What’s it about?
What amounts to a terrorist cell in mid-nineteenth century Russia and its effect on a small fictional town of Dostoyevsky’s invention.
Continue readingArchive for Taxi Driver
The Devils – A User’s Guide
Posted in Fiction, Observation, Reading with tags Dostoyevsky, Martin Scorsese, Pyramids, Raging Bull, Taxi Driver, The Devils on August 26, 2020 by Jarrod Boyle
Is ‘Joker’ the Best Film of 2019?
Posted in Film, Observation, Real Men with tags Anthony Lane, Arthur Fleck, Barack Obama, Batman, Breaking Bad: El Camino, Donald Trump, Gary Glitter, Gotham City, Hitler, Incel, Jesus Christ, Joachim Fest, Joker, Martin Scorsese, Robert De Niro, Rock and Roll Part 2, Sam Peckinpah, Sandy Hook School Shooting, Taxi Driver, The Art of the Deal, The King of Comedy, The New Yorker, The Wild Bunch, Thomas Wayne, Vice, Wim Wenders on December 26, 2019 by Jarrod Boyle
“Hitler, as the point of convergence for so many nostalgias, resentments and anxieties, became a historical figure.”
– Joachim Fest, Hitler
In the wake of the Sandy Hook School Shooting in 2012, President Obama gave a press conference during which he beseeched Americans to support the introduction of basic mental health screenings for gun buyers. Continue reading
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John Pilger vs the American Psycho
Posted in Film, Observation with tags Baudrillard, Bunuel, Chuck Liddell, Colombiana, colonel kurtz, Dali, Game of Thrones, George Miller, John Pilger, La Femme Nikita, Lethal Weapon, Luc Besson, Mel Gibson, Melbourne International Film Festival, psychopath, Rampage Jackson, Ransom, Sam Peckinpah, Shakespeare, Stanley Kubrick, Straw Dogs, Taxi Driver, The Deer Hunter, The Hurt Locker, The New Statesman, The Patriot, The Wild Bunch, Tolstoy, UFC, violence on screen, Violent films, W.B. Yeats on July 15, 2012 by Jarrod Boyle
John Pilger, journalist and documentarian, criticized the film [The Hurt Locker] in The New Statesman, writing that “it offers a vicarious thrill via yet another standard-issue psychopath high on violence in somebody else’s country where the deaths of a million people are consigned to cinematic oblivion.” He compared the praise given to The Hurt Locker to the accolades given to 1978’s The Deer Hunter.[42] Continue reading
