In a promotion event for his new one-man documentary, Michael Moore in Trumpland, the Fahrenheit 9/11 director outlined what he saw as the grim reality of Trump’s eventual victory.
The director recounted an incident where the Republican presidential nominee addressed the Detroit Economic Club. In no uncertain terms, Trump told the Ford Motor executives that if they relocate their car factories to Mexico, he was going to put a 35 per cent tariff on them, rendering them too expensive for US consumers.
Moore went on to say why ‘disenfranchised’ Americans would vote for him:
“He is saying the things to people who are hurting. It’s why every beaten down, forgotten, nameless stiff who used to be part of what was called the middle class loves Trump.”
“He is the human Molotov Cocktail they’ve been waiting for. The human hand grenade they can legally throw at the system which stole their lives from them. On November 8, the dispossessed will walk into the voting booth, be handed a ballot, close the curtain and take that lever and put a big fucking ‘X’ in the box by the name of the man who has threatened to up-end and overturn the very system that has ruined their lives: Donald J Trump.”
“Trump’s election is going to be the biggest ‘fuck you’ ever recorded in human history. And it will feel good.”
Rorke Denver: ‘Liberals’ Criticism of My SEAL Teammate Chris Kyle Has Had the Ironic Effect of Honoring Him’Posted: January 26, 2015
The United States of ‘American Sniper’
Rorke Denver writes: ‘American Sniper,” the new movie about Navy SEAL Chris Kyle, has opened to staggering box-office success and garnered multiple Academy Award nominations. But not all the attention has been positive. The most vocal criticism came in the form of disparaging quotes and tweets from actor-director Seth Rogen and documentary-maker Michael Moore . Both have since attempted to qualify their ugly comments, but similarly nasty observations continue to emanate from the left.
“The very term ‘sniper’ seems to stir passionate reactions on the left. The criticism misses the fundamental value that snipers add to the battlefield. Snipers engage individual threats. Rarely, if ever, do their actions cause collateral damage.”
The bulk of Chris Kyle’s remarkable exploits took place in the Al Anbar province of Iraq in the summer of 2006. He and I were teammates at SEAL Team Three. Chris had always been a large figure in the SEAL teams. He became a legend before our eyes in Ramadi.
My fellow special-operations brothers might be shocked, but I think the comments by Messrs. Rogen and Moore have had the ironic effect of honoring Chris Kyle’s memory. They inadvertently paid Chris a tribute that joins the Texas funeral procession and “American Sniper” book sales and box office in testifying to the power of his story. I’ll get to the punch line shortly, but first please let me lay the groundwork.
“Snipers may be the most humane of weapons in the military arsenal. The job also takes a huge emotional toll on the man behind the scope. The intimate connection between the shooter and the target can be hard to overcome for even the most emotionally mature warrior. The value of a sniper in warfare is beyond calculation.”
The very term “sniper” seems to stir passionate reactions on the left. The criticism misses the fundamental value that snipers add to the battlefield. Snipers engage individual threats. Rarely, if ever, do their actions cause collateral damage. Snipers may be the most humane of weapons in the military arsenal. The job also takes a huge emotional toll on the man behind the scope. The intimate connection between the shooter and the target can be hard to overcome for even the most emotionally mature warrior. The value of a sniper in warfare is beyond calculation.
“My fellow special-operations brothers might be shocked, but I think the comments by Messrs. Rogen and Moore have had the ironic effect of honoring Chris Kyle’s memory. “
I witnessed the exceptional performance of SEAL, Army and Marine snipers on the battlefields of Iraq and Afghanistan. They struck psychological fear in our enemies and protected countless lives. Chris Kyle and the sniper teams I led made a habit of infiltrating dangerous areas of enemy-controlled ground, established shooting positions and coordinated security for large conventional-unit movement. Read the rest of this entry »
Paul Bond writes: The filmmakers behind Dinesh D’Souza‘s upcoming doc have vowed to press on while their star defends himself after his indictment on federal charges that he violated campaign finance laws in 2012. On Sunday, they released a trailer for the movie, America, that is set for release on July 4.
“I want to take this progressive, leftist critique head on”
America is the follow-up to the surprise hit 2016: Obama’s America, which earned $33 million in 2012 and became the second most popular political documentary in history, behind Michael Moore’s Fahrenheit 9/11, which earned $119 million in 2004.
In America, D’Souza — who wrote and produced the film — makes the claim that 1960s radical leftism is more or less indistinguishable from current mainstream liberalism, a doctrine that he says preaches the United States is the product of “stealing and plunder” from Native Americans, Mexicans and African-American slaves.
“I want to take this progressive, leftist critique head on,” D’Souza says in the trailer. The movie will include re-creations of some of the major events in American history.
America is directed by John Sullivan and co-produced by Gray Frederickson, who won an Oscar for producing The Godfather Part II, and Gerald Molen, who won an Oscar for Schindler’s List. D’Souza and Sullivan co-directed 2016: Obama’s America.
“…I had one tell me they couldn’t stand the sight of the people in (‘Caucus’)”
By contrast, “2016: Obama’s America” co-directors Dinesh D’Souza and John Sullivan avoided the U.S. fest circuit altogether — and it doesn’t seem to have hurt the film in the slightest. “2016” earned more than $33 million, making it the second-highest-grossing political doc after “Fahrenheit 9/11.”
“…I actually get a lot more of what I describe as left-wing propaganda films.”
For most nonfiction pics, however, the fest circuit is a vital component of a film’s life cycle, which is why businessman-turned-documaker Dennis Michael Lynch submitted his “They Come to America” to nearly 30 U.S. festivals, to no avail. He contends the film was rejected on the basis of his conservative stance on immigration, as opposed to the film’s quality. Lynch went on to self-distribute and decided not to “waste a dime on festivals” for the sequel.