by Tony Medley
Runtime 98 minutes
This review abounds
in spoilers so be forewarned.
Back in the day
before Hollywood became populated with producers and directors who foist
their political ideology on unsuspecting audiences, movies fearlessly
identified their bad guys as real bad guys. For instance, during World
War II the bad guys were Nazis and Japanese. I can’t remember a movie
from that era that showed subversive characters and ideas as American,
except films written by those who came to constitute The Hollywood 10
(John Howard Lawson, Dalton Trumbo, and their ilk) who slavishly
followed Stalin’s directions to use art as a weapon by subtly inserting
Communist propaganda into their scripts.
According to Kenneth
Lloyd Billingsley in Hollywood Party, “Paul Jarrico bragged that
the party smuggled its ideology into all sorts of movies, claiming that
the line he gave Burgess Meredith in Tom, Dick, and Harry, ‘I
don’t believe in every man for himself. I get lonesome,’ became the
battle cry of the Chinese Red Army."
Unlocked co-stars Michael Douglas, the son of Kirk, who was the
useful idiot (Lenin’s term) who gave Trumbo his entrée back into
Hollywood by giving him credit for the script for Spartacus
This movie is nothing
more than agitprop, of which The Hollywood Ten would be proud. With
Islamic Terrorism rampant throughout the world, this movie is about a
terrorist who is an American with no Islamic ties. The director using
art as a weapon today is Michael Apted, who is a big supporter of Obama
and Hillary, so it figures. Neither Obama nor Hillary could say the words
“Islamic Terrorists” and apparently neither can Apted.
Sure, there are
Islamists in the film, but they aren’t terrorists and they aren’t bad
guys. They are just empathetic, reasonable people. No, the bad guys are
white, nondenominational, and mostly Americans.
Also, following a
current theme, the James Bondish hero is a woman, Alice Racine (Noomi
Rapace), who can take on any attacker who is man enough to stand up to
her. This follows apace upon movies about two other superheroines, the
puerile, cartoonish Wonder Woman and the much more entertaining
Atomic Blonde. I guess that to make it in today’s Hollywood one
must not only eschew attacking the most vicious force in the world
today, Islamic terrorism, but must also portray the only kind of people
who can fight against badness as female.
Another thing about
modern thrillers that is epitomized by this one is that they are
incomprehensible and have little or no internal cohesion. In order to
sit through these films one must put credibility aside and not try to
figure out the logic of what one is seeing on the screen. Because there
is no logic to these films. Non sequitur follows upon non sequitur. You
just have to give up reason, watch, and leave.
The plot is that
someone is out to distribute a virus so virulent that it will kill
thousands. Twist follows upon twist follows upon twist. There are so
many of them that they cease being surprising. For a while it’s
entertaining. Then it becomes tedious.
When you find out who
the bad guy is and, worse, the reason s/he’s doing it (there, I didn’t
give anything away), you might want to demand your money back because
the motive for why the villain does what s/he does is one of the most
idiotic in the history of intelligent thought.