Friday, October 21, 2016

Newest Trailers: Dunkirk, Logan, Guardians Of the Galaxy Vol 2, Arrival, Resident Evil, Assassin's Creed

Beards are fairly difficult to interpret, and it is important that Logan wears a full beard in this film because he has always just had the "mutton chops" heretofore. Beards are typically associated with barbarians, pagans, because the refined and civilized Romans shaved their facial hair while the uncivilized did not, leading to the symbolic investment of a beard symbolizing the appetites (but not all appetites are bad). On the other hand, hermits--men who retreat away from society to cleanse themselves of appetites--also have beards and in those situations, beards symbolize wisdom. On one hand, then, we have the very hairy Logan, with his full head of hair and full beard, and the very clean-shaven Professor X (Patrick Stewart) who has no hair and no beard; these are important character distinguishing features meant to draw our attention to how and why these two characters are so different. On his cheek, we also see that Logan has a scar going down his face; why? First, it's a sign that his healing properties have stopped, or at least slowed down considerably (remember, Logan is hundreds of years old and has fought in every major war) and his healing powers was what made Logan Wolverine, that was his mutant identity. The face is the seat of our identity, the place on us where people who know us distinguish us from others they know, (we are recognized for being who we are because of the features on our face). For Logan to have a scar there implies at least two things: first, that his identity as Wolverine--ever-healing and ever-young--has failed him, finally, and as he loses his ability to regenerate after a fight, so, too, does he lose his identity. Secondly, the facial scar suggests that he has a wound he has carried with him, and that wound is a part of his identity, i.e., the very mutant super-power he has to heal, has been a wound from which he cannot heal, and like other mutants who are known for what they can do (Cyclops, Iceman, Colossus, etc.) Wolverine's mutant power has been abused by Logan to draw him deeper into despair; even though he has helped others, he has not been able to help himself, and his own, innermost identity has finally caught up to him.
Opening this weekend are several films: Jack Reacher 2, Boo! A Madea Halloween, Ouija Origin of Evil, Keeping Up With the Joneses, American Pastoral and even some more. I am going to go see Ouija Origin of Evil first, and also make it a point to catch Jack Reacher; Ouija will definitely be pro-socialist, and here is why:
Ouija, a very pro-capitalist film, was written and directed by Stiles White, whereas Origin of Evil was done by the same writer/director who did Oculus, Mike Flanagan and both Oculus and Origin of Evil have Annalise Basso in them (the older sister with red hair, Pauline). I COULD BE WRONG, however, the Ouija board game symbolizes two things in Origin of Evil: first, competition: board games, and games of any kind, are made for two or more people to compete against each other and establish a winner (in the case of Ouija, people compete against a real or non-real entity to see if they can get their questions answered) and we all know that socialists hate competition. The second thing the Ouija board symbolizes in Origin Of Evil is business and capitalism: they are using the board game for work, a rather sketchy line of business, to put it mildly. We also know that the father, the head of the family, has died (so the white heterosexual male thing is definitely at work in this film) and the "Father," the priest, is a likely target (it might not be overtly anti-Catholic, because socialists would like Catholics to come on board with their agenda, but the priestly Father is replacing the family father, who symbolizes the economy--we'll discuss this with Logan below--so the Church and capitalism are being linked, which we just saw in the opening scenes of Magnificent 7). But there is something really obvious we need to be looking out for,...
Flanagan has changed the original date in Ouija, from 1953, to 1967; that's a huge difference. Why? In Ouija, we see a newspaper article entitles, Troops Return From Korea, or something like that, so we know Doris Zander is linked to socialism (I am not going into it here, but please see Mother's Coming: Ouija for more). In 1967, In 1967, the massive Tet Offensive happened for the communist Vietnamese, and even though it didn't win them the war, socialists like to brag about that because they think it was clever of the communists to use a cease-fire treaty for the New Year to catch Americans off guard; in other words, there was nothing whatsoever honorable about them taking advantage of the ceasefire, but that's another story. So, the re-writing which Flanagan has all ready done with the film's history is evidence that he--like socialists and communists in general--will be re-writing even more history in the film. Speaking of "anti-Catholic," here is the second trailer for Assassins' Creed:
"Welcome, to the Spanish Inquisition."
Why does this matter?
For at least two reasons.
First, unlike the Inquisition in general--which was led by the Catholic Church--the Spanish Inquisition was led by the state of Spain, so to have the film going back to a state-sponsored purification reflects (today's) conservatives wanting to, for example, build a wall to keep out dangerous immigrants (as many converts to Christianity during the medieval and Renaissance periods were to water down the faith and introduce dangerous new "ideas" into the teachings so as to lead people astray). The second reasons this matters, is because--as we saw in Tarzan--these film makers are taking a historical period which had its own societal norms and moral codes, and graft on to the period today's morality to highlight "barbarism" by today's standards. It looks like they have done a lot of work on the film, but it's definitely going pro-socialist. Here's one I'm not so sure about:
I am confident this will be one highly complex narrative: just as she is having to translate the language, so, too, are we. What do we know about the aliens? We can tell, from their alphabet, they are a matriarchal society, women dominate, because circles--the persistent basis of their written language--is shaped as   "o" whereas in our patriarchal system the alphabet is shaped with sharp lines and "phallic" symbols, as feminists like to point out. The "octopus like" features of the aliens we have seen invoke the octopus of the HYDRA symbol in the Marvel Universe, as well as SPECTRE and its logo in the James Bond film Spectre. I'm not going to call this film yet, with language being highlighted and translation being employed (because we, the audience, are being asked to "translate" the narrative we are seeing) I'm not going to make any other statements about Arrival yet. Here is another film championing the importance of language:
Yea, it IS a like like that Joaquin Phoenix film Her, maybe because we all need, even really need, the same things we aren't getting from each other: love. We need love so desperately, we are willing to try and program computers to make us feel like we are getting love. Now, let's take a look at Logan:
The little girl is X-23, from what I understand, she was a manufactured mutant, made to be like Wolverine: indestructible. Logan (Hugh Jackman) is nearly unrecognizable; why? In the absolutely amazing Wolverine 2, we saw how intricately Logan's identity as the American economy was crafted by film makers, and that identity is going to carry through to their final film with Jackman wearing the Wolverine claws, but just as the American economy has undergone dramatic transformation at the hands of a socialist for 8 years (Obama and his administration) so, too, has the amazing durable Wolverine. Men of child-bearing age typically symbolize the economy, while women of child-bearing age are typically associated with the "mother land." Older men and women--such as Professor Xavier (Patrick Stewart)--symbolize the law, the Founding Fathers while older women (think of Judi Dench's character "M" in James Bond Skyfall) stand-in for the traditions and customs of a country, their identity as a collective. So how does this fit in with X-23?
The hair, beard, facial expression of Logan and dirty undershirt we see throughout the trailer remind me of Stephen Lang's The Blind Man character from Don't Breathe.  I don't know what it means yet, but I think we should keep that in mind when we finally get to see Logan
Logan will likely play a doubly-symbolic role in the film: the aging American economy, which has taken so many knocks it has lost the ability to heal itself, and a "Founding Father" figure, not only to X-23 (Professor X emphasizes how much the girl and Logan are alike, like father--Father Father--and daughter) as well as a (Founding) father figure for new mutants who are mysteriously "all gone" now (and that will undoubtedly have an impact on how we are to understand Logan in the film). Logan's health, or illness as may be the case, might also appear in this new film, A Cure For Wellness:
What does "a cure for wellness" sound like to you? A way to make someone sick. Why would someone want to be sick? To have someone there, like an institution, like the one we see in the trailer, so take care of you. Dane DeHaan's character is in a car wreck, like the wreck we see Stephen Strange (Benedict Cumberbatch) in for Doctor Strange; the eels we see at the end of the trailer are a lot like socialism, an artificial means of "stimulating" the health (as socialism will artificially dump money into an economy to try and resuscitate it, so the eels are trying to help DeHaan's character get his health back). Now, let's look at another film where the father figure is going to have a dramatic role on the outcome of events. I actually thought this Rogue One trailer was going to be attached to Doctor Strange and we wouldn't be seeing it until November, but I guess they decided to release it early (Doctor Strange will be getting its own, independent post, since there is so much to write about it):
I am immense excited about this film and its story line. If you are confused about its "time frame" don't feel bad: it's set in-between Star Wars III: Revenge Of the Sith and the original Star Wars that found Luke Skywalker (Luke Hamill) on the planet of Tatooine wanting to go join the Rebellion himself. There are two father figures in this (that we have seen): first, Mads Mikkelson's character and Darth Vadar. The question is, which father figure wins the day? Rogue One's rebellion isn't the only rebellion we are going to be seeing:
The galaxy won't save itself; why not? Because, maybe, as in A Cure For Wellness, the galaxy wants to be sick, and only some heroes who know what it is like to be sick, can save the galaxy from wanting to become sicker. Why do we have heroes who have suffered, like Logan? Because when we have been through suffering, we have our priorities straight, we know what the most important things are in life, and we know they are worth fighting for. In Christopher Nolan's Dunkirk, we certainly see that thesis come to life and face death:
The microcosm of our individual lives played out against the macrocosm of massive death in World War II is a ready comparison to the Rebellion of Rogue One, and even the drive to find a mate for Star Lord (Chris Pratt) in Guardians of the Galaxy Vol 2 and a driving force for Alice in Resident Evil:
At 0:36, that tower we see should remind you of the tower for Vortigern (Jude Law) in the trailer for King Arthur: Legend of the Sword at 0:55 (and even the "tower" of water we see at the start of the trailer for A Cure For Wellness); why? You know the saying about living in "an ivory tower" where the toils and hardships of daily life don't effect someone, and we can see that at work in these trailers, each in its own way; what's important, once more, is an emerging pattern of this tower we are seeing. (The "Umbrella" corporation Alice fights against is like SPECTRE in the Bond film because all the organizations which Bond had fought leading up to Spectre were "arms of the octopus" but SPECTRE was the umbrella organization for all the others, like the Umbrella Corporation in Resident Evil; in other words, it's just a disguise, or a cover, for more sinister, international agendas).
Eat Your Art Out,
The Fine Art Diner

Monday, October 10, 2016


Even though the first trailer hasn't yet been released, we are likely to see something for Wolverine 3, officially titled Logan for Hugh Jackman's iconic character. This film being the last time Jackman will portray Wolverine before a younger actor takes over, we got the byline that Wolverine is older and his healing abilities have diminished, so he's in chronic pain and drinking a lot because of it, and it takes a toll on Logan. Patrick Stewart returns as Professor Xavier, pictured here, he has taken quite a beating himself; of the character, Stewart says he imagines this is the end of the franchise for himself. In other news, Jon Favreau, who did such a fab job on The Jungle Book, is now in talks to direct a live-animation feature for Disney of The Lion King; similarly, Guy Ritchie is in talks to do the same with Aladdin
With New York City Comic Con going on this last weekend, a ton of new trailers have been dropping, so, before we get any further behind, let's get caught up, shall we? First of all, this trailer for Queen of Katwe made my day; it's all ready been released, but it was limited, and you are more apt to see it at a kiosk than the theater, but this is definitely one to catch:
I don't think it would be possible to have a story more celebratory--not only of achievement and fighting incredible odds against you--but of faith as well. One person makes a difference, and one person lifts everyone else up with them, so that the success of one becomes the success of all. Chess is a hobby of mine, I'm no good at it, but even with my limited capacities I had heard of Phiona, she is that renowned and famous in the chess world. To demonstrate what a true story this is, here's a short documentary on what real life is like for Phiona:
I love my country, I love being an American, but I also love Phiona's incredible embracing of life and her gratitude for what she has--walking 3 miles to school each day, being able to say her prayers to God--and how quickly the abundance of resources in a first world country tempts us to take things for granted; amidst the trash we see, she found something of incomparable worth,... God's gift to her, the gift to play chess, AND the gift of a teacher to help her strengthen her gift; as the doc makes clear, her gift for chess expands to all other parts of her life, not just what is happening on the game board, but every decision she makes. When we are really using our gifts and talents for God's glory, everything fits together like that, and we fulfill our total capacity for virtue and become a blessing to all others as well; THAT is what is meant by leading a holy life pleasing to God. Whatever gift and talent God has blessed you with, do it for Him as Phiona plays chess for God. If you don't know what your gift is, pray that God will reveal it to you: it's quite possible that everyone else knows what your gift is, but you don't, and if you do know what your gift is, thank God for it, and ask Him to help you use it to His glory, that it will grow and help you fulfill your destiny.
In addition to Depp returning to his most lucrative role, Orlando Bloom, Kevin McNally as Gibbs, Geoffrey Rush as Barbossa and Keith Richards as Sparrow's dad will all be donning their pirate gear. The story line that has heretofore been released is only that Salazaar is an old foe of Sparrow's and Sparrow is pitted against him, presumably for Sparrow's life. This is a legitimate story line, but knowing that Depp helped to craft it, we can safely assume this will be a pro-socialist film; why? Salazaar is likely to be a capitalist figure, even perhaps a Donald Trump figure, as we saw in The Magnificent Seven. 
The long a-waited Pirates of the Caribbean 5: Dead Men Tell No Tales, has finally released the first trailer. As is usually the case with Captain Jack Sparrow (Johnny Depp), he's trying to avoid something, in this case, his old rival, Captain Salazaar (Javier Bardem):
So far, this looks like it could have been taken from the first film, Curse Of the Black Pearl, in which Barbossa's men had all become the "undead" because of the cursed treasure they had stolen and were desperate to pay back. The "red coats," i.e., the British mariners on board being ambushed by Salazaar's crew, obviously symbolize the law and order of the wild world of the high seas, and they have quickly been done in without any fight at all. At 0:46, we see an interesting detail: medals pinned to the coat of Salazaar. Those medals would have to have been awarded from the same "law and order" system which he now slashes through with his sword, with no thought of who he kills at all.
In this brief clip, both Henry (Brenton Thwaites) and Salazaar (Bardem) have mouth symbols communicating to us. Henry's lip is bleeding, almost as if he had bitten it; why? The mouth, we know, symbolizes the appetites, so Henry is either pouring out his blood for his appetites, his appetites are costing him his life (blood is often linked to life itself) or Henry is willing to give his life (the blood) for that which he hungers for; we won't know exactly until we see the film. Salazaar, on the other hand, has black stuff, like ink, coming out of his mouth, especially when he gives the message to Henry that he wants delivered to Sparrow; why? Henry's red blood is a sign of the life in him the Henry can do what he wants with it; the black blood from Salazaar's mouth shows he is dead and has nothing but death to offer and give. 
Another important detail--besides the pirates obviously being supernatural--is the way this supernatural quality is emphasized: the movements of Salazaar's hair as he walks. His hair looks more like it's flowing in water, rather than being subjected to the "natural laws" of gravity and motion (when you or I walk, our hair doesn't move the way Salazaar's moves in this clip). Why is this important? Because it demonstrates how these pirates are completely outside the realm of law and order, not just man's laws of conduct upon the high seas, but nature's laws as well (well, yea, duh, I mean, they're ghosts, of course they are outside the natural laws, and they are pirates, so of course they are outside man's laws). The point is, these are details supporting the larger narrative order upon which the plot will base itself; picking up details like this--images of law and order and how Salazaar goes against them--will help us detect the important characteristics of the story so we know exactly what is happening, in the story and in the encoding of the story.
So, you have probably heard/seen by now that Daniel Craig is saying he still wants to play James Bond. This actually makes much more sense then bringing on someone new at this point. In this newest and widely publicized interview, Craig reveals that playing Bond is the greatest job in the world and he would miss it "terribly" if he didn't get to do it again. Craig is contractually obligated to play Bond once more, but then is free to negotiate further films on a individual basis after that, should he choose to return after his five-film agreement. It seemed definite that Craig would return, prior to the filming of Spectre, as co-star Christoph Waltz's contract became public afterwards, specifying that Waltz has signed on to playing Blofeld for a total of three films, including Spectre, on the condition that Craig returned as Bond. So, Craig's threat to leave the franchise not only throws his own career in jeopardy for failing to meet his obligations, but the careers of many others as well, especially Lea Seydoux (Madeline), Naomi Harris (Moneypenny) and Ben Whishaw (Q) who were surely counting on their roles to take them to bigger and better things. This doesn't mean, however, that we can count on a new Bond any time soon: Craig has numerous projects lined up so best case scenario would be another Bond film in about three years, although they like to turn them around ever two years. But, all in all, I would say this is good news. Now, what about the temper tantrum Craig threw, eh? Who hasn't had a bad day? Craig has done an awfully good job of keeping his nose clean, and while I think it's entirely possible--maybe even probable--that Craig was told to make "slashing your wrists" comments to turn audience members off of seeing the film, it is possible he wasn't and that is me just reading into the situation of a long pattern of celebrity behavior in general and throwing Craig into it that category because of the others; but I am confident, time will tell.
And now, the trailer many have waited to see since John Wick first came out, John Wick: Chapter 2, and the fitting of the tactical suit:
Rome is empty.
Did you notice how there is no one at the Coliseum, St. Peter's, or on the streets? We also see an important, albeit, brief, shot of Wick's back, the tattoo reminding us that "Fortune favors the bold," as well as another important detail: John is still wearing his wedding band. Even though Helen, his wife, died at the start of the first film, she makes another appearance in Chapter 2. An important detail: why does John Wick want two buttons on his jacket? Given the design is "tactical," fewer buttons probably makes sense, however, "two," as St. Augustine tells us in The City Of God that the number two usually symbolizes unity, because there must be two persons of things before they can become unified into one, as with a man and woman united in matrimony. In this case, I am guessing, Wick is united with his blood brother with whom he has an oath to stop a female crime lord (Ruby Rose, looking like Justin Bieber) from seizing control of an assassin's union.
"The man, the myth, the legend." What does that mean? It's deconstruction, revealing to us all the ambiguity inherent to John Wick and how that will make it impossible to really know who John Wick is. "Whoever comes, I will kill them all." You know, that should really be the motto of every Christian, because, who is it that "comes" for us? Demons. Temptations. Vice and even just bad habits. A Christian's life is just like this poster: every second, we have guns to our head, we are surrounded by sin and worldliness and we have to fight our way out of it. We have to kill them all in order to earn the "I" of the statement, because if we allow those coming for us to triumph, there is no "I" left, we are enslaved to those bad habits that become vices and then we are demons ourselves. The Bowler King (Luarence Fishburne) says, "John Wick, you're not very good at retiring," and Wick replies, "I'm working on it." This line contains a great contradiction: to be retired means you are no longer working, to be working means you are not retired. 
Since we have Keanu Reeves up to bat all ready, let's check out this trailer for The Whole Truth. These symbols are pretty much stock, so see if you can decode it before reading my analysis below, good luck!:
Now, dealing just with the trailer, because other details will be given in the film to which we don't have access right now, but just going with what we see before us: we know that women symbolize "the mother land," and children symbolize the future; we know men symbolize the economy because of the active principle they embody. So, how does this reflect the society that has produced this film? We have the "lie" that has been rehearsed that the children, i.e., the Millennials, killed the capitalist economy (the father/husband) when they voted in Obama, and they choose to do that because they believed a capitalist economy (the father/husband) was beating up women and produced an unfair and biased economy (the mother/wife falsely being beaten). It was, however, the woman who killed the husband (women voting for socialism) that was the real killer, even though Millennials left their prints on the voting process. Now, there is another white man who appears to be afraid of the whole truth--and what it could mean for him--and a black woman who sees what really happened and wants justice. To demonstrate, let's look at Rebecca Hall as Christine, the news anchor who, God rest her soul, committed suicide on air during her broadcast:
By all accounts, Christine Chubbock was depressed because she never went out on more than two dates with a man and, turning thirty, she desperately wanted to be married and have kids, and that is, ultimately, why she killed herself, because she was emotionally desperate. Here is the official synopsis for the film:

Rebecca Hall stars in director Antonio Campos' third feature film, CHRISTINE, the story of a woman who finds herself caught in the crosshairs of a spiraling personal life and career crisis. Christine, always the smartest person in the room at her local Sarasota, Florida news station, feels like she is destined for bigger things and is relentless in her pursuit of an on-air position in a larger market. As an aspiring newswoman with an eye for nuance and an interest in social justice, she finds herself constantly butting heads with her boss (Tracy Letts), who pushes for juicier stories that will drive up ratings. Plagued by self-doubt and a tumultuous home life, Christine’s diminishing hope begins to rise when an on-air co-worker (Michael C. Hall) initiates a friendship which ultimately becomes yet another unrequited love. Disillusioned as her world continues to close in on her, Christine takes a dark and surprising turn.

Christine didn't seek promotions or to further her career, she sought to improve her personal and romantic life. That's obviously not what the film makers are focusing on, rather, on the "horrible" white male boss who stands in her way and makes her compromise her news stories for the sake of "ratings."  Now, let's look at the second trailer about another woman, Alice, who doesn't let anyone stand in her way:
I hope you picked up on the line, "Kill every last one of them," because we just heard that in John Wick Chapter 2 above as well. What are the differences between Alice and Christine? Christine seems to be blaming others for her problems, and, unlike the Queen of Katwe who uses chess to help her make good decisions, we see Christine basically paralyzed to the point she can't make decisions. With Alice, she is taking everything upon herself: she's going to get justice from the Umbrella organization, and she's going to save humanity. Who was it that first got the virus that spread so the rest of the world? A child. In Underworld: Blood Wars, there is a battle over a child, Selene's daughter:
I just don't know what to make of the Underworld films, even after I have seen them. One problem is the "heroes" are all anti-heroes, and as such, can't be morally identified with; which leads to the problem that, whatever message--good or bad--these film makers want to impart to the audience, is utterly garbled. Let's take a look at one last woman before we move on in this trailer (Owen Wilson is in this, so it's obviously obscene, sorry):
The good thing about this is, in a backwards sort of way, it is supposed to be elevating the dignity of women: whatever you say about a woman, know that is someone's mom,... their sister,... their aunt, their daughter,... and we saw this in Ted 2 during Ted's bachelor party and they are watching bears mating on a documentary and one of the guys says, "Remember, that's someone's daughter," because, even though the female was a bear, it was still a female who had a father and mother, so how much more so dignified are we human women? And now, in this trailer, we are going to see kids who are at rock bottom but only so a greater good can take place:
The interesting thing about films like this is: everything has to all ready be in place before the "change" takes place, in other words, a bad bully isn't suddenly going to become a nice guy who defends the weak; a guy who has always defended others is going to become enhanced to he can do even more: those who can be trusted in small tasks, will be trusted with greater tasks. Virtue that has been exercised becomes its own super-power, even when it doesn't seem like it. Let's pause for a moment and look at the newest Pierce Brosnan film, Urge, and consider the opposite of exercising virtue:
This film is definitely pro-socialist, because it's trying to reveal that you are not your wildest desires, you are, rather, the continual decision NOT to act upon your urges, you are human, not an animal, even though socialists want you to believe that. This next one is going to be a great film:
Not just because we stood (mostly) united in the wake of (another) terrorist attack, but because of the total fearlessness and utter devotion of the men and women in blue, our officers of the law, who are called to lay down their lives at any moment for their country and neighbors. What was a terror attack turned into a day of patriotism. Whatever we are called to do, we must do it to the utmost of our ability, as we see in this last trailer:
There is a great irony to watching films: we go to movies to escape the drudgery of our daily lives, but in the films we watch, we find them in their daily routines, and then something extraordinary happens, and all they want, is to get back to their daily lives and that boring routine that we were escaping in our own lives by going to the movies. "We are linemen. That's what we do," is like hearing Alice in Resident Evil loading her guns and saying, "This is what I do," Whether you are an Alice or a lineman or neither, whatever you have to do is yours, it is your responsibility to do it and do it to the very best of your ability; you probably don't see it, but God does and He knows. Like the Phiona, the Queen of Katwe, whatever it is you do, do for the Lord.
Eat Your Art Out,
The Fine Art Diner

Thursday, October 6, 2016

John Wick Chapter 2 First Teaser

The first official image of the film has been released; what can we deduce? It's Brooklyn Bridge. We know a bridge, like a hallway in a building, denotes a passage, almost like a birth canal. For example, in The Conjuring 2, when Lorraine Warren is sitting reading her Bible, and her daughter calls her and Valak-as-a-nun stands glaring at her at the end of the hallway, Lorraine has to walk down that hall to get to Valak and the message he has for Lorraine, and this moment in the film is a passage because now Lorraine knows she can't just "retire" from this spiritual battle the way she hoped to, the Holy Spirit (there is a picture of the Spirit as a Dove behind where Valak stands in this scene) is calling Lorraine to a greater spirituality through the battle she will have with Valak. We can expect something similar in this scene with John Wick. There is another example of this (and I am not going on just to go on ad infinidum even though I acknowledge I do that): Spectre. When Bond and Madeline Swann are at Blofeld's (Christoph Waltz) headquarters in the dessert, they walk down a long hallway and at the end, Blofeld turns to Bond and says, "So, James, why did you come?" and Bond responds, "I came here to kill you." At the end of the film, however, he doesn't kill Blofeld, because of what happens; the scene with the hallway marks an important passage for us, the viewers, because we are supposed to see a before and after for Bond to understand why he makes the decisions he does. Okay, so the point: I think there is every reason to assume John Wick Chapter 2 will be referencing Spectre because, in the teaser below, we know Wick is in Rome and the Vivaldi music in the background is eerily familiar to Nisi Dominus playing at the chateau of Lucia Sciarra (Belluci) when the assassins have come to kill her, which also happens to be in Rome like the John Wick Chapter 2 story. I could be wrong, but it's likely, at least at this point.
He wears a white shirt; why? White symbolizes either a soul that is alive, because it has faith, purity, innocence, or the soul is dead because it has no faith, purity or innocence (a corpse turns white in decomposition). The dirt on the shirt may symbolize the "dirt of sin" which Wick has accumulated up to this point in the film--remember, it's being filmed in the Holy See, so yes, religion will play a role--or the dirt of battle he has waged to fortify his faith (and it doesn't have to just be faith in God, it can be faith in life, too; remember, his wife has died and he needs a reason to live). His black pants symbolize his standing, because we stand on our legs, so our legs symbolize standing with others, our reputation. Black always means death, but it either means good death because we are dead to things of this world and alive to things of the next world (the virtues) or we are dead to the things of the next world (the virtues) and alive to the temptations and affairs of this world (sin and vice). So, John Wick is a dead man walking, but is he is a "good dead man" or is he a "bad dead man?" What about the dog? Dogs usually symbolize loyalty in general, so this might be a reference to his loyalty to his friend with whom he made the oath. Pit bulls in particular are known fighters, and the odds Wick fought against to stay alive at the end of the first film makes the pet an intimate choice for the character.  
I did go see Deepwater Horizon with Mark Wahlberg and it was excellent. Excellent. From the pure entertainment and quality of the acting, stunts, effects and narrative, it was an excellent film. It also has fabulous applications of theory, especially--hooray!!!--erasure. I just haven't finished it yet. So, here is a teaser for the trailer to be released Saturday for John Wick Chapter 2, which finds our hero being bound to an oath he made to help a fellow assassin take out someone or other in Rome:
With the first poster they released, and the emphasis on the tailoring in this teaser, again, they intentionally want to remind us of The Kingsmen Secret Service; why? We won't know until we get more details, but we are all ready ahead in catching the references. In the freeze frame of the teaser above, we see what looks Wick pointing a gun and a nasty cut across his nose; why? Because the nose is the most prominent feature of our face, and the face is the place of our individual identities, the nose symbolizes our character, so when a character has their nose broken or cut or damaged in some way, it's a reflection on their character; this isn't to say that Wick's character and integrity has suffered--maybe it has--but it likely means that someone has tried to defame his character and make him look bad to others. Numerous trailers have dropped this week, but I am trying to get a real post up; we'll see what I am able to come up with. If you can, get in to see Deepwater Horizon, it was great.
Eat Your Art Out,
The Fine Art Diner

Friday, September 23, 2016

Utterly Pro-Socialist, The Magnificent Seven

Well, Ethan Hawke was telling the truth: The Magnificent Seven is about a group of poor people, hiring criminals, banding together to defeat an evil capitalist and industrialist who is likely meant to be Donald Trump. I'm really disappointed in Denzel Washington for having made this film. Chris Pratt, not so much, because he's still got a "young career" and I understand taking parts that are offered, but Washington can pick and choose and this was a terrible decision on his behalf. If you were set on going to the movies this weekend, don't bother to see this one: apart from the racism against white people, you can't even understand (at least) half of the film's dialogue. I am working on the post now; have a better weekend than what mine has started off being,...
Eat Your Art Out,
The Fine Art Diner

Thursday, September 22, 2016

John Wick 2 Bulletproof & Opening This Weekend

John Wick is back.
The first poster for John Wick 2 has been released; subtitled, Bulletproof, the film wants to make obvious reference to The Kingsman Secret Service film which highlighted the relationship between being a gentleman and the (bespoke) suit he wore; Wick's is obviously bulletproof and makes him look like an undertaker,... quite fitting.
Pun intended.
So, having read the synopsis, the film is obviously anti-business, and makes everyone who works at a business look bad and even heartless. The baby you see was made by a machine, which, obviously, is unnatural, like the people "growing" in pods in the Tom Cruise film Oblivion or Man Of Steel on Krypton. While the boy in the film asks for a brother, he gets a baby sister instead; why? Because men are bad and little boys grow up to be white male oppressors. The reason it's important to understand what the film is about is 1). it's animated, and people typically assume that if it's animated it's safe for the kids to watch and that is certainly not the case at all. 2). The tag line, "Find Your Flock" is an obvious animal reference and we know that there has been a massive battle being waged regarding whether we are humans or animals, and Storks wants us all to obviously be animals. 
Opening this weekend is both Magnificent Seven and Storks. Both films are anti-capitalist (Magnificent Seven filmed last summer when Trump made the announcement he was running for president, so it's likely the crew intentionally made the film about him, adapting elements of the script to reflect how they see him) so it doesn't really matter which of them I go and see, I will be miserable at either,... do you feel sorry for me? I am trying to post again, slowly but surely, and will try ever so hard to get the post up on The Magnificent Seven by Saturday afternoon. Again, Google is disabling the Slideshow app which appears in the upper-right-hand corner of this blog,...which I have had since I first started it, so it will no longer be there in a few days,... last but not least, let's take a quick look at two new trailers. First, Passengers:
There are numerous elements we could pick up on in this trailer, but for the moment, let's focus on them "waking up." Recall that tediously long and detailed post I wrote (while heavily medicated) on the symbols in King Arthur: Legend Of the Sword? One of the first things we hear Arthur say is, "I woke up," and when asked, "From where?" Arthur replies, "From a nightmare." In the post, we discussed the political significance of "waking up," and we see the two "passengers" "waking up" while on the "ship of state" (the spacecraft) supposedly heading towards a blissful new world (socialist utopia) but actually it's doomed. Isn't it nice to have me back? Our second trailer features Mr. Ice Cube:
Mr. Cube is actually a Trump supporter (quite brave of him I think) so a film like this is going to highlight the civil war that has been raging for several years now between whites and blacks as well as the obvious disadvantage whites are at in this fight: "Teachers don't fight," Mr. Campbell says, because, neither should adults who have jobs and responsibilities in their communities and to others; but that is certainly what we have seen in the last several years, so while this is obviously a comedy, because it's taking place in a school, we can decode it to understand that we the audience are being "schooled" in the lessons of racial relationships that have developed and the best ways to deal with them, and maybe some ways to avoid. Lastly, but not in the least little way the least, here is what looks to be an amazing film, Alone In Berlin:
This will be released October 13, so please be looking for it. Remember the "Public Service Announcement" aka "Propaganda" that Joss Whedon released? Here is the first parody that has been made in honor of those telling us what to do:
Remember, it's important to vote, so you can vote if you liked this video at this link; did you vote for the original video? You can vote for or against the original propaganda piece at this link if you didn't do so yet. Again, thanks to all of you who have been so loyal in checking back and seeing if anything has been posted; I am trying, and recovering, so things should get back to normal. Lots of love and gratitude to each and everyone of you!
Eat Your Art Out,
The Fine Art Diner

Wednesday, September 21, 2016

The End Of Marvel Studios: Avengers Embracing Socialism

What makes these actors think that making a Public Service Announcement and telling people who to vote for will have an effect on the election? Again, they believe we have no free choice. They are all famous (how many times do they tell us how famous they all are? and that makes them more important than you are in their estimation) and even people who aren't so famous, still are more famous than you are, and so, therefore, by Joss Whedon's account, they know more than you do and you should do exactly what they tell you to do, even though you have no idea who they are or what they do. So, the fact that you have no free will, means you are going to do what these "famous people" tell you to do. Other than being famous, these people have no qualifications to guide others in voting; just as Hillary Clinton has no qualifications to become president. Secondly, putting the nukes in the hands of someone whose signature line is "You're fired!" is a bad idea because,... because,...? But Obama putting nukes in the hands of Iran and ISIS is a great idea because they are killing Christians and all the famous people in this video hate Christians. I am so furious. And it's going to get even worse. More video "PSAs" are coming. There are nearly as many "Un-Likes" as "Likes" of the video, and the creators of the channel are being accused of erasing comments they don't like, so it's possible that the backlash will keep Whedon and company from posting anymore of the anti-Trump/pro-Hillary videos, but I doubt it.
This is a terrible day.
Abraham Lincoln said that the United States would never be destroyed by outside enemies, but from within; sadly, it appears that Hollywood giant Marvel Studios is being torn apart from within as well. This political ad against Donald Trump--regardless of what you think of Trump or whether or not you personally support him--will have massive financial repercussions for the studio:
To begin with, on Monday, September 19, we discussed Ethan Hawke telling reporters that his newest film, The Magnificent Seven, is about people banding together to ban Trump, advertising to conservatives that this film is going against everything they believe and the film instead is supporting a candidate (Hillary Clinton) who has labeled the movie-going population of conservatives as being "deplorables." In this post about Hawke, I foretold that more actors would begin turning on the studios because the studios make films that support traditional American values which conservatives still cherish. Get rid of the studio and you get ride of what is one of the last vestiges of American cultural identity (we have seen it happening in Marvel Comic Books: the black female Iron Man replacement, the female Thor, the gay characters being introduced, etc.). The actors aren't hurt by this campaigning because they all ready have their fortunes, so we, the middle and lower-classes, are the ones who are hurt by it. Now, just a few days later, director of The Avengers Joss Whedon has gathered members of The Avengers (and other famous people who are obviously happy to tell you they are famous while you and I are not famous, which qualifies them to tell us who to vote for, in their manner of thinking) to tell us how horrible Donald Trump is and to beg us to vote for she who has killed dozens of innocent people for the sake of her career and money, and sold this country out to the highest bidder.
Okay, why is this happening?
For at least two reasons.
If you are thinking, "Well, at least Chris Evans, Chris Hemsworth and Jeremy Renner weren't in the video," you might be wrong: Whedon has made five such "PSAs" that will be released between now and election week, so he's probably gathered every famous person he knows to speak out against Trump, and it's just a matter of where your favorite actor is on the schedule before their role comes out. Marvel Studios obviously hasn't had anything to do with these PSAs, except having made this actors extremely successful and famous; unless Benedict Cumberbatch, Tilda Swinton or Rachel McAdams appears in one of these PSAs, a film like Doctor Strange may still be relatively successful; Spider Man: Homecoming, however, in which Robert Downey Jr has a starring role, will probably perform at a record-breaking low for the studio because film-goers will boycott because of RDJ making this video; the upside is, The Fantastic Four will not be the lowest box-office draw Marvel film in history. Films like The Infinity Wars will definitely suffer, massively, because all of these actors portray the characters in that film. Marvel is screwed. In the days leading up to the election, Marvel has two choices: sue the actors/Joss Whedon for negatively impacting the image of Marvel Studios with their personal lives (kind of like what Warner Brothers did with Charlie Sheen) or hope that, when their next films have come out, it will have blown over and people will have forgotten. People aren't going to forget, not when they have been personally insulted by people they have supported and who brought to life characters audiences admired and bonded with. Nothing could have destroyed Marvel Studios except the actors, and that's exactly what they have done. A problem Marvel has is that of the Actors Union: they can't fire the actors from their contracts because the union will step in and sue the studio on the actors' behalf, so the studios are going to be really tied here. It's not just Marvel that's going to suffer, however; Cobie Smulders, who portrays Agent Maria Hill in the Marvel Universe, is also co-starring with Tom Cruise in the upcoming release of Jack Reacher 2; how many will boycott the Tom Cruise film because of seeing Smoulders in this ad? How many people were looking forward to Sherlock Holmes 3, which was scheduled to begin production this fall, and will now boycott because of RDJ making this video? What it took Robert Downey Jr years to achieve has now been erased in three minutes. 
First of all, a lack of gratitude. It's hard to see someone like Robert Downey Jr, who was utterly broke before Iron Man made him one of the highest paid actors in history, come out to make a video which is going to make conservatives boycott Marvel Studios' films and cost the studio dearly. But hey, he has his millions and millions, so what does he care? What does any of them care? They don't because they all have contracts, which leads to our second point of why they would come out and make a video like this: arrogance. They all think they are irreplaceable. "You're vote matters," they tell us, and at the box office and TV, they are going to see how powerful our vote is. If you would like to vote right now, and show them what you think, click on the Save The Day link at the top of the video, or you can click this link here directly, and go to the YouTube channel posting the PSAs, and vote by liking or not linking the video that way.
Eat Your Art Out,
The Fine Art Diner: P.S.--again, Google has decided that, at the end of this month, they are disabling the slideshow app, which appears in the upper-right-hand corner of this blog, so that will no longer be a part of The Fine Art Diner, sadly. 

TRAILER: Morgan Spurlock's Horror-Documentary "Rats" & Modern Politics

Even though the film is a "horror-documentary" supposedly designed to make us hate and despise rats, a rat's life is ultimately what the Left has in store for everyone. Think about what was done to the Jews and prisoners in concentration camps throughout Europe during World War II: they were treated like rats, they were exterminated, just like the lead interviewer of the film was an exterminator for forty years; anyone standing in the way of what they want, will be exterminated. 
The worst horror films are always the ones that you believe could actually happen. Prolific director Morgan Spurlock has made a documentary about, what may be, mankind's greatest enemy: the rat. Did you know, a rat can leap up to four feet? It can tread water for three days and survive a five-story fall,.... so, how do we kill them? This documentary looks at rat infestation throughout the major cities of the world:
Those terrier dog packs you see hunting the rats? Those dog packs will hunt and kill a hundred rats a day,... Why do we have a documentary that looks more like a horror film, or, should we say, why do we have a horror film pretending to be a documentary? Spurlock has stated that a documentary that was like a horror film was his intent, but there is a not-so-hidden agenda with the director/human experiment of Supersize Me and that is going to be one of a liberal agenda: rats have been with us for millennia: ever hear of the bubonic plague?  They have always been around, in fields, cities, villages, etc., and they will continue to be so; Spurlock probably wants to make the case that, if we didn't have such big cities, if we didn't have so much waste, we wouldn't have such a rat problem,... would we?
While Ed Sheehan, who we see in the trailer, actually has been an exterminator in Brooklyn for forty years, he has an important fact wrong: there are not more rats living in NYC than people. While it has been a popular urban legend that there is a rat for every person in the Big Apple, scientists have pinpointed the rat population to be 25% that of the human population; so? Through the promulgation of the legend rather than fact, we find an element of the horror genre: out of control. The rats can't possibly be defeated, they reproduce too quickly, they carry disease, they evolve so quickly, and we mediocre humans that we are, we are losers and we should just surrender to them because that is what Obama would do, after his last round on the golf course at Martha's Vineyard. We will launch a hashtag campaign, and signal every human to surrender to the greater force of the rats, just as we are surrendering to ISIS and their superiority. This film, is propaganda, it's mind-control and it will be filled with mind-tricks and liberal positions, like there is no free will and humans are nature's greatest enemies.
Of course we would.
Didn't you see the terrier packs digging the rat up out of the ground? But that isn't the point Spurlock wants to make. As a capitalist, I view the situation as we elect public officials to handle issues like rat control, just as we see in the video; if the officials haven't done that job for which they have been elected, we need to purge them out of office and elect or hire someone who can and will. That's not the "horror" aspect of the documentary Spurlock wants us to face, either: with horror, there has to be a sense that it's spiraling out of control, and that we are helpless to do anything about it,... like we are helpless to stop eating McDonalds' and getting fat,... we are helpless. We have no free will. Any consequences in life that we face, like a rat population, is a sign that someone, somewhere, needs to be sued,... because someone other than ourselves is responsible and we are going to make them pay. As my film professor always said, there is always a reason a film is made now: it could not have been made five years earlier, and it would not do to release it five years later. The political environment of the last eight years has made a film like this possible, and a director like Spurlock successful.
Eat Your Art Out,
The Fine Art Diner
P.S.: I just found out Google is disabling the slideshow gadget feature I have had on this blog since I started it; no more artwork; so sorry, that's how they are :(
There is no technology or waste anywhere in this area, but because the film will have hammered into our minds (by this point in the narrative) that rats are everywhere and we can't escape them, even this remote area will not appear to be safe, even though rats are a part of nature and serve a part in nature as do all animals, just like Winston Smith in 1984, we will be begging someone to free us from the rats and, Spurlock hopes, we will be willing to trade our freedoms and modern ways of life to be "rat-free." BUT, we are the ones who will become rats under liberal policies; in the film, we go to the capitol of the communist country Vietnam, and watch people catch rats then sell them for food. You are what you eat,...

Monday, September 19, 2016

The Magnificent Seven (Remake) & Donald Trump

Please don't forget that the original remake of The Magnificent Seven with Yul Brynner and Steve McQueen had a Mexican as the villain; changing the villain to an American land-owner and industrialist is one more sad example of the Left trying to re-write American history and re-shape the country to hold up their propaganda. It's possible, though not probable, that Ethan Hawke is throwing us a foul ball just to put us off of a truly pro-capitalist Magnificent Seven, just as we have seen Jennifer Lawrence, Emily Blunt, Matt Damon, Liam Neeson, Daniel Craig and others do over the last year or so; why? IF The Magnificent Seven is pro-capitalist, and doesn't go against Trump the way Hawke claims it does, then the studio will suffer for conservatives boycotting the film after hearing Hawke's anti-Trump statement; if the film is truly anti-Trump, then the studio's reward comes in making the claim and giving conservatives the finger. It's still possible that the film isn't pro-socialist: I would have bet money that Zootopia and the remake of Ghostbusters were both pro-socialist, but I was very wrong; Hawke isn't particularly bright, and it's possible he's providing us with his wishful reading of the film's events, not the actual narrative, in which case, it would benefit him to tell people not to go see it because the Left does not want conservatives having their positions validated. I'm guessing it probably is against Trump, but I have been wrong in the recent past.  
Opening this weekend is The Magnificent Seven remake. I have been wavering on whether or not it would be pro-socialist or pro-capitalist, but it appears Ethan Hawke has answered the question for us: in this article, Hawke reveals that the film is about people banning together to fight Donald Trump. Regardless of whether or not you support Trump is actually irrelevant: the re-writing of the film to have outlaws and criminals defend people from a candidate (Trump) wanting to restore law and order to the country after eight years of lawlessness is a clear sign that we are in socialist territory: not only is the Democratic candidate a criminal, but Obama has released more criminals, and more violent criminals, directly into society than any other president. We've seen this in the case of pro-capitalist films predicting this move: from Christopher Nolan's The Dark Knight Rises, to the bunny Snowball in The Secret Life Of Pets, the socialists view the criminals as being the good-guys and the decent, hard-working Americans as criminals who should all die, and the sooner the better. In the case of The Magnificent Seven, it's the outlaws who are going to save the socialists from a society wanting law and order which Trump is promising to bring back.
Eat Your Art Out,
The Fine Art Diner