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Why not share! Embed Size px. First Love climaxes in a department store with two men, one Japanese, one Chinese, beating and cutting each other senseless, which Miike allows to unfold at brutal length, effectively suggesting that all these genre mechanics, all the romantic window dressing, come down to this: the bloodlust shared by characters and audience alike. W hen we last saw battle-scarred Vietnam veteran John Rambo Sylvester Stallone , he was walking toward the dusty homestead of the father, and the metaphorical American fatherland, that he left behind several decades prior.

It was completely offensive and totally awesome—as long as you could key in to the undercurrent of virile camp. Give credit to Rambo: Last Blood , capably helmed by Adrian Grunberg, for tapping that gleefully repellent vein one apparently final time.

Time, then, for John Rambo to go all Taken on these mofos. That he does, though you may be surprised to learn that the kidnapping plot is resolved by the halfway point, after which Last Blood becomes a hilariously gore-splattered variant on Home Alone , with Rambo using all of his survivalist skills to exact revenge on the brothers and their innumerable disposable henchmen.

The Looney Tunes nature of the murder spree tempers much of the ideological offense of the screenplay, though the Rambo films have always been incoherent texts—propagandistically gung-ho in some moments, peculiarly upstart and rebellious in others.

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Boundaries mean nothing to Rambo; after this scene, he shuttles between the U. The latter seems more likely, in no small part because of how often Rambo has been co-opted by hawkish powers-that-be.


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This is followed by a scene set on a sun-dappled country porch that draws equally on the multifaceted mytho-poeticism of John Ford and the jingoistic stupidity of John Wayne circa The Green Berets. In each case, the supposed science of the issue at hand is often short-circuited by impatience.

Amazing Grace: the story behind the electrifying Aretha Franklin movie

This is one of them. Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment. Identified as one of the few astronauts physically fit and emotionally stable enough to execute such a tremendous undertaking, Roy—fixed in his belief that his father is long gone and uninterested in dredging up painful old memories without good reason—accepts his duty ambivalently.

Balancing this humanist optimism with a profoundly downcast view of our collective destiny, Ad Astra is a film inextricably of its moment. Difficult, indeed. The woman born Frances Ethel Gumm in is damn near inimitable. Of course, it takes some time for the single point of admittedly meta interest to emerge: A prologue and several subsequent flashbacks set during her prolific MGM years situate the young Garland Darci Shaw as both a wide-eyed innocent in Edenic Tinseltown and, via several sinister interactions with imposing studio head Louis B. Mayer Richard Cordery , a sacrificial forbear of the MeToo era.

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Yet none of these scenes jibe with the mawkish main narrative in which Zellweger, leaning hard into tic-laden mimicry, plays the broke and barbiturate-addicted year-old Garland. This is acting that seems contrived to impress and to garner cheap sympathy even when the character is at her most difficult. In the early going, Garland has a belligerent blow-up with her ex-husband and manager, Sid Luft Rufus Sewell , over the well-being of their two children, as well as a swooning first meeting with eventual fifth husband, Mickey Deans Finn Wittrock , a musician and entrepreneur whose big-picture promises are mostly hollow.

Money, however, proves the biggest issue. So, with financial security nonexistent, and the custody of her kids at stake, Garland accepts an offer to do a headlining season at the Talk of Town nightclub in London. Then, when Garland finally takes the stage, a film going through all the expected motions suddenly becomes a shade more intriguing. And certainly not in the extended scene in which Garland goes home with a fannish gay couple Andy Nyman and Daniel Cerqueira for some teary talk, amid copious Judy memorabilia, about homosexual persecution.

The latter sequence is particularly egregious, a feint toward pop-cultural-cum-sociopolitical significance that plays like the ultimate in blinkered wish fulfillment. Our preview section is your best, most complete guide for all the films, big and small, coming your way soon.

3. Marks of God’s Abounding Grace (1 Timothy ) | ovexapines.gq

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