Tag Archives: Margot Robbie

Alfred Eaker's Fringe Cinema

ALFRED EAKER VS. THE SUMMER BLOCKBUSTERS: ONCE UPON A TIME IN HOLLYWOOD (2019)

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is claiming (again) that he only has a single film left in him: an R-rated “Star Trek.” Of course, volunteered to revive Captain Kirk. Paramount needs to jump on this. If anyone could breathe life into that long dead formula, it would be Tarantino. As for Shat, perhaps he would learn something, even at his age. When Shat took his Star Trek V idea of the Enterprise crew battling God to the studio, Paramount, Gene Roddenberry, et. al. shot back: “They can’t meet God!” Shat lost his balls. He should have grabbed Tarantino, then because this is a filmmaker who does not let history, social norms, or formula expectations dictate to his art.

Once Upon a Time in Hollywood posterAfter his films with Sergio Leone, composer Ennio Morricone became such a cult figure that it wasn’t long before wannabe film composers began paying homage to him with one yawn-inducing, predictable tribute after another. Of course, most attempted to solicit his endorsement, and received blank stares and unanswered letters in reply. That is, until jazz composer John Zorn came along and filtered Morricone through snippets of Carl Stalling, video game music, and his own sensibilities. Morricone was delightfully startled, breathed a sigh of relief, and gave a resounding accolade, noting that finally here was a worthy tribute, because Zorn refused to treat him with reverence. Zorn was as radical and revolutionary as Morricone himself.

This is what Tarantino does consistently. The title of his latest is no coincidence, paying his homage to cinematic idol Leone. Tarantino clearly has an authentic love of 1960s and 70s grindhouse cult film as well; so much so that he is no mere imitator, and this makes him one of the most interesting filmmakers of the last 25 years.

As in Inglourious Basterds, Tarantino takes the role of a celluloid antifa and wallops the fascists. “Let’s kill Nazis,” goes the chant, probably much like the American troops sang  on D-Day (one must ask: when did hating Fascism become a bad thing?), but he has a new Fascist offshoot target as well: cultists. And, as before, he rejects the way his source material ended, and so crafts a new dreamscape ending. In this, Tarantino reminds me of an artist named Antonio Adams who created adult sculptures of JonBenet Ramsey and Emmett Till, allowing them to grow up in his sculptures, denying their fate. So Continue reading ALFRED EAKER VS. THE SUMMER BLOCKBUSTERS: ONCE UPON A TIME IN HOLLYWOOD (2019) →

Alfred Eaker's Fringe Cinema

ALFRED EAKER VS. THE SUMMER BLOCKBUSTERS: SUICIDE SQUAD (2016)

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It’s fairly clear now that the DC fanboys are, in some way, shape or form, related to Trumptards. They see a vast conspiracy, most likely one that is orchestrated by the shadowy Illuminati, whose nefarious aim is to overthrow the world with mind control. These are the same invisible Zionist-ran, Koch-funded demons who manufactured the holocaust lie; conspired with the Knights Templar to hide Mary Magdalene from history; orchestrated 9/11; fabricated the Sandy Hook massacre; discredited Sarah Palin, Mike Huckabee and the Duggars; are trying to rig and steal the election from Lord Trump; and are a front for Rotten Tomatoes, whose critical pawns give bad reviews to beloved deities who wear their underwear outside their pants.

Never mind that Suicide Squad writer/director David Ayer has never produced anything worth a damn, and don’t be fooled by the same Rotten Tomatoes 90 % plus ratings for shows like “The Flash,” “Arrow,” “Supergirl,” The Dark Knight, “Lois and Clark,” or Superman II. That’s a well-manufactured plot meant to distract us from their depraved intent of usurping our funny paper religion.

Still from Suicide Squad (2016)Fanboy thugs aside, Suicide Squad has reached a new low for the DC universe. Of course we expect a darker hue from a suicide squad, but Ayer and his cult seem to take the “suicide” part a tad too literally. Now, before DC fanboys add me to their most hated list, I should add that when it comes to DC VS. Marvel, I’m DC by a considerable stretch. I have unending affection for these classic characters, adorned in primary colors, who are entertaining symbols giving us a shred of hope in this hellhole. Superman, by far, is my favorite. He set the model and is what a superman should be—a trusted paternal figure who will get a cat out of a tree. He was never better than in his original incarnation in Action comics, the Fleischer shorts, and under the auspices of George Reeves (his was a Superman who tapped into Wyatt Earp, and even exercised gun control to put bigots in their place. A  retrospective on that innovative series is on my own blog). The Flash—with his red suit, sense of humor, ability to weather all the tragedies that fate could muster—Green Lantern, and Green Arrow all have had a secure place in my Christmas stockings over the decades. Now with that out of the way: Mother of Mercy, are we really this bankrupt?

The dyed-in-the-wool defense is “well, that’s my taste, I was born with it, and nothing I can do about it.”

B.S. Our tastes change in all things. We certainly weren’t guzzling coffee in our adolescence, and growing tastes have placed the Beatles above Elvis, Karloff above Lugosi, and Bing Crosby’s jazz-tainted velvet pipes above Sinatra’s pop-flavored silvery whine. Taste is a reflection of our openness and willingness to be more than what we know. Taste defines us.

Does Suicide Squad reach the nadir of Batman v. Superman? Well, no it doesn’t. I doubt (and hope) we’ll never be subjected to anything so Continue reading ALFRED EAKER VS. THE SUMMER BLOCKBUSTERS: SUICIDE SQUAD (2016) →