Regardless of its quality, “Harry Potter and the Deathly Hallows: Part I” will likely become a huge blockbuster. It’s the seventh film chronicling the long-running book series about a wizard named Harry Potter and his two best friends. The final book of the series was split into two films and the second part will be released in July 2011.
Today's Washington Post "Free for All" section included a letter to the editor from one R.E. Pound, a CIA veteran who retired after 33 years of service in 2009, some 31 years after being outed in a book as an operative. Pound took to task former CIA operative Valerie Plame for her "ludicrous" claim "that the exposure [of her identity] forced an end to her career in intelligence."
After all, Pound conducted an investigation "charged with looking into possible damage in one location caused by Valerie Plame's outing."
"There was none," Pound noted, and complained that the claims of the new "Fair Game" film "devalue the resolve of the officers who have overcome truly dangerous exposure, and they cheapen the risk from laying bare their very real achievements."
Here's the letter in full as published in the November 12 paper:
The director of the new film "Fair Game" - released Friday - is either blatantly dishonest, or astoundingly lazy. The movie, starring Sean Penn as former U.S. diplomat Joe Wilson and Naomi Watts as his embattled wife, CIA agent Valerie Plame, makes a number of claims on controversial issues that are demonstrably false.
The Daily Caller's Jamie Weinstein did the legwork in demonstrating just how far from the truth some of the film's central claims are. Chief among them, perhaps unsurprisingly, is that Scooter Libby, Vice President Dick Cheney's chief of staff, and other White House officials exerted political pressure on intelligence officials to cherrypick intelligence favorable to claims that Iraq possessed weapons of mass destruction.
On Monday's Joy Behar show, the host promoted the latest work of liberal actor Richard Dreyfuss, but soon turned the conversation to Dreyfuss playing Dick Cheney in the 2008 Oliver Stone flop "W." and how he could find the "satanic spot" in his soul to play Cheney. Dreyfuss said you can "find all the villainy in the world in your own heart," and said he tells students to focus on the Hitler inside you when playing a bad guy. Cheney as Hitler: this is just another night on the Joy Behar Show.
BEHAR: Now, you played a bad guy in "Red" and you also played a bad guy in "W," one of my favorite movies. So funny.
DREYFUSS: Which you said I would never do. He would never do that. He would never play Dick Cheney. He's a liberal.
BEHAR: I was wrong. I was wrong. But was it hard to play Dick Cheney?
When word hit that Zack Snyder would be directing a Christopher Nolan produced, David Goyer written version of “Superman,” many a geek heart rejoiced. Images of super slo-mo action, desaturated color palettes, and snappy and powerful one-liners filled our heads. All was good in the Geekosphere.
Then, alas, came word that the script for the film was “a mess.” The oddly named “Vulture” dropped the bomb that Snyder had been hired because the studio wanted a director capable of putting together a hacky “rush job” so Warner Brothers could keep the rights to the Man of Steel. Director Darren Aronofsky, fresh off the buzz of his upcoming film “The Black Swan” passed on the project because it was in such disarray and reeked of a studio cash grab…. Great Ceasar’s ghost, what’s going on here?
If you haven’t been reading Big Hollywood, or living on Planet Earth, you might not know that Hollywood has a leftist bent to it. You also may not know that the Hollywood press is just as corrupt, self-serving and leftist as their cousins in the mainstream media. The reports of “Superman’s” death are greatly exaggerated. This is nasty spin, aimed to take down two of Hollywood’s new school power players while boosting up a critical darling who has little appeal outside the coastal critics community. It also has a lot to do with politics and ideology.
The only way it gets worse than reading the latest pinko missive by Robert Redford on the Huffington Post would be if Michael Moore was checking your prostate at the same time and muttering, “No, no, no, that doesn’t feel right at all.”
Redford used to be a movie star and heartthrob until he began noticeably wizening in the 80’s (watch 1992’s Sneakers; Redford’s got more loose skin going on than Ed Gein’s basement). After that, he largely moved on to directing crappy movies about how America sucks that no one watches, like 2007’s Lions For Lambs, and lecturing the rest of us about how we have failed to live up to his expectations.
His current bugaboo is that evil companies are engaged in the political process. Redford warns:
We may have just found the outer edge of the Hollywood taste envelope, all thanks to Andy and Larry Wachowski, the creators of The Matrix. Formerly known as the Wachowski Brothers - that is, until Larry decided after making zillions of dollars and gaining millions of slobbering fans that the only thing standing between him and true happiness was his penis - this pair's latest project, Cobalt Neural 9, appears to be repelling even the jaded mandarins of Hollywood.
Oh, it's not because the content of CN9 will be vacuous, foul and outright evil, though it is. It's because no one in Tinseltown thinks the movie will make any money.
So what is CN9 about? Well, it appears to mix condemnation of the Iraq War, a healthy dose of gay sex, naturally, a plot to assassinate George W. Bush. Sounds less like a hit movie than the agenda for a Daily Kos staff meeting.
Don’t read Newsweek magazine while drinking a beverage. A spit take is the obvious first reaction to a column by Julia Baird headlined “The Shame of Family Films.” On the Internet, this article is coded as “Why family films are so sexist.”
Baird's denunciation of Hollywood's fraction of decent entertainment began: “They have all been smash hits: ‘Finding Nemo,’ ‘Madagascar,’ ‘Ice Age,’ ‘Toy Story.’ Fish, penguins, rats, stuffed animals, talking toys. All good innocent family fun, right? Sure, except there are few female characters in those films. There are certainly few doing anything meaningful or heroic – and no, Bo Peep doesn't count.”
So what does feminist bean-counting have to do with whether a movie is “good innocent family fun”? Did any young girl come away from “Finding Nemo” feeling like the memory-challenged Ellen DeGeneres fish character didn’t represent female empowerment effectively? Were they offended by the oppressively archaic stereotype of Jessie the Yodeling Cowgirl during “Toy Story 2"? Families can’t enjoy these films without expecting them to pass some politically correct quota exam?
Stone's latest film, "Wall Street: Money Never Sleeps", may have replaced Charlie Sheen, star of the original, with a younger Shia LaBeouf, but it's still as hypocritically anti-capitalist as the original.
According to the Hollywood Reporter, "Money Never Sleeps" would not have been able to muster a sufficient budget without massive product placement campaigns. The film benefitted "enormously" from the advertising technique, Stone admitted (h/t Big Hollywood headlines).
The internet is abuzz with praise for the new documentary that points out the many faults of public education, Waiting for Superman. With positive reviews from both the Huffington Post on the Left as well as the New York Post on the Right, it makes one wonder, how could this be? It appears that this film has single-handedly done what President Obama could not do to save his own life: bring the Left and Right together on a single issue.
It is refreshing that the film's director, Davis Guggenheim (who directed An Inconvenient Truth), is able to put politics aside to see the destructive nature of teachers unions. Guggenheim put his own kids through private school but realizes that not everyone can afford such a luxury. Here, he sets out to tackle the real problems that have long plagued public school systems: teachers unions. Though, he is careful to say that he isn't bashing unions in general.
Guggenheim sees that not everything has to be a political football, which is why we should applaud him for taking a bipartisan approach. However, some feel that the response to the film shows the true, negative colors of conservatives. Liberal Patrick Goldstein comments in the Los Angeles Times:
"It is time for stronger remedies to be applied," said abolitionist Wendell Phillips of the Union's effort during the Civil War, "in the form of hot lead and cold steel duly administered by 100,000 black doctors." His vision became a reality as over 180,000 African-Americans (free men and escaped slaves) joined the Union Army to fight against the slave-holding Confederacy.
The story of the first such "colored" regiment to be formed, the 54th Massachusetts, is beautifully retold in director Edward Zwick's 1989 film Glory. That this film didn't even garner an Oscar nomination for best picture - in a year where Driving Miss Daisy took the prize - is puzzling to me. Glory features a first-rate script, wonderful imagery, and a stellar cast led by Matthew Broderick who plays Col. Robert Gould Shaw, the real-life idealistic white officer chosen to lead the regiment. The film is also a feast for the ears as the majestic chorus of the Harlem Boys' Choir permeates the score.
From our friends at Reason.tv - Hollywood's obsession over demonizing capitalism. Anyone notice a trend here?