Quentin Tarantino seems to be a protege of Scorsese, producing movies which trivialize and exalt brutality and violence by suggesting that there is something funny and cool about killing and torturing people. This movie, like Mean Streets and Silence of the Lambs, is beyond sick. The producers behind such films want our society and civilization to fall into a new Dark Ages where there are no morals, no hope and only the belligerent and sadistic rule. The movie is filled with A list stars in order to make it easier to swallow but, it is definitely a poison pill. All of Tarantino's movies seem to be about killing and how you are supposed to see it in a humorous light. God help us.
This is one of the most enjoyable suspense-filled rides ever produced by Hollywood from the days when bad guys were bad and dignity was a recognized value. Audrey Hepburn's acting really reinforces the tenuous nature of the predicament she finds herself in, after her wealthy husband dies and leaves her a small ostensibly valuable airline bag filled with seemingly worthless personal effects. Strange men enter her life claiming that her husband lit out with a fortune that all of them had stolen from the Nazis during the war. The plot has more twists than a pretzel and is guaranteed to please, right to the surprise ending.
In the lavishly produced sci-fi movie Elisyum the good guys are the criminals and the bad guys are blond, blue-eyed french speaking civilized wealthy people, living in luxury and perpetual youth, on board a kind of floating gated community in orbit. The year is 2159 and the surface of the earth is a giant slum run by criminals, where the majority live in squalor and poverty. In this dystopian future Los Angeles, the high rises have all been taken over by squatters who have built do-it-yourself shacks and sheds even on the highest floors, giving the whole skyline a cluttered, overrun yet forlorn appearance. It cannot be denied however, that the special effects and computer graphic imaging are really quite superb.
The protagonist, whom we are presumably supposed to identify with, played by Matt Damon, is a convicted car thief who is on parole. He works in a droid factory and has an accident because his wicked, mean and nasty boss mercilessly coerces him to go inside a dangerous area, in order to free a jammed door, which sadly winds up with Damon's character getting a full dose of radiation. The evil corporation is always oppressing the worker so. How awful. So now, since he has so little to lose, he helps the leader of the criminals kidnap the CEO of Armadyne, the droid and weapons manufacturer he used to work for, in exchange for a passage to Elysium, where he can get cured.
This story is so contrived and self serving for the ideology it blatantly projects, that it has all of the objectivity and credibility of a paid political announcement, by the communist party. Why don't these movies ever depict socialists and Marxists as the bad guys and individuals struggling for freedom and independence, as the good? Watching these repulsive convicts, one finds it difficult to identify with Matt Damon's character. It is easier to identify with Jodi Foster's character, who wishes to defend Elysium, despite the considerable lengths the writers have gone to, to try to make her seem unsympathetic to the wretched hoards of the great unwashed, who would probably only destroy everything if they could reach Elysium.
Ironically Neil Blomkamp (District 9) has created an unwitting allegory of Los Angeles today, where the privileged celebrities like Matt Damon, prevail in a kind of Elysium called Hollywood, living their lives out in total luxury, while the black youngsters kill each other, in the streets of L.A.'s slums. In real life Matt Damon will take home millions from this movie.
One of the worst movies of all time. Not to be misunderstood, it is well crafted and appointed but, it couldn't have been made more diabolical if Adolph Hitler or Joseph Stalin had been directing. The movie dwells on the suffering of young women being tortured to such an extent that there is not much difference between Silence and a snuff film. The director and producers of this film should be jailed for a long time because they have exalted the wishes of those who only want to do harm and projected this prayer onto the altar of the silver screen. What ever happened to good old fashioned entertainment?
When Hollywood makes a movie, it can be about everything under the sun except Communism, so how do you deal with a story about a CIA agent (Brad Pitt) who gets captured by the Chinese Communists, in China? Simple, you make the whole movie about flashbacks to Viet-Nam, Beirut and Germany, so you can still have your usual bad guys: Germans, Arabs and last but by no means least, the evil, wicked, mean and nasty C.I.A.; and you don't need to even talk about, the Communist regime in China.
Tony Scott directed and Michael Frost Beckner wrote this white-wash vehicle to illustrate Redford and Pitt's coolness while wearing sunglasses. Old pretty boy Redford is young pretty boy Pitt's controller, who wants to rescue him, before he is executed for espionage by the Chinese Communists. The evil CIA, on the other hand, doesn't want to risk an up-coming trade deal, that the U.S. President is working on, with the Chinese Communist government, so they are looking for excuses to let doll-face Pitt be eaten by the lions, so to speak. Oh My God! So in a film that could justifiably have been made into an expose of Communist humanitarian atrocities, the Beverly Hills left has decided to use it to instead, illustrate the wickedness of the C.I.A., not giving enough support to it's agents.
After all, which is more important; the Communists killing millions of innocent people or the CIA sacrificing a cute pawn, for a political expedient? The flashbacks in the movie are embarrassingly unrealistic, especially the ones in Cold War Germany, which completely neglect to mention the reason for the whole tension, to begin with, the Communist regimes in the Soviet Union and East Germany. These regimes are not even touched-on in this so called "spy thriller". There is absolutely no investment made towards some kind of background story, Redford sends Pitt on a mission to rescue an East German "asset" but, then tells Pitt to drop him, after they are already under way, to the border. This mission is just a side-show for a more important strategic move by Redford, elsewhere in Germany. One shudders to think how people who grew up under Communism, in the former East Germany, who had siblings or loved ones tortured and killed by the Stasi, who are also never mentioned, see this superficial, ideologically twisted bubble-gum piece of film making. What must they think of America?
This film proves that Communism is still alive and well, in Hollywood.