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Adrian Sol
Daily Stormer
September 5, 2018
A film about two racist cops who go around beating up and humiliating minorities? And they’re the good guys? There is a God after all – and he’s Alt-Right.
Mel Gibson and Vince Vaughn are widely known to be the two most right-wing Hollywood actors – by far.
Though these days, James Woods is clawing his way up the ranks.
Either way, the fact that they’re co-starring in a new movie is already great news. The fact that that movie is the White nationalist version of Inglorious Basterds brings the whole thing to another level though.
Two years ago, the Venice Film Festival hosted the world premiere of Hacksaw Ridge, a World War II drama directed by Mel Gibson. The film marked Gibson’s first turn behind the camera in a decade, since he’d drunkenly slurred “the Jews are responsible for all the wars in the world,” pleaded guilty to battering his then-partner Oksana Grigorieva, and was caught on audio saying she was “asking” to be “raped by a pack of n****rs.” Despite never demonstrating much in the way of genuine contrition, he was treated to a prolonged standing ovation on the Lido—the opening salvo of a “comeback tour” replete with rave reviews, a $175 million box office gross, and six Academy Award nominations. This fuck you attitude, coupled with a rich history of racism, misogyny and homophobia, has elevated Gibson to folk-hero status among the far-right. He is their Oprah.
And they’re going to be very happy with his new film.
Damn. I fucking wish Mel had his own daytime TV show like Oprah does, and he can review books and bring guests on and shit.
I could watch him twirling his beard all day, as he reviews Ford’s “The International Jew.”
Making its world premiere in Venice, Dragged Across Concrete’s premise is as follows: a pair of detectives, Brett Ridgeman (Mel Gibson) and Anthony Lurasetti (Vince Vaughn) are caught on tape applying excessive force to a Hispanic prisoner in handcuffs, in the form of Ridgeman grinding his boot into the man’s neck until it emits a cracking sound. (During the bust, Ridgeman and Lurasetti also mock a scared, naked Latina suspect, claiming they can’t understand what she’s saying due to her accent. Both scenes are played for laughs.) With the tape destined to go viral, Ridgeman and Lurasetti are suspended for six weeks without pay, though the chief of police (Don Johnson) is sympathetic to their plight, delivering a rambling sermon about how being branded a “racist” today is akin to getting labeled a “communist” in the 1950s—or, to quote the president, this is a WITCH HUNT! and these two violent cops are the real victims.
I- I have to watch this movie.
Scenes of cops brutalizing and ridiculing brown people as comedy?
Is this even allowed now in Hollywood? I guess not.
Though a six-week suspension seems like a mild punishment, especially considering this is the third time Ridgeman’s been busted for using excessive force, he is in desperate need of cash. You see, his wife Melanie (Laurie Holden) has MS and his daughter is bullied by black kids on her four-block trek to school. Worried that those same black kids will rape their daughter once she matures, they vow to move to a better neighborhood (presumably one with less black people). “I never thought I was a racist until living in this area,” Melanie says, her husband nodding in agreement. So Ridgeman cooks up a plan to rob an out-of-town crook, and ropes in Lurasetti with a Forgotten Man spiel: “I don’t politick and I don’t change with the times,” he explains, lamenting how that matters more in today’s world than “good, honest work.”
Damn. It looks like the whole movie is full of frog whistles.
Things don’t go as planned, of course.
Dragged Across Concrete is written and directed by S. Craig Zahler, whose previous film, Brawl in Cell Block 99, also bowed in Venice. Unlike Brawl, a slick work of poetic brutality about a hard-on-his-luck pugilist (Vaughn) who’s forced to smash in skulls to save his pregnant wife, Zahler’s latest is a cold-blooded saga that revels in the violence it inflicts on women and minorities, in particular. Its two most sadistic scenes consist of a newly-minted mom whose fingers and face are shredded off with a machine gun, and a black man (Michael Jai White’s Biscuit) who is graphically disemboweled in order to retrieve a swallowed key. After removing his heart and intestines, a white henchman warns another not to puncture his liver because “it stinks… black guys especially.”
I’m feeling so refreshed reading all this.
There’s a lot more objectionable nonsense in this film, from Gibson and Vaughn’s characters prattling on about how gender lines have been erased, to a black character (Tory Kittles’ Henry Johns) whose grammar is constantly corrected by the white men around him, to a black woman who rails against her “cock-sucking faggot” of a husband for leaving her for another man.
Okay, so I have a vague suspicion that the ending will somehow have a subversive twist to it. After all, the writer and director is some sort of weird satanist Jew.
Craig Zahler.
However, he’s a Jew who apparently dgaf. In the previously linked interview, he says he doesn’t care about Mel’s past, and regularly enjoys works of art by anti-Semites like Wagner and Charles Dickens.
He also says he doesn’t like movies that shove “tolerance” crap down viewer’s throats.
“Lack of pretense couldn’t be more important to me in a picture,” he continues. “I suppose that’s the movie that isn’t the genre movie—something like an Academy Award-winning Moonlight or 12 Years a Slave. I think that both of those are pretty good movies and have some real strong stuff in each of them. But to me, these are dramas, and that’s a genre. In particular, there’s an agenda that’s driving both of them, which in general is not my favorite kind of picture [where] the message is … subtler and mixed in, rather than, ‘Here’s what this movie’s about, and it’s going to let you know, be more tolerant of this and bullying is that and accept this other group.’ I understand that that serves a point for people, and that drives a lot of people to make movies, but it doesn’t drive me to see them, and it isn’t where I come from.”
One of his previous movies, Bone Tomahawk, was about cowboys slaughtering vicious cannibal natives.
So his schtick seems to be making hyper violent, politically incorrect movies. This might be surprisingly free of politically correct spin, as it seems to rub against this Jew’s “esthetic.”
