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‘Joker’ Review: Todd Phillips Blasts America’s Bitter, Jealous, Violent, Fascist Woketards
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https://media]Warner Bros; Edit: BNNJOHN NOLTE4 Oct 20191,188
7:07
“Uh, Duh… Hey, der, if you do anything wrong in your life, and I find out about it, I’m going to try take everything away from. I don’t care what I find out. It could be today, tomorrow, fifteen, twenty years from now — If I find out, you’re…duh…finished.”
“Who is that?” comedian Dave Chappelle asked in his latest Netflix special. “That’s you! That’s what the audience sounds like to me!”
Watching a Thursday matinee of director and co-writer Todd Phillips’ Joker, I couldn’t help but sense that the movie was asking this same question… and returning with the same answer.
Who are Joker’s mindless followers? Who are these maladjusted malcontents, these adult losers who live with their mothers; these useless idiots who exist in literal garbage and keep voting for the same politicians to run their Gotham City? Who are these crybabies who worship a murderer, these nihilists who hold RESIST signs, who scream KILL THE RICH!, who hate cops, who “don’t believe in anything,” who think something’s wrong with society because they’re not “happy all the time”? Who cover their faces with masks so they can riot and go wilding under the pretense this criminal and cowardly behavior is an act of virtue?
“Who is that?” Phillips asks. “That’s you! That’s what you in the audience look and sound like to me!”
Imagine you’re Todd Phillips: You’re 48-years old, and for 20 of those years you devoted yourself to producing one box office comedy hit after another … and now all of that, everything that defined your work and passion, has been declared “problematic” by nobodies; by losers whose only skill is tweeting out their mindless cancellation requests: These all white, male, heterosexual bro comedies are problematic.
Imagine you’re Todd Phillips, and for the last 20 years you’ve sweated blood, risked much, and faced countless setbacks and failures in pursuit of a hard-earned success in one of the most difficult businesses to succeed in; and now, because of your success and the wealth that comes with it, you are “problematic” — as in, We need to occupy and take everything away from problematic rich people.
Imagine you’re Todd Phillips, a white heterosexual male under constant attack just for being a white heterosexual male — as in, White heterosexual males are problematic, especially rich ones who make bro comedies.
Hey, art is subjective, and I went into this thing assuming it would be a tribute of sorts to Martin Scorsese’s Taxi Driver (1976) and King of Comedy (1982), a new approach to comic book fare — you know, that kind of thing.
But I saw what I saw, and what I saw is this…
An artist who turned his legitimate frustrations with the Antifa-Occupy-Black Lives Matter-Resistance crybabies, these anarchist-fascists who seek to marginalize men like Todd Phillips for who he is, punish him for his success, and then censor his art. I think Phillips took all of that and turned it into his muse, not only to create the stunning Joker, but to reinvent himself as an artist.
“Joker is you!” Phillips is saying. “Joker is the godless god you spoiled losers worship; a sociopath who believes in nothing, who wants to burn down society because he’s not happy all the time — your leader is Madness, Anarchy, Intolerance, Jealousy, Envy, Bigotry, and Hate.”