Night Watch

Russian Supernatural Horror. Okay, this is a vampire movie that has some cool moments in it, and was done for an amazingly small amount of money 4.2 million. It looks almost as big as Underworld 2. I was amazed. It is a very convoluted and detailed story about the forces of lightness and forces of darkness held in balance through the ages, based on some ancient truce made by the two warring kings of each side. The emphasis is on choice, and how everyone must choose for themselves which side to be on, and these forces cannot violate that free will. It is a Manichean Dualistic worldview that understands spiritual reality as two equally opposing forces in a perpetual struggle for the souls of mankind.

And there is a prophecy of a Gnostic redeemer who will come one day and choose one of the sides, who will it be? So, very Gnostic. And quite frankly, it was a bit too esoteric and detailed for me to follow. But there are some very cool things that happen in it. For instance, the very beginning starts out with a young man going to an old woman in present day to put a curse on his unfaithful girlfriend pregnant with another man’s child. This lady turns out to be a modern day witch, and it’s all very Jean-Pierre Jeunet style in its gothic quirkiness. Very interesting characters who are not all beautiful, as in Underworld. I like that about foreign films.
So anyway, this old lady starts to curse the woman and her unborn child after telling him it is a “sin” to kill the unborn. So, then the guy yells stop because he can’t bring himself to do it, and these spirit beings stop her from clapping her hands to finish the curse and the baby is safe.

So, this guy goes on to join the forces of light. Meanwhile, the forces of darkness are depicted as vampires. So by the time the hero has to help this kid twelve years later who is an “Other,” that is, he is sensitive to the spirit realm, the hero comes to realize that the kid is his own child. The girlfriend was not pregnant with another man’s child, but with his own! But for some convoluted reason the hero is deceived into thinking he must kill the kid for the good, and is stopped in mid stride by the bad guy. Then the child asks him why was he trying to kill him, and the hero replies that he would never try to kill him. To which, the child replies that he did try to kill him, TWELVE YEARS AGO when he used the witch to curse his unborn child. This desire to kill his own child is what causes the child to go to the forces of darkness instead of light. And that, my friends, is a VERY powerful life affirming story. Three cheers for the Russians!

Firewall

Suspense Thriller. Harrison Ford as a computer security executive for a major bank whose family is kidnapped by a bank robber who wants Ford to break through the bank security for him or his family gets killed. This is a formula thriller, but I loved it. And particularly the very strong value that the story incarnates on a personal as well as societal level: FIGHT TERRORISTS/CRIMINALS TO THE DEATH, DON’T SUBMIT TO THEM. Let’s Roll!!

Underworld: Evolution

Supernatural Horror. A sequel about Vampires versus werewolves that quite frankly, I could not describe because it was too complex too follow.

I don’t have much to say here. It was okay as far as sequels go, but it was excessively violent, as sequels often go, and too complex to follow, as I said. The first one was clearly about racism and I thought was very intriguing, but this one, ah, whatever.

Munich

International Espionage Thriller. “Based on true events,” this is a self-loathing Jewish “Godfather” interpretation by Spielberg of the Israeli assassination of terrorists in response to the Munich slaughter of Jewish Athletes in 1972. Movies do not happen in a vacuum. Period pieces are ultimately interpretations of the present by using the past as an analogy, and this movie is no exception. It is more than an anti-Israel polemic about Munich, it is an attack on the American policy of hunting down terrorists in the wake of 9/11. In the film, one of the characters says, “What happened in Munich changes everything.” This is an obvious reference to the oft-quoted notion that this is a different world since 9/11, that 9/11 changed the way we as a nation respond to terrorists because of their cowardly cruelty and evil in killing innocent people in the name of Allah.

This movie is a shocking piece of insanity that concludes that hunting terrorists breeds terrorist attacks and perpetuates a “cycle of violence” and creates monsters like Osama Bin Laden (In this story, the claim is made that Carlos the Jackal came into being in response to these hits on evil criminal terrorist cowards—yeah, right). It is an attempt to establish moral equivalency of the US and Israel with evil criminal terrorist cowards. There is a cut that shows the Israelis going over the list of evil criminal terrorist cowards that they are about to kill, just after we are shown the list of innocent Jewish athletes targeted by the evil criminal terrorist cowards, as if this is the same kind of hit list. Another Jew says they won’t win unless they “learn to act like them.” Golda Meir is quoted as saying something she would never have even thought, “Every civilization finds it necessary to negotiate compromises with its own values.” This is supposed to somehow indicate that the Israelis considered what they were doing was wrong, but did it anyway. The reality is that it is NOT a compromise to kill evil criminal terrorist cowards, but it is the incarnation of moral justice for a sovereign nation to do so.

Interestingly, “justice” is a concept that is never even addressed in the movie. The pursuit is pictured as revenge and bloodlust of people like the South African convert who says, “the only blood that matters to me is Jewish blood,” thus making the Israelis out to be racist Nazis just like the evil Palestinian criminal terrorist cowards who hate Jewish blood. A key scene where the Hero has an argument with a PLO member who does not realize he is a Jew tries to redefine evil criminal terrorist cowards as merely wanting a place to call home, “home is everything.” Funny, how the storyteller leaves out an important bit of factual information that the real desire of Palestinian evil criminal terrorist cowards is to, and I quote from the Palestinian evil criminal terrorist cowards themselves, “Drive the Jews into the sea.” This is not some secret plan that nobody knows about, its documented all over the place, and reinforced every time in history that the Israelis would give in on negotiations and the Palestinian response would not be rejoicing but another murder bomber.

But there is an unwitting dialectical tension here, because Spielberg tries to show that killing evil criminal terrorist cowards breeds more killing by showing televised historical events that occurred in response to the assassinations. But what Spielberg does not seem to notice is that the evil criminal terrorist cowards respond by hijacking and killing innocent people. As if there is any comparison. Oh, so let’s not execute capital criminals because look at how criminals respond to law enforcement by engaging in more crime. It’s interesting that the movie portrays most all the evil criminal terrorist cowards as “normal” men being nice to people, teaching literature, being nice to his family, etc. so that it would be questionable as to who they are killing. What he should have done was that effect done in Run Lola Run, where you would show snapshots of each of these evil criminal terrorist cowards killing people, plotting their evil, making their bombs, killing Jews etc. But of course he doesn’t, that would show that it was justice and that these evil criminal terrorist cowards deserved it, and we can’t have that confusing concept enter into the discussion.

It is certainly bordering on lunacy to suggest that Israel should not respond to evil criminal terrorist cowards and that we should not fight crime because it might make criminals mad and they might do more crime in response. Since there is no nation where evil criminal terrorist cowards reside, and they parasitically and hypocritically live off the societies that they seek to destroy, then there is no other moral way to fight them than through international espionage. I think some of the truths that come through this otherwise politically correct drek is that justified killing does affect you negatively, regardless of its righteousness. The hero gets paranoid that others are trying to kill him, just like he is trying to kill others. He ends up distrusting Israel itself, believing that it will kill him because he knows so much and after all, Israel is just like the evil criminal terrorist cowards, right? Interestingly, Israel did not kill him. And they always sought to avoid killing innocents. What does that tell you? Maybe, just maybe, there is a difference between evil criminal terrorist cowards and imperfect nations seeking justice and righteousness. Another funny contradiction in the logic of the film is that the Jews are portrayed as stereotypical “moneygrubbers” who are worried about getting receipts and talking about the high cost of killing people, as if this is immoral reduction of people to objects of money. But then, the hero protects his information source and is loyal to them over his country, yet that source is the epitome of people who worship only money and no ideology. As if it is good to favor no government and betray anyone and everyone for money. This source betrays ALL sides to each other for money, as well as tipping off the hero’s whereabouts to his enemies. So this STUPID hero kills a whore who turned in his friend for money, but protects the worst of them all, the betrayers of everyone for money. You know, even though this story was an attempt to prove moral equivalency, I was unmoved by the attempt. Every time an evil criminal terrorist coward got assassinated, I cheered and felt justice was done. And I was affirmed that this is exactly how we need to respond to evil criminal terrorist cowards, the Winston Churchill way, not the Neville Chamberlain way of appeasement.

The Hurt Locker

This docudrama type movie is about life in an American bomb squad in Iraq. As men diffuse IEDs they face the hardships of war. Its premise is listed in a quote at the beginning of the film saying “war is a drug.” The movie then follows a team of soldiers led by a wild man individualist Texan who lives on the edge of danger in defusing bombs. Half of the fighting is justified and half of it is confused delusion, as the lead wild man gets them into trouble with his “cowboy” antics. I think it is ultimately an anti-war film because at the end, the lead character cannot go back and live with his family. He tells his little daughter that as you get older you love fewer and fewer things, until you only love one thing. And we see that he doesn’t fit into the “insane” consumerist America of a thousand cereal choices in the supermarket (Is this what we fight for?). And we see he cannot connect with his wife or daughter anymore, and after saying that statement that you only love one thing, we see him back on another tour willingly. So according to this movie, being a soldier destroys your ability to connect with the humanity of family and turns you into a machine that can only relate to one thing: war.

King Kong

Epic Action adventure. The remake of the famous story about the huge ape who falls in love with a woman. All right, I loved it. The first hour was 2x too long, cheesy acting, poorly written with very unbelievable obstacles in each scene that made it feel inauthentic. And Adrien Brody as the “human” love interest and Jack Black as the greedy movie producer were serious miscasts in my mind. They cheapened the class of the film. But once Kong enters, the exciting story begins. The middle hour may well be the most amazing CGI dinosaur and creature feature movie ever. And I am a huge fan of the original. It inspired my love for movies when I was a kid. So despite its flaws this remake is a worthy remake in my mind that brings the story to a whole new generation in a legitimate way, unlike remakes of Psycho and others. Okay, the power of this story is in the mythic nature of Beauty and the Beast. The reason it rings so true is its metaphoric analogy to how beauty tames or “kills” the beast in the hearts of men. This theme is particularly meaningful to me because I absolutely love the beautiful. Kong is of course the absolute extreme of the “animal” nature in men, but as such, I really relate to him, with how my wife’s presence in my life tames the negative wild side of me in some ways. God, however is the ultimate tamer of my sin nature, but the beauty of my wife (and not merely her outward, but also her inward beauty) is a means of grace for me. This is the power of beauty for affecting us. And this understanding I think is neglected by many in a world of modernity with its rationalism and obsession with logic and science. Beauty can be just as much a carrier of truth as logic or reason. But our modern minds have been raped by Enlightenment Rationality and as the Romantics suggested, we reduce everything to machines and mathematics and chemicals, thus losing beauty, and with it, truth. Anyway, in this story, the point about beauty is made very clearly when Kong sits on his ledge overlooking Skull Island and the vast ocean and he just looks out and Ann Darrow, his captive, motions to him with her hand to her chest, a gesture that means “Beautiful” obviously a reference to touching the heart. Later, on the Empire State Building, Kong looks out over the vast sea of New York and does the gesture for beauty to her. A very touching and powerful moment of grace. The weakness of this incarnation of Beauty and the Beast as compared to the original, however, is that at the end of the story, Kong is still just an ape, an animal, and as such is not created in God’s image, and cannot make true spiritual human connection – which is why Jackson has a human love interest for Naomi Watts (Ann) in Adrien Brody, who overcomes his “male” animal-like inadequacy of not communicating, and runs into her arms after Kong dies. It is in the realm of the human where eternal transcendence is achieved. HOWEVER, seeing this as myth or metaphor lightens the load a bit. It is not realism. I just prefer the original Beauty and the Beast in its humanity.

The Lion, The Witch, and the Wardrobe

Mythological fantasy. A phenomenal adaptation of the C.S. Lewis classic. In fact, I would say that this is one of the few movies that are better than the book. I was not impressed with the book, but I teared up throughout the film because of its deep magic, that is, its mythological incarnation. Lucy is adorable. One of my favorite moments is when she smiles at her shocked unbelieving siblings, now in Narnia for the first time and quips satirically, “Don’t worry, it’s just your imagination.” The Ice Queen is wickedly well performed, and Aslan was not safe, but good. What struck me in the film was its positive Medieval culture of chivalry. In this, the filmmakers were true to Lewis’ own English background, as well as his degrees in Medieval Romance. It was so refreshing to see honor, courage, and duty in fighting against evil as the means to freedom and justice. Aslan allowing Peter to kill the evil wolf with his sword is a rite of his manhood and becoming a knight of honor. Boy is that politically incorrect – and truthful. And before this event, earlier in the story, Susan had tried to get Peter NOT to fight the big bad wolves as they surrounded them, but rather to “listen to them,” because, “just because you have a sword, doesn’t make you a hero.” Does that sound like the kind of politics that is going on in this world right now as fools seek to reason with terrorists and understand them and bow to their demands rather than kill them. In one of the beautiful key moments of the film, the White Witch appeals to the Deep Magic that is “more powerful than any of us, that rules over all destinies, yours and mine,” and claims that the law demands blood for true justice. This is certainly abhorred as primitive barbarism by those in our society who would blame victims, (unless it’s racism), seek to understand evildoers (like Islamofascists), rather than render justice, and think that letting criminals go because they “feel” sorry or have been good boys in prison is somehow justice. This movie shows that the Law’s requirements are eye for eye, and eye for eye is NOT unjust or unfair, but truly the ONLY fairness, otherwise evil reigns. It is the rejection of eye for eye which is barbaric and destroys civilization because lex talionis is simply a way of saying as we do that “the punishment should fit the crime.” Lex talionis is NOT a justification of revenge, it was meant to keep sinful people from extracting too much in punishment than what was deserved. Which leads us to the Christian mythology in the film. It was not strangled. Of course, the most primary essence of Christianity is the substitutionary atonement of Christ for his people. We are forgiven not because God just waved a hand and let criminals of the universe go – that would be cruelty to the victims. Rather, Jesus took upon himself the death penalty for all believers. In this and this alone is the philosophical and theological conundrum of love and justice perfectly united. God’s Law of justice requires the penalty is paid (justice), but his love is displayed in suffering that penalty on behalf of his people (Romans 5:6-10). This is called the Law and Gospel that is required for redemption to be sufficiently communicated. Like a mirror, God’s Law shows us we are guilty of sin, criminals of the universe (Romans 3:19-20). But the Gospel is the Good News that Jesus paid that penalty to free us (Romans 6:23). As Aslan explains, “when a willing victim who committed no treachery would take the place of a traitor,” then the “Deep magic” is fulfilled, that is, the Law is fulfilled in the sacrificial atonement of Christ. Some of the most powerful analogies to the Gospel are in this film. Of course, the Stone Table of sacrifice is a pagan symbol of appeasement to the gods, just like the crucifix was a Roman pagan mode of punishment. Aslan says nothing and is shaven before killed, just like Christ said nothing and was beat and bruised before being killed (Isaiah 53:5-7), The White Witch, before killing Aslan, says mockingly, “Behold, the Great Lion,” just like Christ’s persecutors mocked him saying, “Hail, the king of the Jews.” (John 19:3) There is an earthquake when Aslan raises from the dead, just like there was one at Jesus’s tomb when he was resurrected (Matthew 28:2). Oh, and it was two girls there when Aslan raised, just as it was the women who saw Christ raised (Matthew 28:1). When Aslan kills the White Witch, he says, “It is finished,” the final words of Jesus on the cross when salvation was secured and he destroyed the power of death and the devil (John 19:30; Hebrews 2:14). Aslan breathes on the statues to bring them to life, just like Jesus breathed on his disciples to give them the Holy Spirit that raises them spiritually from the dead (John 20:22). They left the phrases, “daughters of Eve,” and “sons of Adam,” which are references to our Genesis and Original Sin (Romans 5), but also the glory of man in the image of God as children of Adam and Eve (Acts 17:26). I loved a little tidbit they put in to mock the modernist demythologizing of religion. In Narnia, the “land of myth,” Lucy looks at some books, and one of them is titled, “The Myth of Man.” What a great jab. Two tiny disappointments: They mangled the classic phrase of Aslan, “Is he safe?” “Oh no, but he is good,” into “He’s not a tame lion, but he is good.” And also they only mentioned the phrase of Narnia, “It’s always winter but never Christmas” only once. Yet it should have been a repeated phrase because of course it is symbolic of how godless man seeks to take God out of society. Anyway, Lewis and Tolkien are two of the most potent forces against modernity in making it safe to “believe” again by showing the mythology of modernity as ultimately evil and destructive. I’ll have a booklet or a book out this year if you want to read more about the idea of using mythology or pagan mythological elements in Christian storytelling. It will be called, “Word Pictures.”

A History of Violence

Viggo Mortensen plays a diner owner, Tom Stall, in a small town whose act of heroism puts him in the news and reveals his whereabouts to the mob, who happen to know his true identity as a mob hitman on the run from Philly. The mobmen come after him and taunt his wife and kids until he fights back and returns to Philly to settle his score. This is Cronenberg, so it is graphic. It’s actually a rather redemptive tale of identity that contrarily wallows in gratuitous graphic physical pictures of violence and sexuality. I get the sense that this contrast of exploitation with strong moral underpinnings is more a reflection of Cronnenberg’s own struggle of two natures, one to the flesh and one to goodness, than it is a justifiable aesthetic of hard hitting morality. Anyway, Tom’s journey is one of rejecting his past of violence and embracing a normal life of mundane living – and enjoying it. This is the profoundly moral aspect of the tale. Unlike the sniveling regretful snitch in Goodfellas, who grudgingly lived a “normal” life under the witness protection plan, we see in Tom a hero who embraces goodness AS good, and kindness AS preferable. Quite a respectable irony in a movie like this. One is reminded of the haunted soul of William Munny in Unforgiven, who must become his old “evil” self in order to defeat evil. This is the same for Tom, who has an almost dual personality and turns it on and off, but with somewhat more control than Munny. The problem is that Tom did not CHOOSE his life of normality. He ran from the mob NOT out of a desire to change, but out of mere self-preservation because he screwed up a situation. He was hiding in normality, NOT desiring it. It wasn’t until he met his wife that he was redeemed in his character by love. So even though Tom has changed in some way, his current desire to be a different person is not equaled by a desire to right his wrongs or even pay for his sins, but rather by a desire to run from his past. (He blinded a guy with barb wire, which ruined his brother’s chances to move up as kingpin). So of course, his past comes looking for him in the form of the mob who wants payback (the blinded Ed Harris). So Tom must go back to face his mob past and ends up killing the men (in self defense) who want to kill him, thus atoning for his sins and returning to his small family life, begging his family to allow him back in. This very family that he betrayed with his secrets, but certainly without malice. Now, he proves he really does want to be a new man, because he comes back out of choice. So Tom’s redemption is in his seeking to be a new man of goodness, not evil, and he is tested by this and proves enduring in his intent. Perseverance of the Saints. But is Tom truly atoned for? What of all the men he killed in the past? Is it justice for their blood to cry out from the ground unavenged? Is this an example of grace? A man allowed to avoid payment for his sins? I think this is what unsettles me about the story. I see true grace as changing a man to accept responsibility for his past. I saw a news story about a man who was acquitted of a murder 25 years earlier, who after becoming a Christian went and confessed to the crime and did his time – 25 years later. Now, this is grace to me. This is true redemption, true change of natures. Forgiveness that makes a man courageous enough to face the legal consequences of his behavior in order to start anew, and out of love for the victim. Well, the movies don’t always work as well as real life I guess.

The Hitchhiker’s Guide to the Galaxy

Boring British stuff. Although it has my favorite character name of all time, Zaphod Beeblebrox. I just love saying that name. Anyway, this story is a road trip movie without much real heart to keep interest. I fell asleep during it. Earth is destroyed to make way for an intergalactic highway, which is clever. But then the escaping hero jets around the universe with his hitchhiking friend meeting all kinds of strange aliens until he can finally get together with the girl he had a crush on. What makes this movie particularly distasteful is that it makes mockery of man’s quest to find meaning and purpose in life through transcendence and religion, in the tradition of Monty Python, and ends up concluding that it’s just in romantic love that there is any meaning. This humanistic romanticism is unsatisfying and insulting to the truth. It’s the attempt to satisfy man’s internal need for the eternal with the temporal. It doesn’t hold water and ends up unsatisfying, as are all naturalistic reductionist love stories. Woman and man cannot fill the need for the eternal God. The finite cannot meet the need of the infinite.

Lord of War

Kind of Recommended with qualifications. A black comedy polemic about arms dealers. Nick Cage is an amoral arms dealer to whoever can provide money, regardless of cause. As he pursues his “American Dream” with the help of his brother, played by Jared Leto, his brother cannot take it and eventually dies trying to do the right thing. Now, I don’t entirely agree with the moral equivalency argument or worldview of the storyteller, Andrew Niccole, but I respect his storytelling and thought he did a great job of presenting his viewpoint, and made some great points with very witty words. Though I am not sure he realizes how contradictory he may have been about some of them. And the narration made it too heavy-handed and was a bit overdone. He has a great opening that follows the manufacturing, production and distribution of a single bullet from arms manufacturer all the way to the gun in some African rebel’s hands as he shoots it into the head of an innocent young boy. VERY CLEVER and very enticing of a creative point. The whole story takes the hero as an anti-hero really, who is only interested in money and contrasts him with others like a CIA operative who only sells arms to “take sides.” This CIA agent answers the charge that he armed both Iranians and Iraqiis with, “Did you ever think I wanted both sides to lose?” Some great dark comedy lines about the immorality of the heros’ alleged ammoralism: “You’re not a true internationalist until you sell guns to those who kill your own countrymen.” “I’m an equal opportunity merchant of death.” “The real weapon of mass destruction is the AK47, not the nukes,” because nukes sit in silos, but the body count of AK47s surpasses anything in the world. “Often the worst atrocities occur when both sides call themselves freedom fighters.” (Of course, calling yourself a freedom fighter is not the same as being a freedom fighter. Some really are and some really are liars.) Cage’s entire goal is to extricate himself from the responsibility of what he is doing by rationalizations galore. And part of that is his evolutionary worldview. He says to his brother who is outraged at how men can act cruelly like a pack of dogs, “You’re really just a two-legged dog. It’s part of being human.” But at the same time, he takes a toy gun away from his son and throws it in the trash, showing he doesn’t want for his own family what he foists on others. A particularly poignant moment occurs when Cage realizes that the CIA dealer had his uncle killed and is now in the position to kill the CIA dealer. The evil Baptiste, to whom Cage is selling arm, gives him the opportunity to shoot the CIA dealer dead, but he can’t. So Baptiste says, “So you want him dead. You just don’t want to do it yourself.” The ribald hypocrisy of Cage’s character is the point of the whole film. The fact is, money as a motive is NEVER without morality. This man who claims to divest himself from those whom he arms to kill others is responsible for his part in the evil. And he knows it. The fact that Cage does not learn his lesson but continues on at the end, even after losing his entire family and life, is not cynicism, but the challenge that this continues on in our world unless we put a stop to it and take responsibility. Now, it appears to me that Niccole has a specific anti-gun agenda that goes beyond the actual proven argument of the film. I say this because of his conclusion at the end of the film that the “Biggest arms dealers in the world” are the US, Germany, Britain and a few others, and these same big five are on the security council of the United Nations. As if this is some kind of irony or indictment against the US. But he wallows in a problem here because all his film has really proven if you look closely is that we should morally choose the right people to arm in wars. Niccole suffers a logical non-sequitur: he concludes that the gun is the cause of the evil, not the evil men who do the killing. The fact is, his story proves to me that the U.S. SHOULD arm the defenders of democracy or freedom or the United States, NOT that we should get rid of guns and somehow this will stop the bloodshed. Close to a million people were machetied to death in Rwanda in the 1990s. They didn’t need the guns for their atrocity and it didn’t stop them, not having them. In the story, Cage says, that some people say that evil prevails when good men do nothing, but “what they oughta say is, “Evil prevails.”” This is a cynicism from our deluded hero, but it unwittingly makes the point that his story simply proves NOT that we should not deal in arms but that we should support and arm those who ARE on the just side of a war or situation. Since our selling of arms is morally responsible, then, like the CIA agent, let’s only arm those who are on the right side against evil in a particular conflict. Of course, the relativist makes the moral equivalence argument that tries to halt all commitment to all causes. The fact is, a country may have some evil aspects to it, but if in a particular war, it is on the side of justice, then in THAT particular war, it is on the right side and should be supported. In a way, Niccole, wittingly or unwittingly makes this argument when he shows that Baptiste is an evil man who engages in atrocities and should not be armed, or should be armed against. Arming his enemies is therefore morally right if they fight to stop such evil. And yes, as the movie makes the point very cleverly that one revolution often overthrows the tyrants only to replace them with new tyrants. But the fact that one evil sometimes replaces another evil is not an argument against stopping the first evil. The point is whether or not one evil should be fought against or not. We cannot always determine what an ally will end up doing. I would contend though, that the issue is more complex than I would like. For instance, in arming the mujahdeen in Afghanistan to fight the Russian communists in the 1970s, we were arming enemies of the U.S., that would eventually end up using those arms against us. NOW THAT is cause for qualification and concern. The same goes for allying with the Soviets in WWII who turned around and used that advantage to fight the Cold War against us. But I understand that the argument is that we ally with non-allies only against a greater threat. But I am not entirely convinced of this argument. Especially since we are now eating the fruit of having armed Bin Laden’s kind during the Afghanistan conflict, and they then used those same arms against us. So, I recognize that the issues can be complex. But certainly cannot be reduced to the naïve simplistic formula that gun themselves are the problem (As Niccole evidently does by showing the homicidal maniac, Baptiste blame the lack of discipline in youth on MTV, rather than the gun he is swinging around and using to arm the youth of his country). This kind of faulty anthropology that blames the weapon for the evil denies man’s essential evil, ultimately leads to slavery. Because man will always be evil until the end, so if we don’t take that into account in our political or sociological theory of how to fix the problem, we will only lead to the slavery of the good by the evil who WILL NOT STOP doing evil. Therefore the provision of weapons defense is necessary. We must just make sure that they get into the hands of just causes. The fact that men use knives for evil does not negate the manufacture of knives because not only are they used for good, but for good self defense against evil men. The fact that evil men use guns for evil is NOT an argument against guns, it is an argument to arm good men or good causes against evil. I suspect that based upon the context of the movie, this is not what Niccole intends. It is, however what I think he ends up proving. Niccole unveils some insightful problems and issues, such as the fact that when the US leaves a field of operations, it is often cheaper to leave the munitions when it leaves than to take them with them and dispose of them. This is a problem with the dismantling of the USSR in the 80s, which ended up having Russian arms sold by black market operatives. Yes, these show the morality of fiscal choices, but they do not prove the immorality of weapons manufacturing or supplying. Also, Niccole conveniently avoided showing that it was REAGAN who stopped the Cold War, not Gorbachev as he shows it to be. But he does have a guy shoot a picture of Reagan, showing Niccole’s hostility against this greatest hero of the 20th century. Interestingly, a scene where the Interpol agent chasing Cage tells him he will do everything he can to delay Cage, even if it is by just one day, because that one day prolongs the life of the innocent who are killed with his guns. Well, I don’t suspect that Niccole realizes that this is the exact same argument of pro-lifers who block abortion clinics. Would he support those pro-lifers as well? Seeing the effect on kids is very strong here, whether it is seeing the innocent kids killed by the wars or those who are drafted into armies before they are mature enough to be a soldier is a strong and effective argument here. NOT against the sales of guns, as I suppose Niccole intends, but rather for arming those who fight against such evils. So, while I don’t buy Niccole’s complete worldview about the nature of evil residing in the existence of weapons, I still consider some of his points to be powerful reminders of the morality of all behaviors, including Capitalist ones. But I would qualify that with the moral necessity to fight evil and violence by arming the good against the evil.