HOLLYWOOD’S REPUBLICAN-BASHING COST THEM SOPA SUPPORT

EXCELLENT op-ed courtesy of THR, one of the few entertainment outlets that doesn’t carry Hollywood’s water:

The two parties reacted very differently. Despite widespread opposition to SOPA from bloggers on the left, Democrats in Congress (and the administration) were reluctant to oppose the bill outright. The MPAA was not shy about reminding them that Hollywood has been a reliable source of funding for Democratic candidates, and that it would not tolerate defections.

But that very public message also reached another audience: Tea Party conservatives. Most of them had never given a second thought to intellectual property enforcement, but many had drawn support from conservative bloggers. They began to ask why they should risk the ire of their Internet supporters to rescue an industry that was happily advertising how much it hated them. Pretty soon, far more Republicans than Democrats had bailed on SOPA, and the Republican presidential candidates had all come out for what they called “Internet freedom.”

We’re just hating you back, Hollywood. And never forget that you assholes started it.

On principle, most of us opposed SOPA, but sticking it to Hollywood sure was a bonus.

This industry has blown all of its goodwill with 65% of the American people. Why in the word would we lift a finger to help them reap more of the profits they use to insult, ridicule, marginalize, and campaign against us? That would be no different than running to the side of the ACLU, DNC, Politico, Media Matters, or MSNBC.

They sided with the terrorists during the darkest days of the War on Terror, and now they can rot in hell.

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“When morals decline, and good men do nothing, evil flourishes.”

The trailer and therefore the movie hits on all the high and low points of the long-serving F.B.I. Director’s life and it certainly looks great period-wise, but you have to wonder what the actual story is going to be about. Thematically it’s all there, however, and that’s important. The opening piece of narration (quoted above) gives you an idea of what will drive the character and the closing piece of narration – “even great men can be corrupted”  – is likely the theme Eastwood’s driving throughout.   

Hate to say it, but it’s still difficult to accept DiCaprio in these adult roles.

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Although it’s ambiguous about much, Martin Scorsese’s Shutter Island makes two things extremely clear: Leonardo DiCaprio is a seriously big movie star, and delivering on genre expectations excuses a multitude of sins as far as audiences are concerned.

The Scorsese-directed suspense-horror film has been number one at the U.S box office for two consecutive weekends, despite its stunning  collection of genre cliches, long-out-of-fashion narrative ambiguity, agonizingly slow pace, and few real surprises, along with the director’s usual arresting visual style. Thus a good deal of the credit must go to DiCaprio’s star power.

Telling the tale of a U.S. Marshall, played by DiCaprio, who with his new partner investigates the escape of a violent prisoner/patient at a federal detention and treatment facility on an island several miles off the coast of Massachusetts, Shutter Island employs enough horror and suspense cliches to scare off any discerning moviegoer. 

There are, for example, the isolated island itself (so reminiscent of Agatha Christie’s And Then There Were None and many other suspense stories), a stormy scene in a graveyard, wanderings through a confusing maze of corridors in an insane asylum, the hardnosed detective investigating a case that becomes much more complex than he thought it would, a sinister ex-Nazi, a character’s disturbing memories of wartime, classical music backing a scene revealing atrocities, weird people making perplexing claims, a character taking a hypodermic away from a doctor and injecting the latter, an automobile explosion, and many, many more.  (more…)

The Hollywood Reporter:

Leonardo Di Caprio is still to set to play Frank Sinatra for Martin Scorsese. But he’s probably not going to sing.

“With those records?” Scorsese asked me, his voice rising, at the premiere last night for his new DiCaprio collaboration, “Shutter Island.” “Frank will do the singing. But we’re waiting for a finished script.”

So while he’s waiting, Scorsese’s next film will likely take a break from DiCaprio. “The Invention of Huge Cabret” is lighter fare for Scorsese, about a 12-year-old boy who lives in Paris and meets famous French silent film director and magician George Méliès.

“Hugo Cabret” is a family movie, unlike “Shutter Island,” which opens Friday and is a complex, disturbing thriller. Based on a novel by Dennis Lehane (”Mystic River”), “Shutter Island” was set for release last fall but pulled back at the last minute. That turns out to be a good thing, because although DiCaprio could have earned an Oscar nomination “Shutter Island” is a perfect winter film. “Silence of the Lambs” and “Fargo” were each winter movies that went on to big things at the end of the year. (more…)

On March 26, I was watching the Kids’ Choice Awards with my 8-year-old twins on Viacom’s Nickelodeon, which for 30 years has been the No. 1 entertainment brand for kids. It was dedicated to the Big Green Help environmental campaign and “going green” for Earth Day awareness. Leonardo DiCaprio was honored for his green work. Dwayne “the Rock” Johnson was the host, and my fellow Hollywood stars and musicians came out in full force.

An impressive commitment was shown to keeping the message of Al Gore’s “An Inconvenient Truth” as a battle cry for our youths’ participation in protecting Mother Earth from global warming and pollution. My children were enthusiastic. I was confused. Something bothered me, and I could not put my finger on why – until Memorial Day weekend.

It started on Saturday morning, when I took my 8-year-old son, Nicholas, who is a Cub Scout, to the Los Angeles National Cemetery. About 2,700 Boy Scouts and Girl Scouts, from Cub to Eagle, convened to place flags on more than 84,000 gravesites of America’s finest. It was a moving, profound experience.

One would expect a lot of running and playing among these youngsters as they performed their task. But, no. At each site, they stood at attention, recited the name of the service member and then saluted. Within two hours, 84,000 flags proudly waved in the gentle breeze. (more…)

When I was 31, I realized that I shouldn’t be a systems analyst. I hadn’t set out to be that and it had become (quite literally) painfully clear that I could not be happy in that life. I had a middle-class income, interesting and often brilliant colleagues, and a path to more money and more responsibility. But none of that could outweigh the crushing sense that I was not doing what I ought to be doing.

With my wife and little son, I moved from Nashville to Washington, DC to become a writer and speechwriter. It seemed a foolish gamble to everyone but me. I was happy from then on–happy down to the bones. That probably would have been enough, but eventually my success (as I count success) brought some of the more traditional benefits. They’re nice, but they weren’t necessary. What mattered was finding the backbone to live the life I chose. (more…)

This is a tale of two cultures.  Both cultures are faced with the threat of Islamic terrorism.  Both have watched their soldiers fight and die.  Both have watched their citizens burn alive. 

But one culture has rejected a far-left film establishment that seeks to undermine its war on terror – the other has embraced it.    

The first culture – the culture that rejects its morally relativistic artists – is America.  The second culture – the culture that accepts and encourages its morally relativistic artists – is Israel. 

Hollywood may make tons of movies like In the Valley of Elah, Rendition, and Stop-Loss, but those movies tank.  Tel Aviv makes similar movies, and those movies are considered the greatest film achievements of the Jewish State. 

There’s a reason for that: while Hollywood believes American exceptionalism is passé, most Americans disagree.  By contrast, Tel Aviv believes that Zionism is passé – and that post-Zionist attitude has infected much of the Israeli populace. 

It’s no wonder that America is winning its war on terror, while Israel is losing hers. 

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