Opening This Week & Newest Trailers: GI Joe Retaliation, Despicable Me 2, John Dies At the End, Hansel & Gretel Witch Hunters

Dear Readers,
Perhaps you have noticed: this blog is dedicated to the glory of Jesus Christ. I often have to remind myself of that, usually during weeks such as this past one, when others have been in need and I helped them because those are the acts of love which give glory to God and please Him; during those moments of stress, when I fret that I haven't gotten a new post up all week, I have to remind myself that it's in love that Jesus is served, not posting on movies, which I would much rather be doing. He brings you here to this site, not me. So, I ask your pardon, and your trust, that I was doing something of great importance for others, and I thank you for continually checking back to see if I had finally gotten a new post up and seeing that I hadn't, then coming back again to check, etc. Thank you. Really, I am nearly done with Cloud Atlas; I saw Silent Hill: Revelation and was very pleased with how that was structured (not necessarily that it was a good film, but the psychology and spiritual emphasis were important in the film).

Opening this week is Denzel Washington's Flight, and I am now anxious to see it, having found out the end which has dismayed a great number of people but is definitely a politically conservative film meant to influence voters who favor Obama and his handling of the economy. I don't want to give away the ending, however, I am confident of the political message and the timed release of the film so close to Tuesday's elections, that Flight intends to sway voters away from Obama.
And speaking of Obama, the newest trailer for GI Joe Retaliation has been released; rescheduled from debut this past summer to March 2013, this new trailer only has three words not contained in previous trailers but they are three important words:

"Redistribution of power."
Like Red Dawn being released this month, GI Joe Retaliation seemingly relies upon the invention of a new weapon; in the case of both films, I don't foresee a "new weapon" as much as a new means for socialism to reach people (please remember, in Red Dawn, it's the socialist country of North Korea invading America and in GI Joe Retaliation, the "redistribution of power" away from the world's capitals is the socialist goal of a one-government world where everyone is controlled like cattle by an agency like the KGB). What about the "president not being the president?"  That may be encoded language for the suggestion that Obama is not a legitimate president, but only "appears" to be legitimate.
Redistribution of power may or may not be a part of this week's opener, but even after reading the synopsis, I am still not sure which way this film goes.

I am truly impressed with Disney's Wreck It Ralph, and it appears everyone else is as well, since it's on its way to a $48 million opening weekend. There is a key element swaying this as an anti-Republican, anti-capitalist film: for 30 years, Ralph has been the bad guy. What was 30 years ago? 1982, when Ronald Reagan--the darling of Republicans and capitalists--was president. I had made the comment that Ralph dresses in red, which is the Republican party's color whereas both Fix-It Felix and Sonic (the blue cat thing being in the race car in the trailer above) wear blue, the primary color of the Democrats. While Felix is the hero of the film, Ralph is the focus, and we have to ask, going into the film, if it's meant to sway us to abandon our game as the "wreckers of socialism" and accept being the bad guy no one likes. I could be totally wrong, and I hope I am, but if I only see one film this weekend, I think it will be this one.
I have not, as of yet, seen the original, but here is the trailer for Despicable Me 2 (July 2013):

What should we be picking out in this trailer?
First, the "minions," because that is a "class term," used to describe people very low to lowest on the social ladder in terms of class, education and responsibility. We see three "classes" of minions in this trailer: the one wearing overalls (a hard laborer), the one dressed in gaudy golf gear (the minion with aspirations of breaking out of the class of minion because golf is a leisure game) and the maid minion. These three workers have been kid napped by an "alien ship," i.e., something "alien" to them. Note also the kind of vacuum the maid minion uses (towards the end of the trailer) which looks like post-World War II. The outdated vacuum "employed" by the maid in the big house (where the maid's employers don't buy updated equipment for the staff to use) might be a sign of class warfare/discrimination. 

Also important in the trailer is the theme song from Halloween, while meant to offer atmosphere to the "fright scene" of hearing a bump in the night, it also reminds us of the plot of Halloween and how it was a family member who went on a killing rampage. That the one-eyed minion dressed in golf clothes let's the other minion be sucked up by the ship signals a willingness to abandon your friend; the one-eyed minion "employing" his golf club to use as a possible weapon literally means that his aspirations to a life of leisure (the American Dream?) is his weapon against whatever has been "thrown out with the garbage." As always, this is only a trailer and we won't really know anything until we see the film.

The Chinese restaurant in John Dies At the End.

This is the first I have heard of the film, and having the synopsis will help you make sense of the trailer: It's a drug that promises an out-of-body experience with each hit. On the street they call it Soy Sauce, and users drift across time and dimensions. But some who come back are no longer human. Suddenly a silent otherworldly invasion is underway, and mankind needs a hero. What it gets instead is John and David, a pair of college dropouts who can barely hold down jobs. Can these two stop the oncoming horror in time to save humanity? No. No, they can't.  
It reminds me of Men In Black III.

It hits theaters January 25; also due out the 25th is Hansel and Gretel Witch Hunters and I can't even tell you how excited I am about this. Here is the red-band trailer (foul language and gore and blood):

Why am I so excited about this film?
I have all ready spoken at length on the first trailer released for this film, and I will be building upon that in this post. Without a doubt, this film achieves a high level of political motivation; the question is, which way does it turn, towards the capitalists or the socialists? Again, as with Abraham Lincoln Vampire Hunter, the nightmare that was the McCarthy 'Witch Hunts' for communists, makes the main plot line of Hansel and Gretel: Witch Hunters to remind us of history's past attacks on America and how we have fought it off in the past, or (like Abraham Lincoln Vampire Hunter) Hansel and Gretel Witch Hunters will start a witch hunt for capitalists; this is mentioned in the trailer above when Hansel tells Gretel, I don't think we're hunting witches, I think they're hunting us; again, the question is, which side of the economic debate does the film support and are Hansel and Gretel being hunted because they are capitalists (they are bounty hunters in the film, but that is ambiguous) or because they are socialists being hunted by the witches who are capitalists (like myself)?

Have we seen a background similar to this anywhere? Mirror, Mirror, with Julia Roberts as the evil step-mother queen of the re-vamped Snow White fairy tale (a step-mother also figures in the original Hansel and Gretel legend, so it will be interesting to see if . The kingdom in ice is in a perpetual winter, i.e., nothing can grow, as in "the economy can't grow." Winter, as a symbol, always means death, although death is not always a negative symbol, for example, without the "slumber" of winter, the land isn't rejuvenated for the growth of spring (this is often a symbol employed in the spiritual life for the dormant time God allows a soul). However, when the kingdom is frozen, as in the background above, that means that, literally, the kingdom is frozen, and nothing can/has been done and it's in a state of decay. In fairy tales such as Hansel and Gretel, the symbol of winter over a castle (as in the background in the poster above) substantiates corrupt power. Looking at the credits list, we know there is a corrupt sheriff; the question is, is he corrupt because he's a socialist, or corrupt because he's a capitalist?

There is at least one more political element to this trailer: the war on women. As a female myself, and a ultra-conservative (just so you know my biases), I deeply resent Democrats using a "war on women" against Romney because of birth control and abortion. In Hansel and Gretel, all the witches are female, which might be a reference to the role women play in shaping political platforms between the two parties and the vehemence with which Democrat/liberal feminists protect their "right" to abortion and birth control because, literally, the children are being killed in the trailer (and children always symbolize the future). Hansel, being very masculine and aggressive, obviously doesn't like the witches and wants to put them in "their place" with cutting off their head (the head symbolizes the governing function, so not letting women rule anymore the way they do in the Democratic party).

There are lots of forests in the film, and forests suggest the dark struggles of the soul, not only of culture and whatever it is the witches will come to represent, but also the personal spiritual struggles of Hansel and Gretel so they can be strengthened to fight the witches.

This leads us to the last point I will make about the film at this time, but it's such an important point, I will be bringing it up time and again. Gretel is Hansel's sister. Brilliant point, eh? What I mean to say is, more films create this sibling relationship between leading man and lady, rather than a romantic lead. Consider, for example, Shame, with Michael Fassbender, and the physical attack he makes upon his sister; that upset a lot of people. In The Cold Light Of Day (which, like, no one saw but me,...) the lead male and female are half-brother and sister (not even knowing it until later in the plot); there is no romantic relationship whatsoever between the rookie and Judge in Dredd, no romance in Resident Evil and in Expendables 2 there is no acting upon a possible relationship; Taken 2 is about father and daughter just like The Possession. 
What's my point?

A growing number of films seem to be exploring a greater role for women in cinema outside of the sexual, i.e., as a relationship for the leading man. Why is this important? I'm not a feminist, never have been and never will be, I promise, and that's why I like this direction: every man should treat every woman as his sister or his daughter; what he does to one woman, he might as well do to his sister, his daughter, his mother, his grandmother. To me, as a Catholic, this elevates women beyond any political arena or civil rights issues and I love it. Hansel is responsible for protecting his sister, but the witches get his sister, so he has failed to protect her,... why? That's easy.

It's rather odd that HGWH has witches flying on brooms,... or is it? The broom might be symbolic of a false phallus, a false political presence and power. What will be interesting is to discover who is the head or leader of the witches; is it a female or a male, and are they ever called the "brides of Satan" or something similar? Also interesting will be the explanation for why children are to be sacrificed.

At 1:40 in the trailer above, it appears that Hansel is in a "sexual situation" with the blonde, and that (whether they have sex or not, and they probably do) is what allows Gretel to be taken, her brother has weakened his moral strength by treating a woman as a sex object and that fuels the evil strength of the witches so that they become strong enough to take Gretel, whereas they were not previously. Women know their self-worth and value because of the protection their fathers and brothers provide for them (consider in Shame how Brandon lacks the "moral authority" to protect Sissy from having sex with his boss, then she slits her wrists towards the end). When a woman lacks a sense of self-worth, she Of course, I haven't seen Hansel and Gretel, but these elements appear in the trailer; that doesn't mean that's how they will appear in the film.
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Mother Russia: A Good Day To Die Hard Trailer 2

This is the trailer from the latest Bruce Willis Die Hard that I have been waiting for; yea, Brucie goes to Moscow, (so he does the opposite of what they did in The Chernobyl Diaries) and guess what he finds there?

John McClane (Willis) goes to Moscow to aid his wayward son Jack, only to discover that Jack is a CIA operative trying to prevent a robbery of nuclear weapons, so the father and son team up (it's rumored that Patrick Stewart plays a Russian general in the film). This is where I must confess that I have done nothing but dis-service to you, dear reader, because I totally dropped the ball on Mission Impossible Ghost Protocol and I still haven't gotten up the reviews for Expendables 2 and Arbitrage (but we might also reference The Chernobyl Diaries in February when this comes out, so one more reason for you to see that one); yet God brings good from all things, so knowing A Good Day to Die Hard 5 is also about Soviet era nukes, will make it easier for all of us to see the "communist radiation" coming our way as a result of current economic policies under the Obama administration.

"Mother Russia" begs the question, to what has Russia given birth? The demons of communism still lurking throughout the world, or a new dawn of capitalism and freedom? If you stop the trailer above at 0:35, you will see, on the taxi driver's rear view mirror, an image of Jesus Christ and at 0:41 a man in gas suit blessing himself by making the sign of the Cross; why is this important? The Communist government of the USSR expressly forbade any religious worship because teachings of the church (regardless of creed or denomination) might interfere with the teachings and practices of the state, for example, birth control and abortions. That two such obviously religious signs are employed in the trailer is meant to communicate that (regardless of your own beliefs or lack of beliefs involving God) those who wish to worship have the right to worship freely and openly now whereas in the past they did not (which is why, at 0:35 we see the driver looking in the rear view mirror, symbolic of "reflecting on the past" and his invitation for us to do the same). As with the tiger Vitaly in Madagascar 3, this insight into the advances of Russian society into personal freedom and liberty, means that they are our allies now who once (during the Cold War) were our enemies.

What is different about A Good Day To Die Hard's plot is Jack (Jai Courtney, John McClaine Jr., technically speaking). We all know younger generations tend to be rebellious and go for liberal policies and ideas (this was the bedrock of Disney's Brave), so--like his father--audiences will probably be shocked to discover that Junior is fighting on the same side as his dad, against the destructive post-Soviet-era influences working to take over America,... once again. Why are these films (Expendables 2, Mission Impossible Ghost Protocol, The Chernobyl Diaries, A Good Day To Die Hard) important? They draw our attention to the the enemy that, like a possum, is only "playing dead," but quite alive and fatal. Now that we have all this information, let's consider the first trailer that was released (I don't think I posted it because there wasn't any information in it) because now, a minor joke becomes an important thesis on the history of the cinema:

At 1:00, McClane jokes, "The 007 of Plainville, New Jersey," and that is the critical statement for, not only AGDTDH, but the entire James Bond franchise: one of the greatest action heroes of all time's identity was the fighting of the Cold War and the stopping of Communism's spread; McClane of Small Town, USA, is taking up that fight and calling upon each of us to do the same, just as his son is, symbolic of the future generations of America (more specifically, of the economic future of America). Linking James Bond to the Cold War, especially days before the international opening of Skyfall, puts Bond (possibly) in a difficult position: does Skyfall go socialist or capitalist? If Skyfall breaks with the Bond tradition of being anti-socialist, such a dramatic twist in history would completely undermine every previous James Bond film, even Casino Royale and Quantum Of Solace.

Jack driving the car re-enforces his role as a symbol of the future of the American economy because young men (the "active nature") symbolize the active force of the future, the economy (whereas young women, by virtue of the "passive nature" symbolize the future of the land of America in general). Driving the car substantiates this idea linked to Jack because of the current debates of whether socialism or capitalism will be the "vehicle" of the economy; as an older male (57 years old) McClane symbolizes the "founding father" who sits comfortably in the passenger's seat, not driving, but still a part of what is taking place. At 1:28 in the trailer at the top (technically trailer #2) McClane asks his son, "Need a hug?" and Jack responds, "We're not a hugging family," and McClane responds, "Damn straight." Why? This could be called the "tough love" of capitalism, that (unlike the kind of baby-sitting government figure for which the socialists advocate) in America, you have to grow up and accept responsibility and learn, in the words of England's Queen Elizabeth the II that the world isn't a nice place and you're going to get hurt but you'll be okay. This brief exchange between father-son is a direct refutation of the "big government" of a socialist society. AGDTDH, like another Bruce Willis film, In the Cold Light Of Day, argues that the younger generation (Generation X, my generation) is "good to go" and is going on the straight path whereas Expendables 2 (also with Brucie) argues that Generation X is "in love with the French" (with the character played by Liam Hemsworth) and bound to become socialist. So that's the question, not only for Baby Boomers, but Gen-Xers as well: which are we, American capitalists or French socialists?

At 0:32-34, when McClane is in the elevator and hears the ding signaling he has arrived at his "intended destination," that has to be taken symbolically, because--with his gun loaded--he fights a war on a "higher level" (an abstract war, or a war of intellects) and McClane is being raised up to fight the battle above the mere daily drudgery of reality. "Ascending" (in whatever manner) in a film always means that a character enters a higher form of reality/a higher level of consciousness and ideals, whereas descent means a digression into the primal unconscious and the realm of the unrestricted animal appetites. There are more films I am looking forward to now in 2013 than the rest of this year (Skyfall and Red Dawn being the only two I anticipate). 

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ICE AGE: CONTINENTAL DRIFT

Dated Released : 27 June 2012
Quality : BRRip 720p V2
Info : imdb.com/title/tt1667889
IMDB Rating : 7.0 (4,103 users)
Star : Ray Romano, Denis Leary, John Leguizamo
Genre : Animation | Adventure | Comedy
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By: icinema3satu.com


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Manny, Diego, and Sid embark upon another adventure after their continent is set adrift. Using an iceberg as a ship, they encounter sea creatures and battle pirates as they explore a new world.

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Cloud Atlas

Hugh Grant in Cloud Atlas. Each actor portrays several different roles at different points in history; each of Hugh Grant's characters are capitalists; why would Grant be cast as a capitalist? It's hard not to see Hugh Grant and think of what he did to long-time girlfriend Elizabeth Hurley in 1995 with his prostitution scandal, and linking Grant with the sex industry would definitely be to the advantage of socialists wanting to cast as black of a shadow on every facet of capitalist society possible. In this particular clip, Grant plays a cannibal, literally, a human flesh eating cannibal.

Permit me to put it this way: if someone wanted to make Karl Marx's Communist Manifesto into a film, they would make Cloud Atlas. I have heard the mutterings of, "Why do you think everything is about communism or capitalism?" and trust me, I am totally sick of this, I want something new, but films are generally 1 1/2 to 2 years behind cultural events (it takes that long to make a film, and sometimes longer, with delays like G.I. Joe Retaliation and Hansel and Gretl Witch Hunters) so the film industry is really just now dealing with the communist in the White House. Cloud Atlas is a total, full-scale assault against capitalists--like myself--and on every level it wages war against the virtues of the economic system to which people like myself cling to; what Cloud Atlas fails to achieve, like every other pro-socialist film, is a positive, convincing view of a socialist society,...why?
Because it can't.

Hugo Weaving as several characters, all bad, and all the "long arm" of capitalists, in this scene, an assassin who works for Grant's character that wants to prove nuclear energy is unstable so Americans will stay addicted to oil and continue making the oil industry filthy rich. Why would Weaving be cast in this role? As we have discussed in Captain America, we can't help but recall him saying, "Mr. Anderson," from The Matrix, his break-out film. Reader response theory is drastically under-rated by the critical establishment, primarily because it focuses on the masses instead of academia; even though Alfred Hitchcock wouldn't have recognized the name, he whole-heartedly agreed with the principles, because who and why his audience recognized an actor is how he made his decisions to cast who in which roles. Knowing what we have seen, that we the audience do not exist in a cultural vacuum, but we see other films, we listen to music, we watch television and the news, we hear gossip about the private lives of stars, etc., is employed to increase our interaction with the film and its characters, our knowledge database activated when we identify an actor or a situation reflecting those in the news, gives the film makers an enormous amount of "extra data" with which to work with at very little expenditure on its part; casting certain actors with whom the audience has a strong database of knowledge with, enhances what we all ready know or expect from a character without the film having to spend time developing that aspect. For example, Ben Whishaw, who plays a bi-sexual male prostitute in Cloud Atlas, may have that recent image haunting audience members while watching him play "Q" in Skyfall.

I am getting that review up asap, and responding to emails that have so kindly been sent and reader comments (including a very interesting one left regarding Snow White and the Huntsman and paganism which I am determined to discuss this weekend). I am wanting to see Silent Hill: Revelation, Sinister and Pitch Perfect, but before October is over and gone, I want to get The Blair Witch Project done; that film was too revolutionary not for us to discuss, as it was the "mother" of the "found footage" genre that films being released this month--Paranormal Activity 4, Sinister, V/H/S--are all dependent upon for their aesthetic and this is a marvelous chance to discuss the "philosophy" of what it means to be live on camera and what it has done to us as a culture and why films more than a decade later are still employing the techniques created by this independent, block-buster hit.

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THE AMAZING SPIDER-MAN

Date Released : 3 July 2012
Quality : BRRip 720p
Info : imdb.com/title/tt0948470/
Imdb Rating : 7.7 (47,511 users)
Starring : Emma Stone, Andrew Garfield, Rhys Ifans
Genre : Action | Adventure | Thriller
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Peter Parker yang di tinggalkan orang oleh orang tuanya sejak kecil kemudian diasuh oleh pamannya Ben dan bibinya May. Ketika dia menemukan kopor misterius milik ayahnya, dia mulai menyelidiki mengapa orang tuanya menghilang. Penyelidikannya mengarahkannya ke Oscorp dan Laboratorium Dr. Curt yang adalah eks teman kerja ayahnya.

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IRON MAN 3

Dated Released : 3 May 2013
Status : COMING SOON
Info : imdb.com/title/tt1300854
IMDB Rating : N/A
Star : Robert Downey Jr., Guy Pearce, Gwyneth Paltrow
Genre : Action | Adventure | Sci-Fi
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The plot is unknown at this time. Rumor has it Tony Stark/Iron Man will head to China to face his toughest opponent, Mandarin.

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Iron Man 3 Official Trailer Released Today!

Who is that, dressed in the red, white and blue of the American flag (and, if we miss it, the flag happens to be flying behind him to make sure we don't miss it)? Is that the "teacher" who some people call a terrorist and has been "bringing down" the "house of American lords," the upper 1% of billionaires? Has a Chinese enemy disguised himself as the all-American Iron Man and is he pretending to be the "new Iron Man," while demonizing the original? I had high hopes for this one, but it easily exceeded my expectations!
In other words, and these are only hints and suggestions at this point, does Tony Stark--like Aaron Cross from The Bourne Legacy and James Bond in Skyfall--symbolize the American economy that has been "replaced" by an enemy dressed to look "American" but is, in fact, communism? Stark's "fall from grace" is more than the typical spiritual fall and conversion we are used to in all artistic mediums, but Stark's fall (like the many falls it looks Bond will take in Skyfall) is an economic collapse. Because a man's body usually symbolizes the economy (because of his active nature) Tony Stark pulling a dog sled at the end of the trailer reveals how slowed-down "economic growth" has become in America while Pepper, obviously being taken as a hostage, symbolizes the future of America "trapped" and being held against her will,... now, where on earth did they come up with this storyline? It can't be an accident that, of all the days and times this trailer was released (I thoroughly expected it to not be released until Skyfall, as one of those opening trailers, another reason to drive people to go see it), why was it released just hours after the final presidential campaign debates?

An important aspect of this trailer lies in the final seconds, when the "heart" generator (another good sign of the "engines" of the economy) have gone dark, then it comes back on again after we see Stark and the "dog sled" of his worldly possessions. Why? This might be a "resurrection" of Stark (a word seductively thrown around by Bond in Skyfall teasers) and which we have seen with Bruce Wayne after his time in The Pit in The Dark Knight Rises and Aaron Cross' illness and massive recovery in The Bourne Legacy. In other words, I fully expect Iron Man 3 to be a "teacher" and "lesson number 1" on how the economy should really be run, and what it means to be an American, not just dressing the role.

Ben Kingsley as the Mandarin in Iron Man 3.

This appears strange in the trailer: at 0:22 seconds, Stark stands in his "lab," and a piece of the Iron Man armor flies through the air and fits itself onto his arm; why? Technically speaking, it's part of the plot that Stark has been able to modify his suit to remotely assemble and fit itself to him from anywhere; symbolically, it is rather like that old saying (Warren Buffet, perhaps?) that even if one did take all the wealth in America, divide it equally, it would still pretty much end up in the same place as from where it was taken because of those who have the knack for making money and investing it, and those who don't. In other words, the armor being in a sense magnetically attracted to Stark demonstrates that Stark isn't just a playboy billionaire philanthropist, but someone who actually has a head on his shoulders in being able to make money because he has "capitalized" on his skills and talents (his making the Iron Man suit) and is, in his very essence, a hero, maybe a flawed hero, but that's the whole point of a story--any story--so we, too, can overcome our own falls and become heroes in our lives and protect those without whom we can't live.

This is a memorial wall from the trailer, suggesting New York City, and those who perished in the battle depicted in The Avengers (probably American civilians). The shadows act like ghosts "haunting" the current story, or, the battle for New York--the financial "capital" of the world (as in "capitalism")--is still the driving force of today's battles. What was The Avengers about? The 2008 economic collapse and whether that was going to be the "death blow" to American identity as a capitalist country, or the beginning of America--or whatever it might come to be called---as a socialist country.

At 0:53, we see Stark in a hospital setting; this might be a reference that he, like Aaron Cross and Steve Rogers in Captain America, is going to receive a serum, an injection to enhance his body's performance,... there have been rumors and this part of the teaser might have been put in to substantiate or just further tease those rumors, but it is certainly a possibility that this will figure into the plot. So what is the difference in the government injecting a "stimulus" into the economy, which we saw being symbolically done in The Bourne Legacy, and a billionaire injecting his capital into the economy? Socialists argue that government does it better because no one loses anything; capitalists argue that capitalists do it better because capitalists have everything to lose: only the ambiguous "taxpayer" dollar is lost when the American government invests in Solyndra, Solar Trust Of America and Solar Power (among a long list of other billion dollar failures), but private enterprise is better at taking risks because it's better at judging the market and knowing what people want, instead of forcing people to start buying what it has invested in; whereas capitalists usually enter on joint ventures to minimize investment risks, the government just throws money at something. These are embedded economic issues we will see being played out for us in Iron Man 3 and I can't wait! (Please recall in The Avengers that Stark had invested in green energy to run Stark Industries and that was turned against America and used by Loki, likewise, in The Dark Knight Rises, Wayne's fusion energy was turned against all Gotham).
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The accomplishments and contributions of America's upper class being destroyed, blown apart and used against them; what had been an advantage is now a liability.

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