“Being alone in the world is the root of all suffering.”
Warning, this is one of those movies you should see before reading this spoiler-filled review. So if you haven’t seen it yet, I would strongly advise watching it before reading this review.
I watched this film 3 times. The first time I was a bit out of it due to being high, the second time I was still high but starting to come out of it. The third time I rewatched it was because I wanted to make sure I caught as much as I could. Because this is one of those films that is deceptive in what it shows. One of those films where the point of view is from the perspective of the protagonist, who is a bit crazy, and doesn’t always see things as they are in reality, thus what we see from his view isn’t necessarily how things actually are. Basically like David Cronenberg’s Spider, except, well, more deceptively cheerful and definitely more colorful. Plus this whole film has the dark humor thing going for it.
Warning, this review gets political, makes no apologies about it, and gives no free flying fucks if you disagree with it (unless any of you dare to try having an honest discussion with me). You’ve been warned.
The Post, a movie. Like how there was a TV series called The Office. Now all there needs to be is a miniseries titled The Post Office. All joking aside, The Post is short for The Washington Post, which I guess wouldn’t have attracted as many viewers to the movie for some reason, or perhaps because they wanted to eliminate “Washington” from the title, considering it’s supposed to be corrupt and led by a corrupt president during this time period (everyone’s favorite corrupt president that films always like to remind everyone exists and is corrupt about as often as they like to remind us Hitler was a scumbag, Richard Nixon). How they stood with The New York Times in publishing a story on the Pentagon Papers regarding how Lyndon Johnson and Richard Nixon both kept the reality of the Vietnam War hidden from public, that it was a war we were either destined to lose, or a war that we would have to be fighting for a long time with a lot of manpower in order to win. Basically a similar situation to what the British faced during the Revolutionary War, except America had assistance from France.
I’m not going to lie, I had preconceived notions when going into this film. I expected this to be a preachy movie that praised the Washington Post, to the extent that it’s the end-all-be-all of news and newspapers, that it should always be allowed to post stories because all their stories are flawless and true. That, and to bash the Trump administration ever so subtly (something I’m sure we’ll see more of for the next few years, as evident from a few films that came out near the end of last year). So yes, I expected some serious subliminal messaging, or even messaging that is too blunt to be considered subliminal. And while that stuff is here, it’s not as bad as I thought it was going to be. Besides, as I had to remind myself, any decent movie is a work of art that can be viewed with different perspectives. More on that later.
There are some negatives I had with the film. There’s a brief moment near the end of the film after the Supreme Court sides with the papers over the government (oh, spoilers by the way, for any of you who didn’t already know or take an educated guess as to how things would turn out). We see Meryl Streep walking down the steps surrounded by a bunch of smiling women. Pro-feminism message much? She can be an inspiration to both men and women, not just women goddamnit! Can’t we live in an age where any gender and race can inspire all genders and races? I mean, for Christ’s sake, the whole film is supposed to be about how an underdog newspaper company did a brave/bold thing which caused all other major papers to follow suit and side with freedom of speech over the power of the government telling them no. That’s a cause everyone can rally behind! But it’s just a minor moment that only lasts a few seconds, and I’m just making a big deal over a nit-picky moment. The rest of the film is quite solid.
For the first half of the film, I started to wonder why it wasn’t about the New York Times. I mean, it seemed as if they were doing all the interesting stuff. But then during the 2nd half, it becomes clear why The Washington Post is the main focus of the film. While the New York Times was the first paper to print on the Pentagon Papers, and the first to be challenged by the government over their publication, it’s the Washington Post that gets a hold of the larger amount of paperwork, and ultimately follows what the New York Times did. The thing is, I think the film would’ve been more interesting if it focused on both sides, on the New York Times and on the Washington Post. Certainly would’ve been more energetic and intense. But then there would be less time for the more dramatic character moments, especially this one moment between Streep’s character and her daughter, which is definitely one of those moments where Spielberg is indulging himself with the drama. It’s the one aspect about him that’s been a bit bothersome ever since E.T., where the character drama and character interaction comes off as a bit too emotionally manipulative and overdramatic. It plagues a respectable number of his films. That said, I found it bothersome in only that one scene.
The obvious themes come up from a film like this, about freedom of the press, freedom of speech, needing high quality reporting for high quality newspapers that readers will love and therebye become loyal fans of, how the papers have a duty more to the people than towards the government, etc. An element in the film that took me by surprise is how it showcased that some of the higher-ups in the press tend to have political connections, and are friends with some high-standing government officials. And this causes an inner conflict when they must consider if they value their work more than their friendship, or vice-versa. A welcoming subplot in a film like this.
Now, with all that said, let’s stop pussyfooting around the pink/white/orange/black/whatever elephant in the room shall we? I’m not going to ignore how many reviewers state that this is a timely and relevant film that has strong parallels to today’s environment. And we all know what they’re talking about. Consider the headlines from some of the reviews:
“The Post” doesn’t feel so urgent because it was rushed into production — it was rushed into production because it feels so urgent. In a year full of accidental Trump movies, this is the first one that’s completely on purpose.
“The Post” works as a history lesson, but its priorities are clearly sorted by their relevance to the crises we’re enduring right now, the need for a free press being first among them.
Nixon is a pivotal character, but he’s sheared down to the parallels he shares with Trump
“The Post” is essential because it stares down cynicism with a smile, because it enshrines the fact that governments only see journalists as a threat when they have something to hide.
Holding political feet to the fire, it will be applauded by a newly politicised Hollywood, looking to give the Trump White House some serious side-eye.
Is this a political film about holding truth to power? An industry meditation about journalists uniting for a common cause? A feminist reading of Graham’s role in history? Or a parable for the situation the press currently finds itself in with President Donald J. Trump (“I don’t think I could go through this again,” a character laments in one of the final scenes)?
What feels most prescient, though, is the fire that it looks to set underneath all of us, especially journalists, when it comes to their duty to take on Donald Trump and his attacks on the freedom of the press. “The Post’s” final speech will hopefully immediately stir and inspire.
So yeah, all that stuff. Even Spielberg noted that he made this film in 2017 because he felt either he makes it then, or not at all, because he felt it was so timely, because he spotted parallels between Nixon and Trump. Over the past couple years, Trump has been bashing several major news outlets, though never to the extreme that Nixon did in the early 1970s. Because that’s the reason the film exists, as a call against Trump bashing the news outlets.
However, and this is what I suspected would be the case, this is not the only way to view the film. Like any decent film, like any decent work of art, there is more than one way to view it, even if it doesn’t conform to the artist’s original intent. Some mainstream reviewers can attest to that.
[…] the hacks will note that the film’s co-star, Meryl Streep — on the strength of her January Golden Globes speech, which she devoted entirely to attacking the president — is as strongly identified with anti-Trump sentiment as any major Hollywood player. For these reasons, The Post stands to be one of the leading contenders to win the Best Picture Oscar on March 4. Academy voters who are dying to turn the ceremony into an expression of revulsion for Trump will have no better weapon this year with which to attack him.
Yet The Post is simply a potent newspaper thriller that could have been released in the Obama years (when it was written) or for that matter at any other point in recent decades. It offers very little in the way of actual parallels to Trump, and to Spielberg’s credit he doesn’t include any overt Trump bashing. Hysteria-prone Hollywood liberals who see the president’s likeness in every passing cloud will be thinking of him throughout the movie, but only because hysteria-prone Hollywood liberals are prone to hysteria.
Today, of course, the public trusts neither the government nor the media, but it would take a more ironically minded filmmaker than Steven Spielberg to capture that in a film.
The lasting importance of the Pentagon Papers was not that they altered the course of the Vietnam War (I’m not sure they did) but that they heralded a media Reformation, a new era of doubt and iconoclasm in which journalists like Bradlee (and Graham, who was personal friends with McNamara) chose an antagonistic new stance toward institutions. This isn’t activism or partisanship: Journalists should relentlessly investigate whatever Washington is doing, regardless of party. While it’s true that the media are much more hostile to one party than the other, the principle is a valid one: Journalists should be diggers, not Victorian gents.
Despite how much the film aims its sights at Nixon (a metaphor for Trump) as the villain for attacking freedom of the press, historically speaking, it was more due to Henry Kissinger for attacking the press than Nixon (though I’m sure Nixon was all for Kissinger’s actions). That aside, as I said earlier, this film doesn’t make any stretches or anything all that blunt about bashing Trump, it’s made well-enough to be considered a sort of time capsule that can be watched in any time period to reflect upon this historic moment in the early 70s, followed up with the Watergate scandal (covered in All the President’s Men), and eventually Nixon’s resignation.
Anyway, I bring this all up because I disagree, strongly, with the message being taken from this film by many people, even if it’s the message Spielberg wished to inject into the film (but again, viewers can have opinions differing from the artist). First off, the idea that the Trump administration is attacking the press anywhere near as violently as the Nixon administration did (or even McCarthy, as can be seen in the highly recommended and still quite relevant film Good Night, and Good Luck). He bashes them, sure, but never to the extent that he’s also attacking the first amendment. I mean, for crying out loud, there’s a scene in the film where Nixon bars the Washington Post from a wedding reception and from any other White House event. While that may have happened in 1971, the case is reversed in the present, where CNN (among others) voluntarily choose to not attend similar White House events of their own accord.
And then there’s the other message contained within the film. It is said briefly in some speeches early on in the film that reporter integrity is vital, the quality of the paper/article helps to gain readers/fans and thus keep the Post alive. They have a responsibility to report important events as much as they do for reporting the truth. So thus I found it possible to also view this film as a call for news integrity, for honest and unbiased news that doesn’t leave out facts much like how Nixon and LBJ left out some inconvenient truths/reports on the Vietnam war. Most, if not all, of the instances I’ve seen Trump bash the media has been because of their false/biased reporting. Because they are not being as honest as those from the early 1970s. And it’s a long list of events where the media has falsified stories or taken them out of context.
Should news agencies not be bashed if what they report is bullshit (assuming they’re not literally reporting about shit falling out of a bull’s ass)? Do those they report against falsely not have a right to attack them back for doing so? Should fake news not be treated as false? It’s stuff like this that makes me think of the other elements in the film, about how the higher ups in the media/papers are sometimes associated with government officials, and how that can lead to bias and not producing coverage of their “friends” when it’s honest and negative coverage; much less the fact-checking and source-backing (done to a greater extent in All the President’s Men). The sort of thing that should be done more often to government entities that are corrupt like the Clinton administration and portions of what Barack Obama did.
So there’s the other perspective one can take from this film. Not just a call for government honesty, but also for press/media honesty. As they said in the film, the press is more for the people than it is for the government. More for the ruled than for the rulers.
“[…] any time you hear the words ‘based on a true story,’ that’s usually a translation for ‘We bought the rights to this story, took out the boring parts, then made up just about everything else.'” — Bill Simmons
“I don’t think the movie should be more important than the truth.” — Greg Paspatis
“History is written by the victors.” — Winston Churchill
So I was going to talk about the film All the Money in the World, but I’ve failed to come up with enough content to make it a worthwhile review entry. I’ve been stuck with writer’s block over the past few weeks (that, and I’ve been working longer job hours, dealing with the flu, trying to complete projects so I can review them on this site but get side-tracked by something, plus plain old procrastination), so I’ve been struggling to get back on this site and post some new content. But believe me, once I get a couple of these “projects” out of the way, I’ll get my groove back in no time. These are projects I intend to make a post about.
But anyway, after seeing the above mentioned film, it got me thinking about another topic I’ve been wanting to discuss for a while now, a topic that came up after seeing Hidden Figures, and revisiting a childhood favorite of mine, Remember the Titans. Movies based on true stories/events. In the past, I never really made that much of a deal over films like these. After all, as I’ve been told in the past, “it’s just a movie”. No need to make a big deal about it, no need to bitch about it, just simply enjoy it or don’t, and leave it at that. The thing is though, I’ve learned over the past couple years that the “it’s just a movie” argument is bullshit. That’s like saying the novel 1984, or A Clockwork Orange, or Animal Farm, “is just a book.” Because, as I’ll demonstrate, there are things going on that make it clear that it’s more than just a movie.
Jumanji is one of my favorite films from the 90s. It’s not just a good kid-flick, but a good film in general. So when I heard they were making a sequel to it, all I could think was, “Why?” Then I saw the trailer, and I thought, “WHY!?!?!?”
My second thought was, “So this is what it feels like to have your childhood raped.” So I expected this to be terrible going in to see it. That probably should’ve worried me, because setting expectations so low provided a decent chance for the film to rise above them. Which is ultimately what happened, and that pisses me off even more.
I wanted a film that gives me plenty to rant and rave about damnit! It’s supposed to be worse than Star Wars: The Last Jedi! In all fairness, The Last Jedi is a better film than this one, but that’s only because this film is simple mediocrity, with no aspirations whatsoever (make the movie, have fun, cash out) where as at least The Last Jedi at least strives to be more than that. And for that matter, so did the original Jumanji movie. From here on out, when referring to the 1995 film, I’m just going to call it Jumanji, while this new one I’ll call WttJ (Welcome to the Jungle).
Rated: 4 / 5
Welcome to the jungle, we’ve got fun and games!
When watching Jumanji, I admire several things about it. This film is a drama, with some adventure and comedy thrown in. At its core, it’s a film about taking responsibility and facing your fears, and the consequences of not doing so. It takes a long while before this becomes evident, as the film does a somewhat unique style on how it introduces our main characters. I haven’t seen very many films that pull this off successfully. First we’re introduced to Allen, a young boy who doesn’t want to live a life his father wants for him, and wishes to run away rather than face his father on the issue (at least not too much). His girlfriend is introduced more slowly, first by dialogue discussions between Allen and the bullies, and then she is revealed later on. Then they (unintentionally) play the game, a mystical board game that looks too well-made from a wooden design standpoint for something that isn’t well known (thus helping with that mystic aura it gives off, sound effects and musical complimentary notes aside). An accidental play, much like how life throws unexpected surprises (some good some bad) at us. Allen is sucked in, and disappears, much as how he intended to run away and disappear. And his girlfriend, Sarah, runs away rather than tries to help him get out of the game (but, in all fairness, she was just a girl at the time, and was scarred emotionally by the whole ordeal, so it’s easy to sympathize with her, just as it’s easy to sympathize with Allen).
Then we are introduced to 2 other characters, Peter and Judy, who we become acquainted with and spend more time with than we did with Allen and Sarah. These two kids also desire an escape from their current lives, which have gone downhill ever since their parents’ unfortunate death via an airplane crash, while on their way to a ski vacation. It’s not until far later in the film that Allen appears again, due to the 2 new kids playing the game. And even later on, Sarah finally re-enters the film. The main characters aren’t firmly established until the film is practically halfway over. Have to admit, when taking it in that context, this film seems rather daring. Having the main protagonists appear early on, then disappear for a good portion of the first hour, and then re-appear to continue the story. The film eases its way into allowing the viewers to be familiar with the main protagonists. And it works.
As the film goes on, Allen, now an adult played by Robin Williams in one of his best roles, eventually comes to realize not just how much his father loved him despite the fight they had, but also what can happen when he runs from his fears. When he visits the old shoe factory, after going through his old town and seeing how terrible it has become compared to what it once was (think Detroit before and after the 60s), he meets a homeless man who is familiar with the town’s history, who must’ve been associated with it to some extent in the past before becoming how he is now. His speech to Allen about how the town became how it is now, how the Shoe Factory went out of business, how it was all because Allen’s father searched for Allen endlessly after Allen disappeared, no longer caring about anything else but finding himself. Likely blaming himself for Allen’s disappearance, thinking he ran away because of him (which is true, but under a different context). It’s such a tear-jerking moment, especially seeing this realization wash across Allen’s face, realizing not just how much his father loved him, but how much damage his running away has caused (metaphorically speaking, as his disappearance was caused against his will, though he did intend to run away prior to that).
But the film doesn’t just settle for the character trying to right the wrongs of the past. It also shows how Allen’s character has evolved. Not just turning into a survivalist with his time in the jungle within the game, but also with how he has become like his father. He is still afraid, hates himself for not being more mature earlier on, but also becomes angry at Peter for wishing to continue playing the game. Because Allen knows what will happen if they do so, that more creatures, and individuals, and weather conditions will emerge from the game to make things worse. He warns Peter of this, but also knows that Peter is right. This doesn’t make him any less angry, and eventually tells Peter in his anger that he needs to man up and face all of this like a man, because it’s Peter’s doing for causing this to happen. Immediately after doing that, Allen realizes how he’s acting like his father in the past, and also realizes how he’s being hypocritical, and tries to comfort Peter after this.
Regarding the facing of fears and taking responsibility, the film handles it as it’s going to get worse before it gets better. And longer one runs from their own fears, the worse things will get. This is shown early on with Allen confronting these bullies after running from them earlier, the bullies chasing him because he went out with their leader’s girlfriend (Sarah). It results in him getting beat up, but then things more or less work out after that. With him running away from his father, and staying away for years (again, the film plays with this with him wanting to run away, and him escaping to Jumanji unintentionally and against his will), this causes consequences resulting in the town going bottom-up economically when the Shoe Factory shuts down due to his father searching for him. It’s also shown from a more metaphorical standpoint with them playing the game, something they must do to resolve everything, and it continually makes things worse not just for the main characters, but for the town around them. It’s not until near the end of the game when Allen finally conquers his fear, his primary fear being that of his own father. It’s some heavy-hitting metaphors, reminding me of Silent Hill 2 with how everything in that game is basically a projection of the protagonists own fears and desires. And yes, I just compared Jumanji to Silent Hill 2.
Jumanji being a 1995 film, two years after Jurassic Park hit theaters, CG is used, but it’s used along with practical effects. Granted, the film hasn’t aged THAT well, but it doesn’t look all that terrible either, all things considered. The CG is dated, but acceptable. Most of the practical effects work, but a couple are laughable (those spiders, I lose it every time they show up). Then there’s instances of blending CG with actual objects, which do a good job of making them seem more real.
So, yeah, a film that I still think is great today. It still works as a character drama mixed with a fun adventure film, with some decent comedy moments thrown in for good measure. Emotional, fun, all around solid even with the somewhat dated effects. As for the sequel…
Rated: 2 / 5
Welcome to the jungle, it gets worse here every day!
So like I said, I expected to despise this film. And it started off meeting those expectations. So some metal drummer punk finds the board game in the sands on the beach, more or less picking up where the last film left off. Except that the last film left off with the board game on some beach in Mexico, Puerto Rico, or some place where they speak Spanish. You know, it’s times like these that I think it might be a good idea for American film studios developing a temporary partnership with some foreign studio and allow them to take a jab at the property, whether it’s a remake or a sequel. Seriously, it might not be a bad idea, and a perfect way to inject a different and fresh style into the film. Granted, everyone will be of a different ethnicity and speaking a foreign language and viewers would have to read subtitles (unless they’re lazy assholes who refuse to watch any movie subtitled), but for those of us who care, it would be worth it.
But I digress. Ignoring where the board game wound up in the previous film, this metal dude gets the board game out of the beach sand, takes it to his home, and opens it up to see what it is. He sees it’s a board game, and says something along the lines of, “Who plays board games anymore?” before tossing it aside onto his stack of Playstation games.
Fuck you you fucking fucker! Board games are fucking awesome, even back in the 90s! What, cocksuckers like you never heard of Crossfire!?
How about Forbidden Bridge!?
Kiss my dick and suck my ass! You deserve whatever fate befalls you for pissing off the Jumanji game!
But rather than letting curiosity get the better of him to try out the game, you know, by hearing that drum beat or something (which doesn’t fucking happen!), the board game transforms into some Atari cartridge game or something so that he can play it. What the fuck!?
So that’s basically how they decided to make this into a sequel to Jumanji, by having the board game transform into a video game just for the fuck of it. And you know, from here on out, aside from this dumb fucking reference to the first film that happens in the middle of WttJ, this movie is completely different from Jumanji! They could’ve called this film ANYTHING else, anything not associated with Jumanji, and I wouldn’t be forced to do this comparison bullshit. It has more in common with Tron than it does Jumanji. Stop making half-assed sequels and remakes Hollywood! Do what Disney has been doing since the 90s, ripping off stories and making them their own (The Lion King = Hamlet + Kimba the White Lion, Pocahontas rewriting history, The Little Mermaid being more lighthearted than the original source, etc.). Rip off movies, stop trying to claim that they’re remakes or sequels!
*deep breathe* Ok, with that out of the way, and after metalhead gets sucked into the videogame, the film basically becomes its own thing that bares little resemblance to Jumanji. 4 kids get put into detention, one for be a snot-nosed bitch who refuses to turn her cell phone off, 2 of them because they cheated on their school assignment, and the other because she mouthed off to the PE teacher. And in detention they stumble across this game (somehow), and plug it in, play, and get sucked into it, each becoming a different character based on which character they chose at the start of the game. So each of them is given a new body with certain personality traits that peak through occasionally.
Now, before I continue, it’s worth noting that the dumb fucks who made this movie think that cartridge games actually have a loading screen. Did any of you motherfuckers ever play a Sega Genesis or a Super Nintendo? None of those fucking consoles had loading screens. Why? Because cartridges are faster than CDs! Just take a USB drive compared to a fucking Disc for comparison in today’s world! On that note, I wouldn’t be surprised if games eventually went back to a cartridge style play, assuming everything doesn’t wind up online (not likely since Net Neutrality has been killed and now cocksuckers like Verizon and Comcast can start throttling other companies if they don’t pay a little extra, like in 2005 when Comcast delayed BitTorrent traffic, or in 2007 when AT&T censored Pearl Jam, or 2007-9 when AT&T forced Apple to block Skype, or in 2011 when MetroPCS announced it would block streaming services over its 4G network except for YouTube, or 2012 when Verizon blocked tethering app use on their phones, or when Verizon and Comcast throttled Netflix until 2014 when Netflix agreed to pay them extra, or 2014 when T-Mobile used data caps to manipulate competition, until 2015 when net neutrality was in place until 2017 when that went away [those dipshits will likely throttle my site now just for bringing that up]).
With that tangent out of the way, the plot of the film is that our 4 heroes need to return a green crystal McGuffen to a big McGuffen statue in order to win and get back to the real world. So no, there’s no trying to roll a 5 or an 8 on the dice. That’s all I’ll say about the plot.
So, are there any deep character moments in this film? What the hell do you think? Of course there isn’t! As if you would think otherwise after seeing any of the trailers. There’s this theme of friendship, and acceptance, not being selfish, and of tranny stuff like being a woman trapped in a man’s body, or a wimp trapped in a muscular body (or vice-versa), or an average-looking chick trapped in a hot chick’s body. There’s a line in the movie that goes, “What you are on the outside is not what you are on the inside,” which is stating that it’s your character and personality that counts, not your looks, but it’s more fun to think of this is as a transgender message. Personally, I think the tranny theme existed just so Jack Black could do that role of acting like a woman. And in his case, it works, because he completely steals the show from everyone else. He gets the most laughs and produces the best comedic charisma out of everyone, even doing better than Dwayne Johnson (who also got a couple laughs from me here and there, by doing his usual The Rock routine). He must’ve loved doing this, and I’m not going to lie, despite my gripes, it was fun watching him do this role.
This movie exists primarily to be a comedy, not giving much of a shit about the dramatic moments, which would be fine if it was funnier than it is, but it isn’t. The film is just another typical forgettable comedy affair that offers some chuckles here and there, but nothing that’s going to be all that memorable. It’s not the trainwreck I expected it to be, but it’s still a desecration to the Jumanji film, and it does not deserve to have that word in its fucking title. I would’ve liked it more if it had nothing to do with that title. Just being called Welcome to the Jungle would’ve been fine. Hell, I’d be interested if they just called it Atari Jungle or something.
So in case you didn’t guess from the rating, this movie is a pass. You’re better off tracking down and watching the Jumanji animated series. And you can buy the entire series right now on DVD, all 3 seasons for less than ten dollars (hey, if this fucking movie is going to have advertisements in it, then so will this review!).
PS: Oh, right, and there were some blatant obvious advertisements in this film, mainly with Sony, their PS4, their smartphone, and Dave & Busters. Well, at least they kept it game-themed with the ads.
So I know what you’re thinking. Will this review contain spoilers? You bet your ass it will. I’m gonna spoil the shit out of this movie. But before I do that, there’s a few things I need to get off my chest. I’ll put up a spoiler warning sign when I get to that point. So for those who are worried about spoilers and just want to know my opinion on the entertainment level of this film, how good or bad it is, I’ll say this. It is better than The Force Awakens, and addressed some of the issues I had with that film. That being said, this is a film that basically did 3 steps forward, 2 steps back, which frustrates the shit out of me because it could easily have done 4 steps forward and 1 step back instead (there was know way they were going to go all 5 steps forward, not with a Disney movie). So if you loved The Force Awakens, you’ll love this. If you hated The Force Awakens, this might change your mind and give you some hope for the final installment in the trilogy (except that that hack Jar Jar Abrams will be back in the director’s chair for that film, which has me worried, even if it’s an improvement upon the last director attached to that film; Christ I wish Christopher Nolan would grow a pair of balls and try one of these out). And just to throw this in, if you loved The Force Awakens more than Rogue One, go fuck yourself.
“A love story of today.” Well, maybe not so much anymore. Or maybe it is. This film has surprising relevancy to today, and I personally find that to be a bit sad.
So, in case you haven’t ever seen this movie, which I suggest you do considering I’ve given it a 4/5 score and my opinion is always right and better than everyone else’s, it’s a racially charged film. Yet it is subdued in how it tackles the racism issue. It’s not about violence between blacks and whites, niggers and crackers, oh no. It’s about them coming together. The legendary Sidney Poitier would be reason enough for me to want to see this, but the rest of the cast is as great as he is in this film. He plays a black doctor (specifying that just in case any of you mistakenly think he plays a white doctor) who has fallen for a white woman nearly 10 years his junior played by Katharine Houghton, who has likewise fallen for him. Nearly love at first sight, they decide to get engaged within the first 10 days of starting their relationship. But then it comes time to meet the parents.
Awkwardness ensues, and it provides some funny moments and dialogue. This film balances humor and drama perfectly, never going over-the-top for the sake of cheap laughs. But things get even more awkward when the daughter of the family, who clearly likes to rush into things obliviously and innocently, convinces the mother and father of her fiance to also come to the house to meet her family, unaware that there might be an issue with this.
The film shines with the dialogue and character interactions, which is all that is really needed for dramas like this. Seeing the mother’s reaction to seeing the boyfriend for the first time, the father’s delayed reaction, and the immediate reaction of the boyfriend’s parents to seeing that he has a white girlfriend. Such great hilarious (but never overdone) moments. Hell, even the black maid doesn’t hide her negative attitude towards the boyfriend, thinking that he’s only interested in the girlfriend because he wants to take advantage of her and her family’s wealth. Awkwardness is in abundance throughout this flick, yet it’s done in such a great way.
This isn’t one of those films where the parents (at least the white ones when they become aware of the issue) try to act polite for the sake of leaving things unsaid that cry out to be said. The dialogue that I would normally expect a film like this (especially by today’s standards) to only show up near the end of the film actually shows up near the beginning. Both sides admit the awkwardness of the issue, and are aware that this is different and daring for the time period (save for the girlfriend who was raised in such a way as to not think there would be any issue or awkwardness to be had with blacks and whites intermingling, which is ironic considering her parents raised her this way and admit to doing so, but mention to each other that, “We taught her to view negros as no different than whites, but we never told her not to marry one.”). The boyfriend doctor even has a private discussion about this with the parents laying it all on the table, letting them know he’s as aware of this awkwardness as they are. And the parents attempt to give this whole thing a chance. After all, the mother acknowledges that she’s never seen her daughter this happy before, and she can’t help but feel happy for her even though a part of her is against this. It made me wonder where the hell the film was going from there at that point, because this semi-acceptance tends to be where films like this usually end (or lack thereof, as was the case for the horror equivalent Get Out). But nope, it’s only just gotten started.
I mean, the father tries to be accepting, and we see him and his wife drive around town briefly discussing this and see the father’s temper start to boil as he becomes more and more irritable as time goes on and he lets other things get to him to make his anger rise even further; but it didn’t seem like enough to keep the film afloat during the rest of the runtime. Then we find out the boyfriend’s parents are coming over. At that point, I was on-board for the rest of the ride.
Another element I loved is that all the characters are portrayed with flaws, that no one is perfect, not even Sidney Poitier’s character (to my surprise). The mother, obviously easily prone to emotion and shock, though she does tend to take the more optimistic joyful route for channeling her emotions. The father, and old man he tends to be set in his old traditional ways, yet makes an effort to be accepting to that of the new ways. Which father and mother from which side of the family? Both actually. The parents on both sides are quite similar, despite the pigmentation differences and economic status (the white family being upper-class, the black family barely middle-class). This in part is what leads the white father to come to this realization near the end after having a private talk with the father and mother of the boyfriend, separately, which he acknowledges with the line, “I’ll be a son of a bitch.” The girlfriend, she’s naive and prefers to rush things without seeing the dangers as to why she should be more aware of how society would view an interracial relationship, let alone the dangers of rushing into something so life-changing so quickly, and is arguably too positive and optimistic. And the boyfriend, well, he has the issue of not wanting to do too much without the approval of opposing parties, even though he’s quite level-headed. I love this because if there’s anything I hate in movies, it’s seeing characters who are perfect when it comes to wisdom/knowledge/personality/attitude. It’s flaws that make them human, and humans are what we have in this film.
Earlier I mentioned the film has a relevancy to today that I find to be a bit sad. Now I’ll expand on that. Back during this tumultuous time period the film was made, the 1960s, that’s when black rights were all the rage, and when riots and clashes began that initiated the first major change and progression for the rights of black people since the end of the civil war in 1865. Films like this were bound to show up, and this isn’t the only one, nor even the only one that Sidney Poitier would star in (see In the Heat of the Night, also made in 1967, also highly recommended). Then there’s Night of the Living Dead in the following year of 1968. That’s at least 3 major hit classics people still watch today that tackle the issue of racism. Though in all fairness, Night of the Living Dead was primarily about how we’re our own worst enemy and we’ll tear each other apart even when there’s external forces out to destroy us; the racism aspect is subtle in that it’s not even mentioned, but it’s there, as that’s one of the aspects Americans were fighting over during that time period, and sadly, even so today. And all 3 films shared the same message, either we learn to live together in peace and harmony in spite of our difference, or suffer and be annihilated either from each other or something else that could’ve been beaten if only we weren’t killing ourselves. Well, 2 out of the 3 mentioned films went for the more optimistic route, so as they say, 2 out of 3 ain’t bad.
The relevancy can be seen in films like the aforementioned Get Out, and also in the more recent Detroit. The difference between films today and films back then (or at least regarding most films prior to 2012) is that films today tend to promote the message of, “We can’t get along, so may black power rule to offset the white power rule of the past,” rather than the past message of, “We can get along if we just get to know each other better and see that we’re all human.” And people wonder why some say the film industry is shitty these days. The interesting thing is though, this film Guess Who’s Coming to Dinner has much of the advice and answers to the issues and questions of today, yet not enough people seem to be aware of this, and focus on the present where the answers and advice tend to be the wrong ones.
Consider this discussion between the boyfriend and his father during the latter half of the runtime:
“Have you thought what people would say about you? Why, in 16 or 17 States, you’d be breakin’ the law! You’d be criminals! And say they changed the law; that don’t change the way people feel about this thing!”
At least the 16 States remark is outdated by today’s standards, so we’ve got that going for us. But that last sentence is definitely something to consider. After all, the Southerners (primarily) didn’t hold much regard for the laws regarding black rights during the aftermath of the civil war (see Free State of Jones for a decent film highlighting this aspect, even if it ultimately promotes the white-guilt “racism is alive today” message). Hell, even making booze illegal didn’t stop people from making it and drinking it. And don’t even get me started on the drug war (even though it should be pointed out that giving drugs to gangs and cartels and making them rich enough to have private armies with top of the line equipment and weaponry should make people hesitant at the very least to try that stuff out). Changing the law is one thing, but you also have to get people to understand why it is that it’s being changed, and listen to their retorts which may or may not provide reasoning as to why the law shouldn’t be changed.
Next quote, with the son’s response to his dad:
“You and your whole lousy generation believes the way it was for you is the way it’s got to be! And not until your whole generation has laid down and died will the dead weight of you be off our backs! You understand, you’ve got to get off my back!”
Scarily how relevant that line has become in the more recent years, except that most aren’t alive from the generation that dialogue refers to. Rather, the dead generation is being dug up from the grave and reanimated like some fucking zombie from a Romero film rather than remaining in the state of resting in peace. Something I’ve discussed in the past regarding how irrelevant and outdated this should all be, yet some in positions of power refuse to let the dead stay dead and bring it all back out in fashion like everyday should be Halloween so they can profit from this destructive merchandise they sell. And somehow this is being done while making it borderline taboo to sit down and have an honest discussion about racism, especially in regards to facts and statistics (but emotion is all the rage).
“You think of yourself as a colored man. I think of myself as a man.”
This is the ultimate message that should be pushed today, even though it angers/saddens/frustrates me that it’s even necessary to push such a message rather than it just being common sense. That no one, black or white, should be automatically associated with a race for the sake of stating they’re different, they’ve been treated different, and should thus be given different specialized treatment. No more than someone who voted for Trump should be automatically associated with neo-nazis, white supremacists, racists, Milo fan, Fox News fan, or anti-net-neutrality, no more than someone who didn’t vote for Trump (ie voted for Hillary or Jill Stein or Gary Johnson or some made up Barney the Dinosaur figure) is automatically associated with, well, the opposite of all that. Like how in this movie the black maid of the house associates the boyfriend with some shady black individuals she seems to have experience with from her own past. Individualism! Willing to hear the reasons as to why someone would do something someone would find outrageous and repulsive, or why someone would do something that goes against one’s own personal political beliefs. You know, like how everyone in the film (eventually) sat down and listened to the reasons why the black boyfriend and white girlfriend would want to marry each other, something that was also considered outrageous and repulsive during (and prior to) the 60s. Makes me wonder how people today would treat a film that’s just like this made today, only with the races reversed, having a white man wanting to marry a black woman and having both go to her parent’s home, and have the white man’s parents come over too, and see how things play out from there (that 2005 film Guess Who with Ashton Kutcher and Bernie Mac doesn’t count!).
“You listen to me. You say you don’t want to tell me how to live my life. So what do you think you’ve been doing? You tell me what rights I’ve got or haven’t got, and what I owe to you for what you’ve done for me. Let me tell you something. I owe you nothing!”
That’s another thing about today, people telling others how to live. Fine and good, but give good reasons, and not just some “living in the past” bullshit. Because while it is true that the past matters, the errors of the past shouldn’t be promoted as a reason to live a certain way today if those errors are easily rectified, or have already been rectified. But I’ve already spoken enough on why the past shouldn’t rule the present (and also why the past shouldn’t be forgotten as it has lessons to be remembered for today, a tricky line apparently that gets crossed too much in these recent years). But I will say this is a film that everyone today should watch and pay careful attention to. Not just because it’s a great classic film (though that would be reason enough), but also for the message it has. The lines of dialogue that provide answers to many of the racial issues that have unnecessarily spun up in our time. The positive message of coming together in spite of our differences.
With that in mind, I’ll leave this off on a final quote from the movie:
“Now Mr. Prentice, clearly a most reasonable man, says he has no wish to offend me but wants to know if I’m some kind of a *nut*. And Mrs. Prentice says that like her husband I’m a burned-out old shell of a man who cannot even remember what it’s like to love a woman the way her son loves my daughter. And strange as it seems, that’s the first statement made to me all day with which I am prepared to take issue… cause I think you’re wrong, you’re as wrong as you can be. I admit that I hadn’t considered it, hadn’t even thought about it, but I know exactly how he feels about her and there is nothing, absolutely nothing that you son feels for my daughter that I didn’t feel for Christina. Old- yes. Burned-out- certainly, but I can tell you the memories are still there- clear, intact, indestructible, and they’ll be there if I live to be 110. Where John made his mistake I think was in attaching so much importance to what her mother and I might think… because in the final analysis it doesn’t matter a damn what we think. The only thing that matters is what they feel, and how much they feel, for each other. And if it’s half of what we felt- that’s everything. As for you two and the problems you’re going to have, they seem almost unimaginable, but you’ll have no problem with me, and I think when Christina and I and your mother have some time to work on him you’ll have no problem with your father, John. But you do know, I’m sure you know, what you’re up against. There’ll be 100 million people right here in this country who will be shocked and offended and appalled and the two of you will just have to ride that out, maybe every day for the rest of your lives. You could try to ignore those people, or you could feel sorry for them and for their prejudice and their bigotry and their blind hatred and stupid fears, but where necessary you’ll just have to cling tight to each other and say “screw all those people”!”
Yep, a top whatever number list. This is by no means definitive, as I’m sure there are plenty of films out there I haven’t seen that potentially have fight scenes better than what is listed here. However, I do consider myself to have enough knowledge and experience with action scenes throughout the years to make a list like this.
Now, when I mean top fight scenes, this does not include any that involves projectiles. No guns, no shurikens, no lasers, none of that bullshit. These fights have to mainly involve hands, fists, knives, swords, etc. I mean, theoretically, I suppose you could throw a knife and call that a projectile, but there are also action scenes where someone rips another guy’s arm off and beats him to death with it and throws it at someone, thus making a dismembered arm a projectile. For all you know, someone could slice limbs off and karate kick those limbs at their opponents while the limbs are still in mid-air from being sliced off. There’s always a way to bend/break the rule. Regardless, I’ll do my best to stick with those standards. Sorry John Wick fans.
First, some runners up:
Basically anything from The Empire Strikes Back and onwards, they put on some pretty damn great sword duels. Though I did find the one in The Force Awakens to be lacking (along with the rest of the movie). Honestly, out of all of them, my favorite is the battle from Empire Strikes Back, and here’s why. They fight like samurai in that film, while in the prequel trilogy they’re more like circus acrobats, showing off just for the sake of showing off. But it’s not just the grounding (ie providing some semblance of realism in a sci-fi fantasy film) that makes it good, let alone the choreography. It’s also the story the fight tells, how Luke shows that he definitely has potential to be a great jedi and is capable of besting Vader, but is inexperienced and too emotional, while Vader has complete control over his emotions and knows exactly what he’s doing and what he’s involved in. And this is all told as the fight progresses, Luke starting off with some confidence, knowing that he is scared, but believes this must be done. And he demonstrates that he is capable of challenging Vader, besting him in brief instances, only for Vader to turn the tables by using his force powers on Luke to show how out of his depth he really is, and wears him down until he is cornered. The changing of the scenery matches with all this as well, the red lights demonstrating the fear Luke has and the aura of Vader’s reputation, to the bright tunnel showing that Luke has confidence amidst the darkness, to things darkening and running out of color to show that it really is hopeless for Luke. And throughout all this, we eventually realize Vader is testing Luke, leading up to the twist that brings to light Vader’s true motivation, and provides more depth and an intriguing backstory for Luke. A combination of story and choreography truly makes it a fight to remember, while the rest are fun just for the spectacle rather than the depth. That being said, just about all my entries are more for the spectacle than anything else, so consider me a hypocrite when it comes to the other entries.
This film has a couple fairly decent fight scenes, but the one that stood out was the absolutely classic Street Fighter parody fight. I swear, this is a better Street Fighter film than any of the live action films just because of this scene. Yeah, it’s goofy and cheesy as hell, but at least it’s accurate to the games goddamnit!
Way of the Dragon and Fists of Fury
I respect the Bruce Lee vs. Chuck Norris fight more than I enjoyed it. Fists of Fury, on the other hand, had much better fights, but none that I thought stood out enough for this list. But don’t worry, Bruce Lee won’t be excluded from this list. I’m going to include what I consider to be his best work. Stay tuned.
Come on, it’s a WWF fight put onto film. Plus it goes on forever, which adds to the humor of it all. This fight had to be brought up just because.
Probably never heard of this movie have ya? Honestly, I’d almost recommend it, except that this fight does the one thing I fucking hate in any fight scene ever. Having the good guy receive one hell of a one-sided beat down, only occasionally getting in a hit or two, before shrugging it all off and beating the bad guy to death in a quarter of the entire fight time. It’s bullshit, but I can’t help but admire the amount of work and effort that must’ve gone into this. Hate it too much to like it, but enjoyed the first 3/4ths to much to ignore it.
Scott Adkins, this guy is never going to get a fair shot in Hollywood because Hollywood is run by hacks, pedophiles, molesters, left-wing nuts, and just plain old-fashioned cocksuckers. Thankfully that won’t stop Adkins from outputting decent martial arts films. Personally, I think his best film is Ninja II (the first Ninja film isn’t all that great, though it is worth watching just to see a central character from that film get offed pretty damn fast in the sequel, to the point where it just becomes fucking hilarious after all the effort made to save said individual’s life in the first film). But this movie Special Forces contains what is arguably his best fight.
Well, that’s enough of the warm-up, time for the actual films. Don’t consider the ordering definitive.
Actual Top 20 List
#20 Universal Soldier: Regeneration
Jeanne Claude Van Damme vs. Dolph Lundgren. A sequel that’s better than the original, and on a lower budget too. In fact, Scott Adkins would go on to star in the sequel to this one, which also isn’t a half-bad movie in of itself. What makes this fight stand out is seeing how much power these two have behind their punches, smashing through walls left and right, falling several stories to the ground, and having a gnarly ending. And it all works because we know that these are super soldiers, stronger, faster, and more durable than the average soldier. Basically something you would hope for in a Dragon Ball movie (you know, before those freaks got so strong they didn’t even wince at bullets).
#19 Rapid Fire
Poor Brandon Lee, dying before his time. At least he managed one decent fight scene that manages to strive towards that of Bruce Lee. Brandon Lee vs. Al Leong. The movie itself is just so-so. It’s a decent enough watch, so-bad-it’s-good at some points (Brandon Lee’s acting wasn’t as good as it would be in The Crow), but managed to keep me entertained.
The fights are fun, but as the film goes on, things start to get a bit monotonous. That being said, the finale at the apartment complex provided that extra “Ooomph!” to make it stand out from everything preceding it. Plus it’s great to see a martial arts flick with a woman who can kick ass, and is choreographed well enough to make it seem like she is capable of kicking ass, and not having too many of those bullshit fast cuts to cover up the fact that the girl isn’t capable of kicking ass like this. Although this sequence does raise 2 questions. 1.) Just how many minions does this villain have at his disposal, considering how many got offed prior to this scene? 2.) Why the fuck don’t these idiots take a hint? Seriously, doesn’t it ever get to the point where they have to start thinking, “Ok, we’re not capable of kicking this girl’s ass. You’re on your own boss.”? Made me a fan of Jeeja Yanin, who would go on to display more of her talent in Raging Phoenix among others.
#17 BKO: Bangkok Knockout
I’m not going to lie, this movie really isn’t that great. The story sucks all kinds of ass, and you’re not going to give a shit about any of the characters. The only thing that makes this film worth watching is all the fight scenes that are littered throughout this film. Seriously, the whole thing is basically non-stop fighting scenes. While they’re all fun in their own way, the stand-out fight is the cage fight. I’m amazed that this was pulled off without wire-work (or if there was wires involved, it was used pretty damn well because I couldn’t tell).
#16 Man of Tai Chi
Keanu Reeves, he knows what he’s doing when it comes to making martial arts films. This film delivers on providing bitchin’ martial arts fights. It does have its shares of issues however, mainly how dumb the villains get when it comes to handling this female cop who’s onto them. Plus they threw away their opportunity for what could’ve been the best fight in the last 20 years by having the protagonist Tiger Chen puss out on fighting Iko Uwais (that guy from The Raid films, more on that later). But despite that, there’s still some great fights, including the finale fight between Chen and Reeves. It’s the one fight that made me go, “Hey, Keanu’s still got it!” This was before John Wick came out for the record.
#15 Game of Death
Now this. This is Bruce Lee’s magnum opus. It would’ve put all his other films to shame if he completed it, but he didn’t. He died before he could finish it. Because of that, they scrapped what footage they could and put it into a piss-poor excuse for a Bruce Lee film. If you want to see this as it was originally intended (minus any footage Bruce Lee didn’t shoot), then go watch the documentary A Warrior’s Journey, which is a special feature on some editions of Way of the Dragon (not the 40th anniversary edition unfortunately), which is not only a solid documentary on the man, the myth, the legend, but also compiles all that footage Lee shot, and shows it the way Lee originally wanted. Bruce Lee facing off against 3 men, 1 on a different level of the tower Lee is climbing for the treasures at the top (sounds like inspiration for some videogames doesn’t it?). The highlight is the first fight, a nun-chuck fight. Don’t think I’ve seen that replicated in any other movie, save for a brief duration during the finale of Black Dynamite.
#14 Dragons Forever
Jackie Chan vs. Benny “The Jet” Urquidez. I’d say more, but I’m going to save that for a later entry below. Let’s just say this particular film is a bit special for Jackie Chan, as this would be the last film he would do with his pals Sammo Hung and Yuen Biao. This was their swan song movie, and it didn’t disappoint.
#13 Special ID
Ah, Donnie Yen. No top fight list is complete without him showing up somewhere. This particular fight scene demonstrates the influence of mixed martial arts, UFC stuff, making its mark in films. The way they fight and the mixing of submission moves demonstrates a shift in martial arts films, though I don’t believe this shift caught too much weight. It showed signs early on with Flash Point (was tempted to add that, but decided on this one instead), and it matured greatly here. The MMA style looked more natural in this film.
#12 Ip Man
Yep, Donnie again. While this movie is good, I don’t hold it in as high of regard as most people seem to. That being said, the whole thing is worth watching just to get to this amazing fight in the middle section where Donnie takes on 10 men in a dojo. Easily the best moment in the movie.
The infamous long take that inspired all other long take fight sequences. One man against an army. Absolutely incredible sequence.
#10 Wheels on Meals
Ah, and here’s the first time Jackie Chan fought against Benny “The Jet” Urquidez. Their first encounter so good, audiences demanded it happen again, which it did in Dragons Forever. This was also when Jackie Chan was teaming up with his two buddies and making several films with them, including Project A among others. But it’s the fight between Jackie Chan and Urquidez that makes this film stand out. Benny is a fucking beast. I swear, this guy moves as fast as Bruce Lee. Not to mention, in reality, Benny had gone undefeated in the kickboxing world. And Jackie Chan said something during post-production, jokingly of course, that he could probably whip Benny’s ass anytime he wanted just like he did in the film. Well, soon after that, Benny met Jackie outside, and challenged him, basically all like, “If you were being serious, try me out right here right now.” Jackie backed down, stating it was just a joke.
#9 Ip Man 2
I’m hesitant to put another Ip Man film on here. But screw it, I like this fight. Donnie Yen returns in the sequel in a finale that I consider to be better than that of the previous film. Fairly intense fight where Ip Man takes on someone who is clearly stronger than him.
#8 The Girl from Naked Eye
The movie itself, it’s not all that special. And if it wasn’t for this fight sequence, it would be forgettable. But it has this 4-on-1 fight near the end that is not only a long take, but it looks completely believable. This seriously looks like something that could be pulled off in real life. Everyone gets more and more exhausted and out of breath as the fight goes on, and the protagonist doesn’t get out of it easily. The protagonist gets the shit kicked out of him, and it shows. Yet he manages to overcome the odds. More believable than the Oldboy fight sequence, and quite possible the most realistic and grounded many-vs.-one fight sequence ever put on film. I guess it’s because it’s not that well-known that made me push it so high on the list, but it’s not like I couldn’t change my mind sometime down the line. It’s unfortunate that the main star, Jason Yee, hasn’t really been in anything else noteworthy, save for The Dark Knight Rises. He never really got to show off his martial arts skills in anything else that’s notable.
#7 The Legend of Drunken Master
Jackie Chan again (this will be the last one with him, I promise). This is my favorite film of his. It’s so good that there are 2 fights in this film that I think are equally good, so I couldn’t just pick one. Jackie vs. the axe gang, with awesome use of bamboo. And the finale fight, of course, include a portion where Jackie falls onto a giant bed of fiery coals that makes me cringe every time I see it. Oh, and the finale took several months to film. The quality shows.
#6 Tom Yum Goong (aka The Protector)
Finally, Tony Jaa makes an appearance. This was the film that made me a fan of his. Christ, several great fights in this film, I’d hate to only choose one. But I’ll only choose one, the long take going up several flights of stairs. Oh, and if you ever see this movie, be sure to see the Thai cut, the Tom Yum Goong version. Increases the length of some fight scenes and makes the film flow more naturally.
#5 The Man From Nowhere (aka Uncle)
A knife fight during the finale. Short and sweet. Not much else to say. Bin Won vs. Thanayong Wongtrakul.
#4 SPL: Killzone
Donnie Yen again, and this will also be the last one for him on this list. This time he faces off against Wu Jing. A knife against baton fight that has an unbelievable speed and pace to it. I don’t know of any other duo who could’ve pulled this off.
#3 Tiger on the Beat
The finale in this movie is the best finale I’ve ever seen in an action film ever. Can’t say the entire finale made this list because, well, guns and bullets are involved. However, there is one thing that manages to be better than the gunfights. A chainsaw duel with Conan Lee. This chainsaw duel makes the one in Texas Chainsaw Massacre 2 and Motel Hell look like pillow fights by comparison.
The entire finale. Man, Tony Jaa doesn’t just do hand to hand combat and use different martial arts styles in a few situations, but also uses multiple types of weapons, and fight around and on top of an elephant. How can you not love this sequence?
#1 The Raid 2
There’s Iko Uwai again. This demonstrates why Tiger Chen should’ve fought against him in Man of Tai Chi. The last major fight scene in the film. Going from hand to hand fighting, until the villain realizes he can’t win in a fair fight, so then knives get involved and ratchet up the tension, along with the blood drops. Going up against Cecep Arif Rahman.
To close this out, I’m taking this discussion away from movie fights and towards a fight that matters, that affects all Internet users. December 14th, the FCC and that cocksucker Ajit Pai are going to vote to end Net Neutrality. This isn’t the first time the FCC threatened to destroy it, but it could be the last, if they succeed. Because if they fail to end net neutrality, they will try again 1-2 years after that, and if they fail, another 1-2 years after that, and on and on until it is repealed. So protest, go to battleforthenet.com, call your congressmen who likely won’t listen to you, do what you can to let your voice be heard even if big corporations like Verizon and Comcast will do everything they can to drown you out. This is something worth fighting for. Honestly, the best we can hope for is to delay, delay, delay, until someone like Kim Dotcom finishes creating some alternative to the Internet that will hopefully last just as long if not longer, until the whole process repeats again. Don’t let these assholes throttle and block without a fight.