Death Wish (2018) Triggers Liberal Movie Reviewers


Bruce Willis stars as Paul Kersey in DEATH WISH, a Metro-Goldwyn-Mayer Pictures film.

2018 remake of Death Wish starring Bruce Willis. Enjoyable movie. Go see it.

by Ex-Leftist


I never thought I would be writing such a piece, but I really should have known.

Last week I saw the 2018 remake of the classic Death Wish, this one starring Bruce Willis. I enjoyed it. Albeit somewhat unrealistic, moviegoers have always enjoyed movies which a good guy gives a bad guy what’s coming to him. Willis is a mild-mannered physician whose life is shattered when (politically correct) intruders break into his home, kill his wife and nearly kill his daughter. Finding the police little help, as they’re swamped with other homicides – mostly criminals killing each other – and feeling as if he failed to protect his family as a man should, he pocketed a gun that was secreted in the clothing of one of his patients who was dying from a gunshot wound… and proceeded to solve the crime and mete out the punishment.

Going through reviews at Rotten Tomatoes, I noticed this is a movie in which nearly as many media critics hated it to as many moviegoers liking it.


But why this movie, now? Why such hostility?

Two reasons: The movie depicts a white man taking matters into his own hands, and the current flare-up of public hysteria surrounding a type of firearm used in under 200 homicides per year.

Ty Burr of the Boston Globe nearly soiled his shorts. Between the guns and the whiteness, this guy was frothing from his mouth as he typed his review:

Originally slated for release late last year, the new movie was bumped into 2018 after a gunman in Las Vegas killed 58 people. It now arrives in theaters in the wake of the school shooting in Parkland, Fla., in which 17 people died, and as an inflamed public and concerned businesses finally push back against the National Rifle Association.

But, really, when is a good time these days to open a film that plays like an NRA wet dream?

[T]his badass suburban white guy stalks the city streets in a hoodie while rap music plays on the soundtrack may be meant to be provocative; it simply comes off as clueless. (The villains are mostly white and Hispanic, as if that will deflect the racial anxieties on which the movie and its genre are based.)

The movie’s much more invested in stoking and soothing male insecurities of impotence by vanquishing them with cold steel and live ammo. Early in the film, Paul backs down from a soccer field fight and gets called a “pussy”; by the end, he’s praised for defending his family “like any man would.” A scene where the hero stocks up at a gun shop — staffed exclusively, it seems, by hot blonde saleswomen — plays like a wink-wink come-on meant to restore a wimp’s inalienable right to unleash righteous vengeance.

And right there’s the fantasy: that a lone, honest man with a gun will make the world safer and restore order — will save us from them — rather than just unleash more damage and death. It’s an old man’s fantasy, and maybe it’s not surprising that young people are seeing through it more clearly (and possibly leading us out of it) than anyone else at the moment. “Death Wish” is a catechism for an audience terrified that their firepower and their influence are dwindling.

Burr’s review combined the best of both prog virtue signaling and “old” white male-bashing in a bold effort in which Burr unashamedly dropped his ideological pants around his ankles for the world to see.

This is quite striking to his fawning review of Black Panther – in which a black man defends an all-black homeland from outsiders with hostile intent:

‘Black Panther’ is a triumph, and a breakthrough superhero movie

No, “Black Panther” isn’t the greatest movie ever made. It’s probably not even the greatest superhero movie ever made. But it’s very, very good — in its best scenes, exhilarating.

Just as important, it’s a breakthrough in an entirely new direction: a smart, propulsive action fantasy starring a hero of color leading a strong, unbowed nation of color. The movie doesn’t reinvent the superhero genre so much as reclaim and reenergize it — archetypes, cliches, and all — for viewers hungry to dream in their own skin. That’s why its arrival feels like a cultural inflection point and a cause for exultation in some quarters. Made with punch and conviction, “Black Panther” has the pop power that can rise from a long time coming.

Get that? A white guy defends his family with firearms, he’s representative of an “audience that’s terrified that their power and influence are dwindling…” and suffering from “racial anxieties.” A black guy defends his country AND his family with weapons, and he’s “leading a strong, unbowed nation of color” for viewers that are “hungry to dream in their own skin.”

And LA Times/Tribune Agency’s Katie Walsh had a similar implosion, blasting her overt outrage at firearms while keeping her race fixation more subtle and in coded language such as “gun culture”:

The lone gunman is a character archetype that goes back to the beginning of cinema, from Westerns to spy movies to revenge tales. But it’s increasingly clear, as many of these films push the envelope on violence, that glorifying lone gunmen as heroes who are morally above the law is not only in bad taste: It’s simply irresponsible.

Roth always brings a sick gleefulness to his style, which doesn’t always serve the dark material. The film cranks up the audience with little jokes and references, and gets the audience cheering for the Grim Reaper before they even realize what they’re cheering for — and therein lies the problem.

The film tries to have it both ways on the gun issue — Roth nails the perverse nature of gun culture in America, and includes commentary from radio hosts like Sway and Mancow who argue against lionizing the Grim Reaper, but that feels reverse-engineered after the fact. Ultimately, the audience doesn’t cheer when Sway passionately voices opposition to this normalization of violence. They cheer when Kersey, “a good guy with a gun” we’re told, blasts a bad guy with no recourse or consequence. What does that say about us? More importantly, what does that say about our movies? Nothing good in either case.

Her review on Black Panther?

Movie review: ‘Black Panther’ bound to be among 2018′s best

Believe the hype: “Black Panther” is easily Marvel’s best film to date.

This exhilarating, beautiful and genuinely moving superhero film is firmly rooted in the point of view of director and co-writer Ryan Coogler, a tremendous example of the radical possibilities to be found in Afrofuturism. Coogler builds a thrilling, exciting world, and threads throughout it a story filled with pathos and real-world gravitas.

Erik’s rage is justified. You feel it in your bones, because Jordan makes it that real. He’s a kid who grew up on tough American streets, without a father, not in Wakanda enjoying a futuristic, royal lifestyle. He wants to harness that power for black liberation, and although the methods he employs are extreme, you root for his success. Erik is filled with all the rage, grief, fear, resentment and fire that comes from being a minority crushed by a colonizer — an Afrofuturist Nat Turner. T’Challa could never know that pain. His regal pride is what we love about him, but we yearn for Erik’s victory because he wears his chip on his shoulder as a badge of honor, using his pain for strength.

Hmm, nothing about condemning violence here. Indeed, she celebrates it: Justified rage, grief, fear, etc. due to “being a minority crushed by a colonizer.” Indeed, she celebrates his “regal pride” and his “chip on his shoulder as a badge of honor,” an “Afrofuturist Nat Turner.”

This has deep meaning: This goes beyond Walsh’s clear and obvious racial double-standard on movie violence to solve conflicts and conquer bad guys: Nat Turner organized a slave rebellion which specifically mass-murdered white women and especially white children in droves.

And Katie Walsh likes it so much her put-on disdain at violence magically vanishes into thin air and the act suddenly becomes “beautiful.” Black Panther is racial revenge porn for this woman.

So no, don’t believe Ms. Walsh; she’s not against violence, just white guys with guns who protect their families. This bitch is transparent.


So at the end of it, we can see why there was such a lopsided number of media who disliked compared to audiences who liked it: The media as we have seen is an ideologically-stacked deck with nary a self-identifying conservative around, and even movie reviews of all things are being polluted by it.

With such a biased state of affairs in mass media, “news” articles are more of an ideological backslapping amen chorus than anything else.

It’s one thing to point out bias in a movie’s script. It’s entirely another animal to view a movie through your personal ideological biases and then feed those to the public.