Latest from John Nolte
Deadline Hollywood Daily's Editor-In-Chief Nikki Finke has declared a Red State Alert over the news that documentary filmmaker and Oscar-winner Michael Moore has just been elected to the Academy of Motion Picture Arts and Sciences' Board of Governors. She writes, Hollywood-hating conservatives are going to have a field day with this (And predictably the L.A. Times' Patrick Goldstein knee-jerks with this: You could hear the outcry in conservative quarters from a million miles away.)
If for no other reason than she saves me from having to spend money on a "Variety" subscription, I love Nikki, but this conservative has no problem whatsoever with Michael Moore being elected to the Academy's prestigious Board of Governors, because this conservative believes Michael Moore has earned it.
Yes, Michael Moore is a liar, a shameless propagandist and an anti-American leftist of the highest order. But he's also one helluva talented filmmaker and it would be wildly hypocritical for me to believe or argue that anyone should be blacklisted from AMPAS due to their political beliefs. And that's the only reason I could possibly use to argue against this appointment.
Editor's Note: The following was originally published yesterday at Andrew Breitbart's Big Hollywood blog.
As an admirer of his work, I’ve tried to see things from Polanski’s point of view in the past, but if these charges turn out to be true, it would be harder than ever to defend him. Once burned is twice shy.
What a relief to know Goldstein draws the line somewhere. But he’s not alone. Here’s Jeff Wells:
Editor's Note: The following was originally published at the Big Hollywood blog on Sunday, May 9.
UPDATE: Here’s the new link to Ebert’s post.
When the story broke involving five high school students sent home by school administrators for daring to wear the American flag on Cinco de Mayo, the once universally-beloved film critic Roger Ebert had a choice. He could either side with the students and school administrators repressing free speech or he could side with those having their speech repressed. Not surprisingly (he is a leftist, after all), Ebert sided with the repressors. Worse, with this Tweet, Ebert equated wearing the American flag as just as offensive as wearing the Soviet hammer & sickle.
Today, Ebert responds with the usual leftist refuge of last resort: How dare you question my patriotism!
Must be nice being a leftie and NEVER having to worry about some childish television creator taking a gratuitous shot — from completely out of nowhere — at what you believe in. Not so for we righties. When all we want after a hard day of gay bashing, cross burning and kitten punting is to get lost in mindless entertainment, we always have to worry about stuff like this (see video embed at right).
This is why I stopped watching television over a decade ago. Tired of being insulted. Tired of being disappointed. And you can practically feel the people behind the childish political shot laughing at your Charlie Brown as they once again pull the football away.
“Glee” spent all of last season building up buzz and an audience, and as soon as they get one: POW!
Screw you, righties. We don’t like you and we think you’re stupid for liking Palin.
But it’s more than that. This stuff matters.
Hanks does seem to be a genuinely nice man and the work he’s done to bring American history to life on film is impressive, especially during a time when the singling out of America’s exceptionalism is more and more frowned upon in artistic and academic circles. ”From the Earth to the Moon,” “Band of Brothers,” and “John Adams” are not only artistic achievements, but in this MTV-addled culture, might be the best hope of teaching America’s youth about the unique history and greatness of this nation. And I suspect ”The Pacific,” the 10-part miniseries premiering this Sunday on HBO (which Big Hollywood’s Michael Broderick will cover extensively) will be a worthy addition to what came before.
But when it comes to leftist Hollywood, whenever Tinseltown and America meet, you have to brace yourself for it — and by “it” I mean the leftist sucker punch. Throughout, Hanks sounds perfectly reasonable, intelligent and even patriotic for a couple of thousand words. But of course that’s just the lure to get us on his side before we’re walloped with this left cross: [emphasis mine]
Last night I was on the Stage Right Show with the great Ben Shapiro and he alerted me to this story about Sean Penn’s latest addition to his growing list of butt-fetish statements — and what a sordid history it is: Here’s Penn discussing anal sex on (not safe for work)YouTube, going so far as to suggest his audience “f*ck some sense” into those gay conservatives who dare think for themselves as Log Cabin Republicans. And who can forget this epic passage of perverse anal-pretension from Penn’s 2007 open letter to President Bush:
We cower as you point fingers telling us to “support our troops.” Well, you and the smarmy pundits in your pocket, those who bathe in the moisture of your soiled and bloodstained underwear, can take that noise and shove it.
"…[t]hose who bathe in the moisture of your soiled and bloodstained underwear"?
There just aren’t enough “WTFs” in the whole wide world…
"I’m reminded the term Teabaggers is pornographic. Didn’t know that until MSM told me. Let’s face it: The Baggers own it now." — The latest from Roger Ebert’s [depicted at left in 2003 file photo at right] Twitter, presumably in response to this.
Ebert’s seen a lot of films but obviously hasn’t learned very much from them. When he disappeared into the hospital for all those months, those of us who disagreed with his politics put those meaningless differences aside as we worried and prayed for the robust return of the thumb that had become such a part of our lives. But who would’ve guessed he wouldn’t come out of his near-death experience like the movies taught him to: as a kinder, more understanding, more tolerant and patient man with a new appreciation for the simple and human things in life? No, he went the opposite way and the story of Roger Ebert’s life will now look as though the projectionist got the reels for “Regarding Henry” confused.
It’s been extraordinary to watch this once beloved critic squander all the universal affection and goodwill he had built up over a lifetime in just a few short months. And over nothing. No one bad-mouthed his mother or rang his doorbell and ran. We disagree on the size and scope of the federal government. We disagree over the idea that increased government control will improve our health care. We’re not as enamored as he is with the man currently occupying the Oval Office. Disagree, argue, that’s all fine. But he’s calling us “teabaggers,” and he knows full well what that means. And he’s calling us “teabaggers” because he doesn’t have the guts to come right out and call us “c***suckers.”
Editor's Note: The following was originally published December 1, 2009 at Big Hollywood, where Nolte is editor-in-chief.
Don’t believe for a second that the History Channel — which should now be called The Revisionist History Channel — will be the end of Matt Damon and Howard Zinn’s cinematic ode to trashing America. The obvious next step for the adaptation of Zinn’s “A People’s History of the United States,” will be taken up by nitwit, pseudo-intellectual, America-loathing teachers and professors everywhere – many of them paid by the taxpayers of GodDamnAmerica – who are no doubt panting in anticipation for their first chance to screen this toxic mix of guilt and victimization in classrooms everywhere stocked with young, captive, impressionable minds.
And the film’s producers are showing academia the way with “The People Speak College Tour,” which launched at Boston University November 4th and ends right here at UCLA this coming Friday [December 4].
The budget for "Brothers," per director Jim Sheridan, is $25 million, which probably doesn’t include marketing for promotion and … well, tell me again how Hollywood is driven by profit and not ideology? We’re a month away from 2010 so it’s hard to argue “Brothers” went into production before everyone was well aware that every single war film flopped miserably.
But who does the snob Sheridan choose to blame in advance should his war-themed film flop? Not his own bonehead decision to jump into a genre with a 100% failure rate, not the investors who dove in with him … no, he blames We The American People:
Maybe “epidemic” is a better word.
Each one of the videos below is creepier than the last because the further down you go, the younger the children — brace yourself for kindergartners – except for the last and most disturbing video, which you have to see to believe.
Nothing mitigates director Roman Polanski’s unspeakable crime. Certainly Polanski has dealt with personal tragedy on a scale few of us can understand, but that’s not a license to drug, rape and sodomize a 13 year-old girl. Nor is perceived misconduct on the part of the trial judge, nor is the forgiveness of the victim (who reached an out-of-court settlement with Polanski).
And this may come as a surprise to some in Hollywood, but helming a few cinematic masterpieces doesn’t turn someone who anally raped a child into some kind of tragic hero… In all the revisionist history, the simple fact that Polanski plead guilty to “unlawful sex with an underage girl” is seldom mentioned at the top of the special brand of rationalizations extended to our celebrity class.
Well, finally, after 32 years, justice may be done. At the request of the U.S., the Swiss nabbed the 76 year-old fugitive and may extradite:
Critics love David Letterman. They love him because he’s mean and liberal and does everything they demand: further the leftist agenda through the brutal use of humiliation to target any public figure (or their child) who might derail Leftist causes.
And contrary to conventional wisdom, Letterman’s not edgy. In fact, he’s just the opposite. Doing exactly what those who can criticize you want you to do is not edgy. Kissing the big Manhattan/Los Angeles bi-coastal [rear] of the elite is not edgy. He’s their jester; their puppet. Worse, he’s about as funny as watching your old, half-deaf Uncle intimidate, humiliate and demean your Aunt and then smile at the rest of the family as though he’s just reaffirmed his manhood. Letterman reminds me of the Jason Robards character in “Parenthood” in more ways than you can imagine. In other words, he’s a jerk, but in a sad end-of-his-life kind of way.
Oh, and how the elite critics resented nice ole’ Jay Leno for cleaning Letterman’s ratings’ clock all those years. And now that Jay’s back eating up primetime, they couldn’t wait to jump all over him with sniffing disapproval fed through a filter of wrist-flicking dismissal.
After exactly one show the knives came out:
Yesterday, Big Hollywood's Chris Yogerst weighed in on Greg Gutfeld’s criticism of Hollywood — specifically Greg’s criticism of “G.I. Joe,” Stallone’s new Rambo film and “Inglourious Basterds” — for choosing politically correct villains over the real ones we face today. Chris is correct that turning Nazis into Jihadists is not something a filmmaker like Quentin Tarantino would do. If he has any, Tarantino’s politics have remained hidden in his work. Up on that screen the only thing he advocates for is overlooked 70’s B-movies and audacious entertainment. However, that doesn’t make the director’s decision to use Nazis any less politically correct or Hollywood’s moral cowardice in this area any more defensible.
Where my colleague Chris and I most disagree is with the assertion that Hollywood chooses “politically correct” or “safe” villains because Hollywood is all about the money and therefore wants to appeal to audiences who care what the villain looks like:
The film industry, like any other business, generally wants to appeal to the largest audience possible. Picking “safe” enemies is one way to do that.
Two of the most profitable films released this past year were “Gran Torino,” where our hero confronts black and Asian street gangs, and “Taken,” where the henchmen are Muslims and the arch-villain Middle Eastern.
With a $33 million production budget, “Torino” made nearly $270 million worldwide. On a budget of just $25 million, “Taken” made an astonishing $145 million domestically and another $79 million overseas. And before you give Hollywood credit for producing two films with politically-incorrect villains, keep in mind that both are notable exceptions; that only a Clint Eastwood could’ve made “Torino,” and “Taken” was produced in France, of all places.
In today’s L.A. Times director Oliver Stone discusses his upcoming documentary “South of the Border,” about the “warmhearted” Hugo Chavez. [emphasis added]:
Oliver Stone is shown warmly embracing Hugo Chávez, nibbling coca leaves with Evo Morales and gently teasing Cristina Elizabeth Fernández de Kirchner about how many pairs of shoes she owns. …
“I think he’s an extremely dynamic and charismatic figure. He’s open and warmhearted and big, and a fascinating character,” … ”But when I go back to the States I keep hearing these horror stories about ‘dictator,’ ‘bad guy,’ ‘menace to American society.’ I think the project started as something about the American media demonizing Latin leaders.
Guys like Stone are forced to rationalize that the American media is right-leaning in order to avoid their head exploding due to an acute case of FacingTheTruth-itosis. But maybe the doc will be more critical than we’re led to believe in this article. During their warm embrace, it’s possible Stone whispered hard-hitting questions in Hugo’s ear about reports such as this from the not-so-conservative Human Rights Watch.
The first reaction to a story like this is get wrapped ’round the axle of HBO’s hypocrisy, so let’s get that out of the way: Of course no Republican who had behaved in the same manner as ”sex columnist” Dan Savage would get a shot at an HBO show. But there’s really no hypocrisy when you realize that Bill Maher’s network is waging ideological war. Through that prism of clarity, the network’s desire to do business with and thrust Mr. Savage further into the American cultural/political landscape is perfectly consistent.
For those of you unfamiliar with Savage, here’s an excerpt from a Salon piece he wrote in 2000 titled “Stalking Gary Bauer.” The set-up was simple, Savage volunteered at Republican Gary Bauer’s presidential campaign headquarters and decided, "...if it’s terrorism Bauer wants, then it’s terrorism Bauer is going get[.]":
Naked, feverish and higher than a kite on codeine aspirin, I called the Bauer campaign and volunteered. My plan? Get close enough to Bauer to give him the flu, which, if I am successful, will lay him flat just before the New Hampshire primary. …
I went from doorknob to doorknob. They were filthy, no doubt, but there wasn’t time to find a rag to spit on. My immune system wasn’t all it should be — I was in the grip of the worst flu I had ever had — but I was on a mission. If for some reason I didn’t manage to get a pen from my mouth to Gary’s hands, I wanted to seed his office with germs, get as many of his people sick as I could, and hopefully one of them would infect the candidate.
If you think the national news media is biased, spend some time rummaging through the world of entertainment news. Today’s L.A. Times piece about the marketing of “G.I. Joe” has an especially priceless whopper:
Yet overseas, where big action films often earn 60% or more of their ticket sales, rah-rah American sentiment doesn’t play well. So those references have vanished from the advertising.
The Great Lie told by Leftist Hollywood and the media who shill for them is that in order to make money the likes and dislikes of an “international” audience must be considered, and international audiences loathe Americanism.
Let’s see how that’s working out with some overseas numbers for a few “big action films.”