Reviews: April 2008 Archives
Mainly this latest horrible crop of anti-war-administration Hollywood garbage.
Here's the news: we know that war is horrible, brutal, and sometimes makes people do bad things. Big, fat duh. What we want to see is how people rise above that, and go on to do great and wonderful things.
The premise of Stop-Loss is that a kid comes home, is promised that he won't have to go back to Iraq, and then is told that circumstances have changed, and he has to go back again anyway. So he has this huge internal struggle of whether or not to become a draft-dodger, all covered with a large dollop of Injustice and another of It's All Bush's Fault. (There, I just saved you $20.) I saw the trailer, and The Mrs. and I turned to each other at the end, and said, in unison, "No."
The End.
Gross: $80 million in the first week alone.
Here's the news: we know that war is horrible, brutal, and sometimes makes people do bad things. Big, fat duh. What we want to see is how people rise above that, and go on to do great and wonderful things.
The premise of Stop-Loss is that a kid comes home, is promised that he won't have to go back to Iraq, and then is told that circumstances have changed, and he has to go back again anyway. So he has this huge internal struggle of whether or not to become a draft-dodger, all covered with a large dollop of Injustice and another of It's All Bush's Fault. (There, I just saved you $20.) I saw the trailer, and The Mrs. and I turned to each other at the end, and said, in unison, "No."
As I watched the whiny little prick taking shit from his girlfriend about going back, all I could think about was the boys from Easy Company (the Band of Brothers) in the 101 PIR, who went off to war in 1942, and never saw home again till 1946. How's that for a rotation?
The End.
Gross: $80 million in the first week alone.
