someone he out-ranked in privilege, power, and the capacity to fight back. It kind of broke my heart when I saw it, and I still can’t get it out of my head because it wasn’t in a movie; it was in real life.

Apparently, in the minds of movie mogul morons, the country has been taken over by extreme xenophobes, radical racists and blasphemous bigots who wish to deport all those of color as well as the foreign born. Meryl Streep and her fellow actors believe Trump to be a dictator in waiting who enjoys coldly mimicking the handicapped, and racially impure, for no other reason than the profusive and unrestrained hatred in his wicked heart.

To continue reading: Hollywood’s Screen of Lies

New Film Tells the Story of Edward Snowden; Here are the Surveillance Programs He Helped Expose, Jenna McLaughlin, Talya Cooper

This is a brief review of Oliver Stone’s movie “Snowden,” plus a fairly exhaustive compendium of Snowden-fueled disclosures, with links. It’s a good article to bookmark. For the links, please refer to the original article. From Jenna McLaughlin and Talya Cooper at theintercept.com:

OLIVER STONE’S LATEST film, “Snowden,” bills itself as a dramatized version of the life of Edward Snowden, the NSA whistleblower who revealed the global extent of U.S. surveillance capabilities.

Stone’s rendering of Snowden’s life combines facts with Hollywood invention, covering Snowden being discharged from the military after an injury in basic training, meeting his girlfriend, and training in the CIA with fictitious mentors (including Nicolas Cage’s character, most likely a composite of whistleblowers like Thomas Drake and Bill Binney). Snowden then goes undercover, only to see an op turn ugly; becomes a contractor for the CIA and NSA; and finally chooses to leave the intelligence community and disclose its vast surveillance apparatus, some of which he helped develop.

The movie hits key points in Snowden’s story, including his growing interest in constitutional law and the Foreign Intelligence Surveillance Court, some of the U.S. surveillance programs he eventually unmasked, and parts of his furtive meetings in Hong Kong with Glenn Greenwald and Laura Poitras (co-founders of The Intercept), as well as The Guardian’s Ewen MacAskill.

There are doses of artistic license — for example, a Rubik’s Cube hiding the drive where he stored the documents, and Snowden’s CIA mentor spying on his girlfriend through her webcam. In hazier focus are the global questions his revelations raised, including the legal and moral implications of the U.S. government collecting data on foreigners and Americans with relative impunity, and the very real stories born of Snowden’s massive disclosures.

So here’s a retrospective of sorts for moviegoers and others interested in the journalism Edward Snowden made possible through his decision to become a whistleblower: In all, over 150 articles from 23 news organizations worldwide have incorporated documents provided by Snowden, and The Intercept and other outlets continue to mine the archive for stories of social and political significance.

In the hope that Stone’s movie will spark more widespread interest in the NSA programs Snowden helped bring to light, The Intercept has compiled its stories based on the archive of documents, which can be explored through the chart below.

To continue reading and to see the compilation: New Film Tells the Story of Edward Snowden; Here are the Surveillance Programs He Helped Expose

He Said That? 4/24/16

From Tony Montana, played by Al Pacino, in Scarface (1983):

All I have in this world is my balls and my word, and I don’t break them for no one.

Meet the Controversial Hong Kong Indie That China Doesn’t Want You to See, by Patrick Brezeski

Let’s hope this film goes global. From Patrick Brzeski at hollywoodreporter.com:

Communist Party mouthpiece Global Times has called ‘Ten Years,’ comprising vignettes that reveal a dystopic vision of Hong Kong’s future in which political freedoms have been eroded by China’s control, a “virus of the mind.”

The most talked-about recent film phenomenon in Hong Kong centers on the territory’s tiniest local release. The dark, provocative indie drama Ten Years was produced on a microbudget of $75,000 and opened in December at a single cinema in Hong Kong’s Yau Ma Tei district. A surprise run of sellout screenings resulted in the movie beating the local per-screen average of Star Wars: The Force Awakens, which opened the following day.

Ten Years comprises five shorts — all set in the year 2025, and each directed by a different Hong Kong filmmaker — that explore ways in which life in the territory might change during the next decade. Collectively, the vignettes reveal a dystopic vision of Hong Kong’s future in which human rights and political freedoms in the semiautonomous territory have been eroded by the incursion of mainland China’s control.

The film struck an immediate chord among a Hong Kong populace worried about its future.

“Many in the audience told us they hadn’t gone to the cinema to watch a movie for a long time,” says Jevons Au Man-Kit, one of the film’s five directors. “But they came to support Ten Years. It was more than just a movie to them — it’s about their home.”

To continue reading: Meet the Controversial Hong Kong Indie That China Doesn’t Want You to See

The Apple Will Drop, by Robert Gore

If two-thirds of a group of conspirators avoid prosecution, trial, and imprisonment, but the other third does not, has justice been served? That’s a question raised by the movie The Big Short’s treatment of the 2007-2009 financial crisis. The movie is a dramatization of Michael Lewis’s non-fiction book, The Big Short: Inside the Doomsday Machine.

This is not a review of The Big Short, which was entertaining and amusing, with clever writing and strong performances by Christian Bale, Ryan Gosling, and Steve Carell. The movie did not, however, feature a viable explanation of the causes of the financial crisis. Yes, bankers offered mortgages to people who could not afford them, bundled them into junky mortgage-backed securities and more complicated debt instruments, and with the help of asleep-at-the-switch ratings agencies, regulators, and government-blessed mortgage finance agencies, sold them to speculators and investors whose due diligence extended no further than the triple-A rating.

So The Big Short justifiably prosecutes and would like to put in jail the bankers and ratings agencies, but aside from light slaps on the wrists (a heavily leveraged, pole-dancing real estate speculator and a regulator-regulated revolving door vignette), the two other major conspirators—feckless, often dishonest mortgagees and the government—get off scot-free. However, even if the movie had figuratively hauled them off to the hoosegow, it missed entirely the real cause of the financial crisis: financial and political gravity. Gravity doesn’t make for very good cinema, but it’s an appropriate subject for an SLL piece. (SLL doesn’t have a $100 million production and advertising budget to cover, will never be in contention for an Academy Award, and only needs to appeal to an audience that’s maybe one-day’s tally of Big Short viewers at a typical Megaplex.)

Regulatory capture is the first law of political gravity. Reformers set up a regulator for a perceived social ill, pat themselves on the back, and move on to the next cause, while the regulated sabotage the scheme and turn it to their own ends. The regulated have every incentive to do so—it’s often a matter of economic survival—and everybody else, including the supposed beneficiaries of the regulation, have little incentive to engage in the constant bureaucratic, legislative, and judicial infighting necessary to force the regulators to adhere to the stated purposes of the enabling legislation. So all regulation, without exception, devolves into the cynical charade we’ve come to know and loath: lobbying, influence peddling, legal and illegal bribes, revolving doors, use of the regulatory process to cripple competitors and competition, cartelization, and an identity of interests between the regulator and regulated.

It’s no surprise, then, that the banks and their regulators, particularly the Federal Reserve, are in bed together, and have been for over a century now. There is a free market, highly effective regulator of bank behavior: bank runs. In fractional reserve banking, banks will never have enough immediately available money if a large enough percentage of depositors all want their deposits back at the same time. That possibility keeps bankers honest. They extend loans to borrowers who can pay, maintain a prudent level of cash on hand, are selective about the banks with which they establish correspondent relationships, and do their best to appear as sober, solid, confidence-inspiring members of their communities. Such bankers usually weather the inevitable financial squalls, building reputations for probity, while their intemperate, grasping brethren do not. Over time, customers, the smart ones at least, gravitate towards the former and shun the latter.

Bank regulation has replaced this highly effective free market regulatory mechanism—actually making it the enemy—with a highly ineffective, corrupt, and captured panoply of laws, regulations, and agencies. The Fed’s lender of last resort function, deposit insurance, extensive regulation, and the too-big-to-fail doctrine enshrine the political impetus to banish bank runs and their potentially destabilizing, albeit salutary, effects. The government has become the guarantor of the banking system. A second law of gravity: set up a system whereby heads, the bankers win, tails the government (and taxpayers) lose, and the banks and bankers will win and the government (and taxpayers) will lose, repeatedly, until that system is eliminated.

A third law of gravity: governments establish central banks to benefit governments. Fiat money (actually fiat debt, see “Real Money”) gives the government the first user advantage; it gets to spend it and command resources before its fiat money depreciates. That depreciation benefits debtors at creditors’ expense, and governments are invariably debtors. As debtors, governments benefit from lower, central bank-suppressed interest rates. Finally, governments realize political benefits from central bank debt promotion. An increase in debt can produce a short-term, constituent-pleasing bump in economic activity.

A fourth law of gravity: government and central bank debt divorced from the underlying economy will invariably grow faster than the economy as debt’s marginal impact diminishes, and suppressed interest rates and abundant debt-based liquidity will promote malinvestment and increase consumption and speculation at the expense of savings and investment, leading to unsustainable standards of living, indebtedness, and asset bubbles. The fifth and final law of gravity: that which is unsustainable will not be sustained; the system collapses.

These laws of gravity—not ignorant, foolish, or greedy homeowners and house flippers; not greedy, unscrupulous bankers, ratings agencies, and investors in securitized, subprime garbage; not the government’s and the housing finance agencies’ incompetent and corrupt promotion of home ownership and mortgage finance—are the “cause” of the last financial crisis. Or more correctly, the crisis was the inevitable consequence of gravity’s inexorable operation. A reliable facet of any collapse is that its leading edge will be the financial and economic sector towards which the most credit—relative to that’s sector’s ability to service debt—has been channeled. In 2000 that was the technology sector; in 2007 it was housing and mortgage finance.

SLL noted over a year ago that this crisis’s leading edge was commodities (“Oil Ushers in the Depression”), towards which superabundant credit had been channeled based on a fallacious belief in the perpetual growth of the Chinese economy at double-digit rates. That reality is still not generally grasped, even as credit and economic contraction, falling prices, and gluts have spread around the world, from commodities to transportation, production, distribution, wholesale, and retail. General recognition will leave the current, already battered levels of equity indexes as distant specks in the rear-view mirror.

There could be silver linings. After the ultimate crash, market-based money may replace worthless fiat scrip. Bank risk may be “unsocialized”: banking without government and central bank safety nets. And somebody, perhaps Michael Lewis, may write a book about the religious beliefs in the China growth story and the ability of central bankers to control the global economy; the insanity of negative interest rates; the opacity of balance sheets produced by banks allowed to mark asset values to their own assumptions and models, not to market prices, and the travesty of economic policies that reward leverage, speculation, and a small coterie of crony insiders while penalizing savings, investment, integrity, and honest economic effort. If we’re lucky, that book will serve as the source for a movie as entertaining as The Big Short.

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From Daniel Durand, speaking in 1913 from the novel The Golden Pinnacle:

What the government gains from monetary debasement, the wage earner loses. Adjustments to his wage won’t keep up with money inflation. As for promoting economic stability, look at the railroads. Every line upon which the government has laid its ‘benevolent’ hand has come to ruin. You want to make it responsible for the entire economy? The Wall Street moneyed class will a field day with elastic money and financial instability. It’s your average wage-earning American who will be hurt the most.

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