Few things reveal as much about a person as their priorities. With all the tragedy in the world today, all the righteous causes that could use a little burst of stardom, what does the following reveal about these celebs?

The left-wing Politico:

Some celebrities are speaking out in support of Bradley Manning, the U.S. Army private accused of disclosing classified materials to the website WikiLeaks.

Among them: Viggo Mortensen and Michael Stipe, who joined with Amnesty International and the Center for Constitutional Rights and sent a letter Saturday to President Barack Obama and Defense Secretary Robert Gates “asking for immediate action into the inhumane treatment of” Manning. ….

Others who signed the letter include Daniel Ellsberg, Rosanne Cash, Shepard Fairey, Danny Glover and Tom Morello. 

During a rally Sunday outside the Marine Corps Base Quantico, where Manning is being held, dozens were arrested, including Ellsberg.

(more…)

Howard Zinn wants teachers to bring in whatever materials they want to your child’s class room. He wants them to use their own judgement to teach whatever they think is appropriate. He wants them to subvert the rules regarding the approved curriculum at the school you are paying for. Of course, if Zinn’s advice is followed, there is nothing keeping a teacher from bringing materials related to Holocaust denial, or 9/11 conspiracies or creationism into the class room, as well. Unless Zinn is recommending only HIS enlightened view of history should be secretly brought into the classroom.

There are some very important people in our country who have aligned themselves with Zinn. With his philosophy. With his view of history. With his view of the United States. And, with his strategy for getting his message into the public schools outside of the legal construct of School Boards and State Departments of Education.

They made a film of his book.  They walked the red carpet and they posed with the man they admired.  He was the inspiration for their film and they spoke of him glowingly, almost like he was a hero.  They began their film with him striding out alone onto a stage in a theatre full of admirers.  It was his way of taking a curtain call (a standing ovation, by the way) before the show even began. (more…)

Do you ever wish you would die?

No. It would be foolish to ask for luxuries during times like these.

Times like these represent a post-apocalyptic world where, for reasons never explained, civilization and most of every living creature has been wiped out; a world where forests and cities and mountains have been replaced by a grey barren landscape littered with dead trees; a world where the earth itself seems to grow impatient with the sound of footsteps, often starting fires and creating earthquakes in order to rid itself of any intrusion; a world where the last remnants of man roam in cannibalistic gangs hunting for food.

At first glance this may not sound like the kind of cinematic experience you’re looking for during the holidays. Not with glib Victorian-era detectives and CGI’d Smurfs to choose from. But director John Hillcoat’s spellbinding, emotionally moving, and frequently terrifying adaptation of Cormac McCarthy’s Pulitzer Prize winning “The Road” is, at least in spirit, richly rewarding and therefore perfect for this time of year. This is the rare film about something that matters.

Man (Viggo Mortensen) and Boy (Kodi Smit-McPhee) push a shopping cart down an empty road framed by tall, bare trees swaying in a wind that makes an unholy sound. Both are filthy, exhausted, constantly threatened by cannibals, always hungry, and father and son.  They head south towards the coast never knowing what’s around the corner. One day it could be marauders, the next a stash of non-perishable food. Why they’re headed in this direction doesn’t matter. What matters is what father teaches son along the way: “Keep the fire.”

That fire is our own humanity. (more…)

A from the New York Times, September 9, 2008:

The actor Viggo Mortensen has apologized to Canada after inadvertently accusing the country of policy misdeeds for which he meant to chastise political leaders of the United States. The go-round occurred Sunday night at a Toronto International Film Festival panel discussion introducing ”The People Speak,” a documentary about dissent and resistance to power based on the book ”A People’s History of the United States” by Howard Zinn. Mr. Mortensen wore a T-shirt that read: ”Impeach Remove Jail.” By way of explanation Mr. Mortensen, in Toronto to promote the movie ”Appaloosa,” began a plaint about things ”that have been happening in the last eight years in this country.” He was checked by the moderator, Tom Powers, the festival’s documentary programmer, who asked if Mr. Mortensen was referring to Canada. ”Ladies and gentlemen, the angry left,” said a laughing Matt Damon, who was joined on the panel by Josh Brolin and Marisa Tomei, among others. Mr. Mortensen allowed that Canada may have committed misdeeds of its own, without leveling a specific charge against either country. ”My apologies,” he concluded. (more…)

Twelve years ago in his breakout performance as an arrogant young genius in Good Will Hunting, struggling fresh-faced actor Matt Damon sneered at his Boston psychiatrist for “surrounding yourself with all the wrong f__kin’ books. You wanna read a real history book, read Howard Zinn’s People’s History of the United States. That book’ll f__kin’ knock you on your ass.”

The political left loves shout-outs, and this was a direct one to Zinn himself, whom Damon actually lived next-door to as a child, and whose book apparently knocked the actor on his own behind. “Ben (co-screenwriter Affleck) and I were laughing our asses off writing that,” he recalls. (What is it with Damon and the word “ass”?) ”We liked it that the smartest guy in Boston was reading Howard Zinn.”

Self-proclaimed radical historian Howard Zinn, 87, is arguably the most popular proponent of the “history from below” school of historiography, which explores past events from the perspective of everyday people as opposed to the so-called “Great Men” theory, which actor Josh Brolin, another Zinn devotee, calls mere “propaganda.” The Boston University professor wasn’t the first academic to pioneer this approach, but he is no doubt the first to dispense with tedious scholarly ballast like footnotes and citations, and to have pop culture powerhouses like Damon, Brolin and Pearl Jam running interference for his openly politicized agenda. His 1980 book A People’s History of the United States, one of the best-selling history books of all time thanks partly to Damon’s shout-out, is a litany of oppression and exploitation on the part of America’s white ruling class, a “raggedly conceived Marxist caricature” of American history, as David Horowitz calls it in Unholy Alliance: Radical Islam and the American Left. (more…)

[Part one of this two-part series can be found here.]

Sixteen of the top 20 box office earners have either a G or PG rating which should be a clue that R rated films ( “Titanic” being the exception) don’t do as well yet studios continue to add gratuitous irrelevant sex scenes that ruin the film. Why? It certainly can’t be artistic license because the principal reaction to them is usually-‘Ew!!! Why did they do that?” 

Movie-going statistics have dropped significantly among older adults and that’s understandable since most fare today cater to hormonal adolescents without a clue as to the true appeal of sensual art. Yet senior citizens today are former film buffs who would relish worthy theatrical offerings but their treks back to the wide screen lonely leave them disappointed. 

A few years ago I went with an elderly friend to see, “Love Actually,” because we’re both great fans of Alan Rickman. The film has various vignettes of romantic couples and their curious experiences pursuing the love game. One of these couples happens to be two individuals acting in a porn movie and although the intent was to inject irony in the sex scenes showing the relative naïveté of the participants as they try to hook up, it failed miserably. My friend later said that particular graphic display spoiled the otherwise charming film which she no longer would add to her DVD collection when it came out.  (more…)

With only a day to go until Thanksgiving, Hollywood’s latest tale of post-catastrophe life ensures that audiences are truly thankful for what they have this year.

“The Road” is the dark post-apocalyptic journey of an unnamed man (Viggo Mortensen) and his young son (Kodi Smit-McPhee) as they travel from desolate, dangerous middle America toward the east coast. They hope to find remnants of civilized life there and to recreate what they lost in the mysterious unnamed cataclysm—probably a nuclear war—that left the world lifeless. Lifeless, that is, except for roving bands of cannibals and a few other pilgrims, like them, who search for some semblance of the past.

 The film is directed by John Hillcoat and adapted by Joe Penhall from Cormac McCarthy’s Pulitzer Prize-winning novel. While not a classically scary film, I still sat on the edge of my seat for the entire 119 minutes. “Bad guys” rarely appear, but the knowledge that at any point cannibals could find the protagonists is disconcerting, and by the end of the film I was emotionally drained from the tense world in which the man and the boy live.

Much like McCarthy’s other work adapted for the screen, “No Country for Old Men,” a sense of hopelessness pervades this film. Early on, a roving band forces Mortensen to use one of his last two bullets—bullets presumably being saved for a desperate murder-suicide when hope finally runs out. From there, the run-ins with cannibals and a few other travelers never end happily. At best the encounters are bleak. Even at the end of “The Road,” hope for the future is tempered by the chilling terrors of the past, and the knowledge that further horrors await. (more…)

It’s the end of the world – and I feel haunted

Imagine that the entire world as you’ve known it has come to an end right before your eyes. Almost everyone has died, or gone crazy scavenging for food, even becoming cannibals in the name of survival. Your beautiful wife, who was the light of your life, left you to wander off in the night and die rather than endure another terrifying day of huddling from the elements and hiding from the human monsters that most everyone else has become. 

And now all that’s left is you – and the ten-year-old son whose care has become your entire purpose of your existence. You had a good life once – until just a decade before – with a dignified career, nights at the opera, and joy emanating from every pore of your beautiful spouse. But now it’s all a memory, and a fading one at that. You haven’t been called by your own name in so long that you and your son are only known as Man and Boy. 

What then, the universe asks? Do you keep a faith in God, or curse the hopelessness around you? Do you try to maintain the fire of a good soul and pass moral values to your son, or do you let your morals and humanity eventually slip away? If your morals slip away in the middle of nowhere, does anyone notice? 

Those are the questions that lie at the root of director John Hillcoat’s profoundly moving adaptation of Cormac McCarthy’s Pulitzer Prize-winning book “The Road.” Starring Viggo Mortensen in an alternately feral and saintly performance of shattering emotional depth – his are the most haunted eyes I’ve ever seen sustained in a film performance – it is a film that doesn’t shy from some of the most disturbing questions of human existence, yet also guides viewers gently through to a sense of grace and hope that will move, for even days afterward, those brave enough to take the journey.  (more…)

You’ve heard it said before: “The book is better than the movie.” But the movies helped me write my new book, The First Assassin.

The First Assassin is a historical thriller set primarily in Washington, D.C., at the start of the Civil War. Bestselling author Vince Flynn blurbs it on the front cover: “An excellent book–it’s like The Day of the Jackal set in 1861 Washington.”

The Day of the Jackal is a twofer: Both the book (by Frederick Forsyth) and the movie (the 1973 version) are excellent. But the book is still better. It’s super excellent.

Anyway, I started working on The First Assassin in 1996–more than 13 years ago. Yeah, that’s a long time. It was the project I kept setting aside when something more pressing came along, such as the birth of a child or a writing deadline that came with a guaranteed paycheck. (more…)