Note: To combat the ongoing epidemic of corporate media disinformation, I do not link fake news.
The facts I present here will serve as major spoilers, so if you don’t want to know pretty much everything that happens (except for the movie’s long, boring parts), stop reading now…
Here are the bullet points from the Variety article, many of which contradict the article’s dishonest premise:
“The movie, which is set in an authoritarian America that resembles the one we could be heading toward (it anticipates what the country might start to look like if Trump invokes the Insurrection Act), is centered, for a while, on a ragtag band of revolutionary guerrillas,” writes Variety. “The film borrows the iconography of late ’60s/early ’70s revolutionaries…. And since the movie is certainly on their side[…]”
But-but-but what kind of revolutionary guerrillas are they, Variety? On what side of the political spectrum did these 60s and 70s terrorists revolutionaries land?
The article massively downplays the primary goal of the movie’s French 75 (an obvious stand-in for the real-life, left-wing, domestic terrorist group Antifa), which is simply this: to flood America with illegal aliens.
The movie’s racist military villains are guilty of nothing more than deporting illegals back to Mexico. The movie’s “heroes” liberate the illegals and release them into our country. We are introduced to the French 75 with a righteous operation to free illegals from the movie’s obvious stand in for ICE.
Later, the movie’s most likable, charismatic, and competent character (played by Benicio del Toro) is revealed to be a French 75 leader devoted to smuggling illegals into America.
Yeah, which side of the aisle the movie’s heroes land on is a real head-scratcher…
Here’s another area where the article contradicts itself with this loony “Christian nationalist” conspiracy theory…
The real revolution going on in this country now is the Christian nationalist revolution — an attempt to upend the American Dream and replace it with a theocracy, And the film dares to unveil that; its portrait of the Christmas Adventurers is a chilling vision of hate. That’s all the message the movie needs: that this is happening, that the right-wing revolution is on.
So, according to an article that claims One Battle After Another is not a left-wing movie, we’re told the movie message is that terrorism is moral and good to fight against a real-life “right-wing revolution”—a Christian nationalist revolution that exists only in the bubbled, toxic minds that run Variety.
Before I get to the article’s gaping lies of omission, here’s Variety’s biggest lie…
“The film’s ragtag band of radicals are not glorified.”
The article uses two absurd examples to make this case: First, one of the terrorist leaders (a black woman named Perfida Beverly Hills) has an affair with Sean Penn’s racist Col. Lockjaw and enters witness protection after a robbery goes bad, and she’s caught. She “then hustles over the border to Mexico, leaving the revolution — and, more to the point, her child — behind. The movie does not respect this.”
Variety makes it sound as though she had the choice to return to the revolution and be with her child. She didn’t. It was either prison, witness protection, or go on the lam. I saw her flight as something noble. Rather than put her family in peril, she chooses to live in Mexico, a place where Mexicans don’t want to live.
But what Variety doesn’t tell you is that, at the end of the movie, Perfida redeems herself with a letter to her daughter where she admits she made a mistake and encourages the child to continue the revolution — which her daughter does.
The second example Variety uses to claim the revolution is not glorified is when Leonard Di Caprio’s Bob Herbert character tells Perfida that it’s time to put family above the revolution. And it’s here we get into Variety’s lies of omission…
What Variety doesn’t tell you is that DiCaprio’s Bob Herbert is a moron. Why? Because One Battle After Another only portrays white people as either useless idiots (Bob Herbert) or evil racists. Director Anderson is so exacting with this agenda that every single member of the military (ICE) is white.
What’s more, unlike Perfida, DiCaprio’s Bob has no redemption arc. When we meet him, he’s a child-like beta male to Perfida’s oh-so competent girlboss. When we leave him, he’s looking at his new iPhone like a confused chimpanzee. From A to Z, Bob is so useless, you could literally remove his character from the movie and the plot would remain exactly the same (but blessedly shorter). Because he’s white, Anderson will not allow Bob to shape or move any of the action, even though he’s supposed to be our protagonist. The only competent and decent people in Battle are racial minorities—especially all the girlboss black women.
Here’s the primary thing Variety really doesn’t want you to know…
Movies tend to conclude by buttoning up their themes, with a dramatic note says, This is what this movie is about…
Battle is no different.
And this is what Battle is about…
DiCaprio’s Bob is such an idiot, he doesn’t know Sean Penn’s Lockjaw is the biological father of his mixed-race daughter (who looks black). So, after Perfida disappears, Bob drops out of Antifa the French 75 and raises her to be a normal teenager. Then she’s kidnapped by evil white people who want her dead. Naturally, White Bob is too slow and incompetent to save her, so she saves herself. Then she reads Perfida’s letter, and this is how the movie ends, this is the movie’s message…
DiCaprio is handling his iPhone like a chimpanzee, an alert comes across a short band radio, the daughter runs off to join Antifa the French 75…
“Be careful,” says Chimp White Dad.
“I won’t,” says Girlboss daughter-of-color.
Then Tom Petty’s “American Girl” crashes through the soundtrack and we cut to the end credits.
Yes, she was an American girl….
As I wrote in my review, One Battle After Another is an amoral, indefensible piece of pro-terrorist propaganda that glorifies and encourages left-wing terrorism. The movie is also openly racist and, without question, a remake of D.W. Griffith’s 1915 racist masterpiece, Birth of a Nation. Both movies depict one race as inferior, another race as superior. Both movies legitimize terrorism as a virtue (Battle glorifies the Democrats in Antifa, Birth glorifies the Democrats in the KKK). Both movies have the same plot involving a woman put in peril by racists. Both movies are too long but have some great moments.
The reason the liars at Variety are running to Battle’s defense only after it’s been out and hailed as a leftist masterpiece for nearly a month, is because the truth about Battle’s appalling politics is becoming a liability in the Oscar race, as is the fact it bombed at the box office. So now it’s all, No, no, no. This movie is totally apolitical because Christian nationalists and blah, blah, blah…
The movie lies. The movie critics lie. The movie’s defenders lie.
All these people do is lie.
John Nolte’s first and last novel, Borrowed Time, is winning five-star raves from everyday readers. You can read an excerpt here and an in-depth review here. Also available in hardcover and on Kindle and Audiobook.
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