Let’s be honest. Movies, today, aren’t just one step away from being left wing propaganda, they just plain suck.

We’ve gone from Dirty Harry to Jason Bourne (or whatever his name ended up being; the camera was too shaky for me to ever tell what was going on). We’ve gone from Humphrey Bogart to George Clooney.  We’ve gone from John Wayne fighting Indians to Na’vi fighting Americans.

But, don’t fret. For there is an answer to our problems, fellow film buffs. I know you’re six feet from that ledge, but let me give you hope…they are called books. They are these contraptions with bindings and pages with words on the inside. Together this all creates a story one hundred times more fulfilling than today’s dim-witted liberal flavor-of-the-month films.

Hollywood has always been a liberal town. They give us anti-Iraq war movie after anti-Iraq war movie despite the fact that they all flop at the box office. But what of the literary world?  They must surely share Hollywood’s contempt for conservatives and enriching stories, right? Wrong. The publishing world seems to get it, for the most part. They like to publish what sells and what seems to sell today are right-leaning stories.

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Ed. Note: Please make Deanna feel welcome here at Big Hollywood . Hopefully, this is just the beginning of a beautiful relationship. –JN

When you discover you just spent more than $10 to see pretty much the worst movie EVER made, can anything give you comfort?
I didn’t think so … especially when my mind started wandering about 15 minutes into ‘Cowboys and Aliens’ and the thrill of seeing Daniel Craig in chaps had worn off …

Then, I had one of those moments. It was the moment I realized that greatness could arise from the ashes of a ridiculously dumb movie plot … the hope came in the person of Harrison Ford.

Because seriously, no matter how old he gets, Harrison Ford can still work it …(kinda like Sean Connery … always sexy) … But a bad movie is still a bad movie … so, I slipped into stupid-movie, nap mode … then … it happened AGAIN. …

This ridiculously asinine excuse for a movie (thank you, Stephan Spielberg) about aliens stealing town folk from an old west mining town to ‘see how they tick’ so they could annihilate the human race, started to become a perfectly normal paradigm of how the left is infiltrating every aspect of our lives. And in case you hadn’t figured it out yet … the left are the aliens and us red-blooded conservatives are the cowboys.

Basically, in the sandstone hills and mountains of what looks like Texas or New Mexico, the aliens have imbedded this colossally large space ship underground and it sticks up out of the ground like a tower (and totally doesn’t blend in, btw).

The aliens, on occasion, swoop into town in their metal spaceships and throw out these rope lassos from the sky and round up people, pulling them bungee cord style behind their spaceships.

Once aboard the mothership, the townspeople are forced to stare into the light for some sort of brainwashing before being dissected by the brutally disgusting aliens whose hands come out of their chests in this terriblby grotesque manner.

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You’ve certainly heard of the new film Super 8.  Not the self-serving Anthony Weiner autobiography– the new summer flick about a small town in 1979 invaded by a strange alien creature that was written and directed by J.J. Abrams and produced by Steven Spielberg.  With that pedigree in mind, I took off work early to take the little monsters to see it in the hopes that it would do what the trailers seemed to promise – capture the feeling of those uniquely American summer movies of the 70’s and 80’s like Close Encounters of the Third Kind, E.T. and The Goonies that mixed action, laughs, and special effects together in a way we see all too rarely in the Michael Bay world of today.

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Yeah, it kind of did that, I suppose.  Except I was too busy wondering why the central premise somehow had to be that American military personnel are sadistic, bloodthirsty, cold-blooded murderers.  Then I remembered that this is Hollywood.

Now, to talk about Super 8, I will have to reveal what some might call “spoilers.”  Except, they aren’t really “spoilers” because to be that the plot points I reveal would have to be unexpected and surprising.  Sadly, Super 8 adopts the same tiresome clichés that have been wrecking Hollywood films for the last 40 years.  The only surprise was the total lack of any surprise.

What do we have? Crazy, evil military officer as the baddie?  Check!  Kid with daddy issues?  Check!  Climax where the hero rescues the girl from monster’s lair?  Check!  Monster that is the real victim even though he’s freaking killing US military people and eating civilians left and right?  Check?

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Blue Valentine is one of those movies that chronicles the kindling and death knell of a relationship.  Think Annie Hall, but minus the wit and the New Yorker neuroticism.  It instead opts for a mumblecore feel, except with dialogue that doesn’t feel completely pointless and impenetrable.  Michelle Williams and Ryan Gosling co-star as a failing couple struggling to keep it together, despite the numerous problems facing them.  The film juxtaposes the complex beginnings of their romance with its subsequent floundering years later, the piece at the center being their awkward trip to a cheesy sci-fi themed sex motel in a limp effort to spice things up before the inevitable break-up.

The best thing I can say about Blue Valentine is that its tone does a good job of capturing that horrible feeling you get when you realize that you’ve fallen out of love with your significant other.  While critics have been using the dreaded word “brave” when describing her performance, Michelle Williams brings an intense emotional weight to it that makes the story more engaging than it otherwise would be.  While she shares some great moments with Gosling, such a lovely scene where she tap dances whilst he charmingly sings and strums a ukulele, her co-star doesn’t really come through at all times.  Gosling’s performance stinks of blue-collar working-class posing, like when a New Yorker thinks they can pass off a southern accent in a movie.  He can do the stubborn, occasionally drunken male well, but the other elements come off as forced.  Williams is the only thing preventing the lead performances from being anything other than self-congratulatory, though the film’s sexual content brings it damn close.

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Liberal film critic, Roger Ebert, called Battle: Los Angeles “noisy, violent, ugly and stupid”.  BigHollywood.com Editor-In-Chief, John Nolte, called it “wildly entertaining and subversive”.  That was all I needed to read to know this was a “must see” movie.  And it most definitely is…in fact, movie goers overseas agree as this epic sci-fi film garnered a first place finish in its second weekend overseas bringing in $27.1 million…with Rango, the animated film about the chameloen sheriff (Johhny Depp) earning $17.5 million in its third weekend.  Now that’s American exceptionalism…on the big screen!

As a retired Air Force veteran, I viewed this movie from a slightly different vantage point than one who has never served in our armed forces. And I loved every minute of this fast-paced, heart-stopping, riveting movie…silently cheering on the small platoon of courageous Marines, led by 2nd Lieutenant William Martinez (Ramon Rodriguez), sent out on what seemed like a suicide mission to rescue a few stranded civilians in Santa Monica before the Air Force was to completely level the entire city that had fallen to a devastating alien invasion.

What was originally reported to be meteors falling into the ocean along the Los Angeles coastline (as well as the coastlines of 20 other major cities around the world) was quickly determined to be a well-orchestrated invasion of a massive force of seemingly impossible-to-kill aliens… and they were everywhere… annhilating everything and everyone in their path.  As I watched the fast-paced, chaotic, and gripping action unfold, I often found myself holding my breath and sitting on the edge of my seat — myheart racing wildly, pulling for our heroes.  It has been a long time since I’ve been to a movie that left me exhausted like that, in a good way.

I appreciated how they introduced each member of the platoon and gave us a little insight into their frame of mind just prior to their embarking on this terrifying mission, setting the stage for some of the heart-wrenching actions and decisions that occurred throughout the movie.  It made them more real to me, as real as the stories and situations faced every day by our men and women deploying overseas into hostile combat zones.

The main hero of the movie, Staff Sergeant Nantz (Aaron Eckhart), was very convincing as a tough, no-nonsense, war-weary Marine.  In spite of having just gotten his retirement papers signed — a man who was struggling with some demons from his past (something not uncommon to our brothers and sisters who have served in a war zone) — SSgt Nantz displayed the kind of leadership, ingenuity, courage, selflessness, and compassion commonly found in the members of our military, most especially in our Marines, who are always on the front lines … and go where few dare to go.

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The entire leftist, elitist entertainment media agrees: “Battle: Los Angeles,” the new alien invasion flick from director Jonathan Liebesman, is not worth your time.

So clearly, you have got to go see this movie!

On the most recent addition of Take A Movie to Work over at Declaration Entertainment, Bill Whittle discusses the importance of this terrific action movie, which – MOST SHOCKING, EXHILARATING SPOILER ALERT OF ALL TIME – makes American soldiers, the best people our society has to offer, look like THE BEST PEOPLE OUR SOCIETY HAS TO OFFER!

Missing are all of the clichés we have come to expect from movies that depict our fighting men and women. There are no brooding loaners bemoaning the futility of war, no racist loud-mouth adrenaline junkies itching to kill anything they don’t understand, the troops aren’t victims of nefarious political posturing or trying to steal from the third-world…

Even the relationship between Aaron Eckhart’s battle-hardened Staff Sergeant Nash and the fresh-faced, just-out-of-school, naive Lieutenant is respectful and authentic. When the Lieutenant breaks down from his first exposure to the chaos of battle, there is no condescending moment of the wise-old enlisted man rising up to take command. Instead, Eckhart reminds the younger man of his responsibility, pulls him out of his own head, prompts him to make a decision, and then says “Yes sir.”

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A fight to the death in an urban hell between US Marines and an implacable, evil foe who murders civilians without a second thought – if only Hollywood had the moral courage to tell that story straight, the story of America’s finest who battled to victory over jihadi degenerates in Fallujah and throughout Iraq and Afghanistan.  But Hollywood can’t tell that story, not without exchanging the real menace our men and women are fighting everyday for a horde of CGI space aliens.  Sadly, the industry lacks the moral courage of the men and women it portrays.

Let’s be clear – Battle: Los Angeles is a terrific action film that makes no bones about its pro-American, pro-military agenda.  And that fact has invited carping from the usual suspects, lefty movie critics who work themselves up into a lather over the portrayal of better men than they will ever be.   

And note that when I use the term “men” here, I include the fighting women of the US armed forces – don’t worry, critics:  Heroines like Sergeant Leigh Ann Hester will protect you . . . just move to the rear with the children and try not to get in the way. 

The fact is that science fiction has long been a tool to comment on the present, including the relationship between our warriors and our society.  Robert Heinlein’s Starship Troopers was a fascinating depiction of military life as well as what the author saw as a degrading, decaying culture.  The Paul Verhoeven film of the same name, though different in tone, had its own insights into military vulture, including coed showers and a machine gun-packing Doogie Howser.

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So, I’m relieved to say the Dream Act – the bill that would provide citizenship for illegal immigrant offspring if they go to college or join the military – failed.

My growing dislike for the act came from one place: I don’t trust anything with a fluffy, positive acronym. The Dream Act? It sounds like something I saw in Tijuana involving Louie Anderson and a tub of pudding. So, of course, the actual bill would be a let down.

Anyway, the name stands for “The Development, Relief and Education for Alien Minors Act,” and that was the problem. It was a lousy bill based on a bunch of unfortunate words, that together, don’t mean squat.

They were picked to spell “dream.” That’s it.

Now, I was for the Act, until I read up on it. Here’s what I noticed:

-the idiotic qualification “if they go to college or join the military” equates sacrifice with reward. I’m all for giving citizenship for immigrants who defend our country -because that’s awesome. But getting citizenship because you go to school? Seriously. Snoring in class is easy. War is hell.

-the age range for eligibility, even after it was dialed back – is still too broad (up to age 30), with the potential for lying so wide – that the act seems as porous as our border. It’s like we’re replacing a sieve, with a sieve. (more…)

It’s hard to know what to make of a rich Hollywood mogul who announces that he “believe[s] in eco-terrorism” yet has a carbon footprint of his own that does to the environment what Godzilla did to Bambi.  As Pam Meister has pointed out here at Big Hollywood, it looks as though Cameron lives like a modern day rajah at his multi-mansion compound in Malibu and presides over an array of sprawling production facilities.  The greenest thing about this guy is the cash in his vault.

Now, it’s possible that his comment to Entertainment Weekly was just some off-the-cuff nonsense that just sort of slipped out.  That’s understandable.  Everyone says something mind-numbingly stupid once in a while.  Just ask Senator Coakley (D-MA).

You want to give the benefit of the doubt to the guy who, despite the freakin’ stupid  Avatar, made great movies like The Terminator, Aliens, True Lies, Titanic and, of course, the moving Piranha 2: The Spawning.  The guy has what the hep kids today call “mad skillz.”  We really want his unbelievably dumb statement to be just an unbelievably dumb statement. (more…)

With the success of James Cameron’s Avatar, audiences are once again being assaulted by Hollywood’s assumption of self-hate and false politically correct “truths” about who America is today and what we were in our past.  Of course we shouldn’t be surprised, a look at James Cameron’s past films with military characters like Aliens and The Abyss show a similar disdain for the military.  His scientists are always good and noble, but his military types, whether official or the contractor type as in Avatar remain uneducated, redneck killers.  After all this is a film that lying propagandist, so-called “filmmaker” Michael Moore has declared, “a brilliant film for our times.”

I much prefer the balance of say the great 1951 black and white classic The Thing, where James Arness’s murderous, but very smart alien runs amok in an isolated Arctic research station.  That is until captain Ken Toby and his wisecracking Army Air Corps crew and few common sense scientists manage to fry said killer alien’s ass with a makeshift electric chair.

The Thing’s military guys get all the really good lines, too.  In level headed response to the naive head scientist’s crazy insistence that “…our lives do not matter.  Knowledge, that’s the only reason to live, it knows far more then we do.  We can learn from it.  Just think we’ve split the atom.”  Toby’s co-pilot responds wryly, “Yeah, and that sure made the world happy didn’t it.”   But what do I know?   I love westerns and military films; only the rare common sense science fiction film like The Thing or a grand adventure like Star Wars captures my fancy. (more…)

The men and women who earn the right to wear eagle, globe and anchor of the United States Marine Corps are a special breed.   To those outside the Corps, they talk funny.  They look funny.  They are extremely impressed with themselves – and they have every right to be. 

My beloved United States Army is a blunt instrument, a magnificent club that has pummels our nation’s enemies into submission.  But the Marines are America’s rapier, a razor sharp weapon of war that has never been bested and never will be.  For over two centuries, the United States Marine Corps has been fighting our country’s battles in the air, on land and sea.  They don’t give up.  They don’t quit.  There’s no word for retreat in a Marine’s vocabulary.  And they are making history even today in the mountains of Afghanistan and elsewhere.

November 10th is the Corps’ 234th birthday.  With the indulgence of my Devil Dog brethren, here is this Army veteran’s countdown of the Top Ten Marine Corp movies: (more…)

The first episode of the new science fiction television series “V” is a wake up call to those looking for salvation in the wrong places. We cannot predict where the series will go, but the opening episode features a young pastor, who plays a lead role in opposing the rush to consider some benevolent looking aliens to be the saviors of mankind.

The aliens are called “visitors,” shortened to “Vs,” thus the title of the program. They appear over major cities in large hovering spaceships that project messages in the local language. More than just the classic we-come-in-peace message, the messages say, “We’re here to help you.”

The opening episode makes it very clear, however, that they are not here to help. It turns out the Vs have planted many of their kind, who look human, prior to their dramatic arrival in spaceships. The alien plants have done their best to foul up life on earth in order to encourage a hunger for “change” (salvation). The Chicago Tribune draws a parallel to the Obama administration but, while many believe President Obama was not born in the United States, it’s unlikely he was born on another planet. Even so, it’s interesting that the evil aliens offer “universal health care” to all people. Thus, the first episode clearly seems to be saying that President Obama’s health care proposals, now making their way through the U.S. Congress, are a false hope that will lead to tyranny and slavery. (more…)

People have it all wrong about Richard Heene.  He’s not the perpetrator of a poorly-executed hoax, but a victim, a victim of America’s callous disregard for those who suffer from the silent plague that is Media Absence Disorder (MAD).

Sadly, the dead white males who imposed the Constitution on America enumerated only negative rights that limit the power of the government over its citizens.  But if you squint your eyes and look beyond obstacles like the plain text, lurking in there somewhere behind the penumbras and emanations is the positive right of every American to be a TV star.  Those with MAD are not cretins to be shunned but civil rights visionaries at the edge of a new frontier of governmental largess and probably a lot of profitable litigation.

It’s obvious that American society has failed the Heene family.  After he and his brood’s triumphant appearances on Wife Swap, Heene was left media-deficient and was forced to feed his addiction with crude YouTube videos.  In one, he speculated that Hilary Clinton is a shape-shifting space reptile, which would be totally cool if true.  In another, he claimed that he spoke to aliens at a local fast food restaurant, which is actually pretty typical, at least at Southern California fast food joints.

This sad state of affairs was a direct result of the deep, black emptiness in Heene’s life that could never be filled by superficial things like work, religion or family.  Like all MAD-men, he craves, needs, must have the validation that only comes from having his mug flashing across America’s television screens.  He not only wants his MTV, he has to have it.  And we owe it to him. (more…)

From The Hollywood Reporter’s interview with “Avatar” Director James Cameron at San Diego Comic-Con 2009:

THR: You’ve mentioned this ["Avatar"] is a parable.

Cameron: Really what this film ultimately does is hold a mirror to our own blighted history, where we have a culturally advanced civilization supplanting more “primitive” civilizations. Some of these civilizations and cultures have a lot more wisdom than we’ve shown. We just have bigger guns. We have ships that can cross oceans, we have horses and armor. And this country we’re in now was taken from its indigenous owners. And it’s kind of owning up to our own human history.

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I just cannot get behind this Star Trek rebirth.  The whole thing is just so unrealistic.  Not the warp speed or phasers or beaming about the universe – those are at least remotely plausible.  I am talking about the fact that the starship Enterprise is composed entirely of officers and yet it still seems to function.  Where are the non-commissioned officers (NCO), the petty officers and sergeants who actually make any military organization run?  No, I can suspend disbelief over Klingons and tribbles, and I actively support the notion of green alien hotties.  But the idea of a functioning military unit without sergeants is just a wormhole too far.

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Hollywood movies often focus on the commanders, the captains and colonels, but they have also managed to highlight some great sergeants as well.  When you are picking out DVDs for next weekend, remember that May 16th is Armed Forces Day and consider a few selections that show the sergeant in all his gruff and grumbling glory. 

If you have never experienced the joy of going through basic training and do not plan to, your first stop should be Full Metal Jacket, with R. Lee Ermey’s legendary portrayal of a Marine drill instructor who must have missed out on the block of instruction on sensitivity.  I saw this in the theater about a week before I reported to Basic.  That was a poor idea. (more…)

I hated the ending of Raiders of the Lost Ark. No, not the Citizen Kane homage rosebud scene at the end – I loved that – but the ending of the movie. I didn’t want it to end. I hadn’t enjoyed a film that much since, well, Star Wars, Empire Strikes Back, or Jaws. I wanted it to continue. I wanted more. 

I got more and I didn’t want it. 

Why don’t sequels do well? Obviously, I’m not alone in feeling the way I do about Raiders or Star Wars or Jaws or any other great character-rich, dynamically set film that pulls you in and doesn’t fully let go even after the end titles trail up and we see that film certification symbol fade out. So, why is it that more of what we love, we hate? Well, maybe not hate, but not love quite so much. What’s going on here?  (more…)