Ichor_Juice
03-18-2024, 02:21 PM
(This post was last modified: 03-18-2024, 02:24 PM by Ichor_Juice.
Edit Reason: BB spaced out all of my text as if I were a retard again. Im going to kill whoever made this.
)
This fucking thing.
I have heard people sing the praises of this movie due to its supposedly counter-cultural elements, at least in the sense that it vanguards the spirit of double ought America in terms of subject matter. It doesn't quite reach the spirit of the 80s, and it most certainly cannot be said that it carries any of the genuine vital spirit from the movie of which it is imitating. Note that I say imitating. I can hardly describe this as a sequel. It is a hodge podge of recursive elements attempting to convey the theme of "passing on a (very dead) tradition to your juniors" in a most defeated modern American fashion. After all, this time around Tom Cruise is being henpecked by a faggoty Navy, regardless of his status as a war hero, and one of the pilots in the new Top Gun class is some uppity boss girl bitch. The modern military training nightmare continues up until the climax of the movie, which is the only time there is an attempt to deviate from its supposed 'predecessor', albeit done farcically (Plane Jockey Tom Cruise hijacking a landed jet in an Iranian military base like Master Chief).
They use the Kenny Loggins opening again. They also do a lot of things again.
[...Rooster playing the same song from his dad. Remember that one?]
[The dementia might have set in already, but can you remember this song my fellow nursing home patient?]
[The Volleyball Scene.]
Hey, remember this you wrinkly old retard? Remember when you were young, during a period where you weren't a failure passing on failed ideas to the children you passively but wholeheartedly are pushing to fail as well? Ain't that nice? What I'm trying to get to here is that this isn't a movie for everyone to see. If you really wanted something like that, you would have watched the first Top Gun, where Tom Cruise is young and cool and dangerous and fucking a hot blonde DOD consultant with dark eyebrows. In this one he is the dad who stepped up, having a childish and sexless 'tryst' (can I even call it that? Tom is playing house with this woman like a twelve year old) with some old whore and her dumb bitch daughter. The fact that I now personally know people in the military who have fallen for this woman trap makes it all the more despicable. The ultimate goal for being a masterful war fighter, a fierce deity beyond good and evil, is receiving a hotdog hallway who couldn't keep her first sugar daddy around as a 'reward'. I don't think this movie has pushed anyone into the recruiting station as much as I imagine the old one would have, besides the fact that it is a movie for 60 year olds and not recruiting-aged men. She even has the gay dream bar targeted for fellow old people and veterans that every retiree dreams of running. This woman is the archetypal dream of every 50-something divorcee, not me or anyone else who would be willing to kill sandcoons and niggers for the United States should The Red Prince Trump give a mere wave of the hand.
[The makeup can't fool anyone. Still or in motion, you can tell she is old. Also apparently Jewish based off the Wikipedia article that I glanced at to yoink a properly unflattering photo.]
The geriatric nature of the movie doesn't stop at the constant reminiscence or even at the sex. It is reflected everywhere. Even the 'tragic death' that affects Cruise's character spiritually is imitated, except this time its Iceman dying from throat cancer in the most old person fashion possible. Its crazy to see Val Kilmer doing his best FDR/ effete rich North Eastern American impression in total juxtaposition to Iceman's character in the first movie. It is pathetic to see the hot shot, competitive, but level-headed rival reduced to being some New England dweeb. If that character had aged, he would have behaved like Trump or McMahon, not my brother's father-in-law. It is disgraceful that this is being used in place of Goose's death in the first movie. Tom Cruise losing his RIO in a Jet accident where he breaks his neck on the canopy due to an ejection failure, leaving Goose's wife a widow and his son fatherless. A training accident that leaves Cruise truly shaken, Goose being both his Icarus and his Enkidu/Jonathan/Patroclus. There is weight to the tragedy and significance. In the new movie, the death is merely a reflection of the tired and defeated spirit of many modern Americans, who desperately seek to pass on the torch to a new generation in some 'noble' fashion like Kilmer's character. Except in real life there is no new generation to pass anything on to in the traditional sense. The country is moving in a spiraling downward motion. There is no forward movement or genealogy. Forward movement wouldn't have let some annoying shrill voiced 5 foot 4 inched woman, played by a spic-ess with the last name 'Barbaro', be a jet pilot, and as a jet pilot, a soldier, and as a soldier, a causer of violence, a killer. Forward movement would see her south of the border, getting diced up by some mongoloid indio, who would then proceed to be strafed upon by actual white attack-jet pilots.
[Look upon the spic-ette.]
Asides from amateurish editing, such as the use of awkward flashbacks to call back to events from the previous movie as if the audience were watching some kind of sitcom and not a theatrical work, I have little else to say about this doppelganger work.
I just want to provide a prompt for others to add upon. Go whip out comments and reviews about trends and media, especially recent stuff and ESPECIALLY sequels and MOST ESPECIALLY sequels that were made decades after the fact, that you notice specifically catering to older demographics. Think about the people directing and producing the movies and the reason they target older people. If such movies are sequels, think about the cultural significance of their predecessors and how the sequel attempts to imitate. Above all else, I want you to think about the appeal of such media to the American Right Wing counter-culture. I don't mean X guys (people who post on the Elon Musk website named after porn not gen Xers those are fair game) or Amarnites or Submarnites or Italian Americans or BAPians or Solbrahians or fucking whoever.
I mean outside of our strange but influential Right Wing circle. Since all of American Right Wing is basically a counter culture in the modern day, I want you to specifically and single-mindedly focus on the older guys. Your Dads and Uncles and maybe even older brothers. Think on the large section that is most notably old evangelical dispensationalist types, even if they are nominally Catholic [an American Catholic IE. the Catholic Zionist, just like my Dad who I love but can't help to pick on over this]. Think on the guys who are right leaning but not necessarily in-the-in. Think on both low-class and middle-class types. Think on Northern and Southern US cultures, even if the locality doesn't really apply anymore (where I live in the North East is loaded to the brim with rednecks repping the Dixie Flag, and Florida is loaded with New York retirees). Think about which demographics fought in GWOT or 'Nam or at the Gulf. Maybe bring some focus on divorced types as well? I want to place the magnifying glass on these guys because I suspect what we what we will see in Dying Tired Old People media (acronym DTOP) is a lot of stuff that at least appeal to older right wing types. Obviously there is going to be a lot of action movies, war movies, and perhaps romance movies focusing specifically on values that our elders are more concerned about (my ma and pa watch a boatload of Hallmark direct-to-TV movies). There will be material which recalls a period that they have passed by, or perhaps a cultural elements which have passed them by instead. The original Top Gun is a timeless piece after all, much like all good art, and regardless of the temporal context of the 80s the masculine spirit which is carried within the film transcends time in a way that its sequel, and most mortal men, specifically cannot. For most of them DTOP media recalls a less politically tense past [for their myopic memory; any of us can say with confidence that Gay Nigger Communism was zombying along way before even our parents were born]. Perhaps the media provides an escape from rapidly oncoming death coinciding a long fulfilled internal spiritual death. I would also like to focus on fantasies captured in DTOP media that are only appealing to a specific subset of old Americans. Think stuff such as rekindling an old romance after a rough divorce or separation, or perhaps an older protagonist teaching younger punks a lesson or two. Those kinds of fantasies that are both impotent and short-sighted (in the sense that the only thing to look forward to is a not-too-violent death) and only capable of being spawned from a mind with not too much left to live for. Compare this to your fantasies, both conscious and unconscious. I had dreams about raping women and them falling in love with me afterwards, or jumping into the howling black depths of danger without certainty of victory or death. Regardless, I'd like to hear more from all of you.
I have heard people sing the praises of this movie due to its supposedly counter-cultural elements, at least in the sense that it vanguards the spirit of double ought America in terms of subject matter. It doesn't quite reach the spirit of the 80s, and it most certainly cannot be said that it carries any of the genuine vital spirit from the movie of which it is imitating. Note that I say imitating. I can hardly describe this as a sequel. It is a hodge podge of recursive elements attempting to convey the theme of "passing on a (very dead) tradition to your juniors" in a most defeated modern American fashion. After all, this time around Tom Cruise is being henpecked by a faggoty Navy, regardless of his status as a war hero, and one of the pilots in the new Top Gun class is some uppity boss girl bitch. The modern military training nightmare continues up until the climax of the movie, which is the only time there is an attempt to deviate from its supposed 'predecessor', albeit done farcically (Plane Jockey Tom Cruise hijacking a landed jet in an Iranian military base like Master Chief).
They use the Kenny Loggins opening again. They also do a lot of things again.
[...Rooster playing the same song from his dad. Remember that one?]
[The dementia might have set in already, but can you remember this song my fellow nursing home patient?]
[The Volleyball Scene.]
Hey, remember this you wrinkly old retard? Remember when you were young, during a period where you weren't a failure passing on failed ideas to the children you passively but wholeheartedly are pushing to fail as well? Ain't that nice? What I'm trying to get to here is that this isn't a movie for everyone to see. If you really wanted something like that, you would have watched the first Top Gun, where Tom Cruise is young and cool and dangerous and fucking a hot blonde DOD consultant with dark eyebrows. In this one he is the dad who stepped up, having a childish and sexless 'tryst' (can I even call it that? Tom is playing house with this woman like a twelve year old) with some old whore and her dumb bitch daughter. The fact that I now personally know people in the military who have fallen for this woman trap makes it all the more despicable. The ultimate goal for being a masterful war fighter, a fierce deity beyond good and evil, is receiving a hotdog hallway who couldn't keep her first sugar daddy around as a 'reward'. I don't think this movie has pushed anyone into the recruiting station as much as I imagine the old one would have, besides the fact that it is a movie for 60 year olds and not recruiting-aged men. She even has the gay dream bar targeted for fellow old people and veterans that every retiree dreams of running. This woman is the archetypal dream of every 50-something divorcee, not me or anyone else who would be willing to kill sandcoons and niggers for the United States should The Red Prince Trump give a mere wave of the hand.
[The makeup can't fool anyone. Still or in motion, you can tell she is old. Also apparently Jewish based off the Wikipedia article that I glanced at to yoink a properly unflattering photo.]
The geriatric nature of the movie doesn't stop at the constant reminiscence or even at the sex. It is reflected everywhere. Even the 'tragic death' that affects Cruise's character spiritually is imitated, except this time its Iceman dying from throat cancer in the most old person fashion possible. Its crazy to see Val Kilmer doing his best FDR/ effete rich North Eastern American impression in total juxtaposition to Iceman's character in the first movie. It is pathetic to see the hot shot, competitive, but level-headed rival reduced to being some New England dweeb. If that character had aged, he would have behaved like Trump or McMahon, not my brother's father-in-law. It is disgraceful that this is being used in place of Goose's death in the first movie. Tom Cruise losing his RIO in a Jet accident where he breaks his neck on the canopy due to an ejection failure, leaving Goose's wife a widow and his son fatherless. A training accident that leaves Cruise truly shaken, Goose being both his Icarus and his Enkidu/Jonathan/Patroclus. There is weight to the tragedy and significance. In the new movie, the death is merely a reflection of the tired and defeated spirit of many modern Americans, who desperately seek to pass on the torch to a new generation in some 'noble' fashion like Kilmer's character. Except in real life there is no new generation to pass anything on to in the traditional sense. The country is moving in a spiraling downward motion. There is no forward movement or genealogy. Forward movement wouldn't have let some annoying shrill voiced 5 foot 4 inched woman, played by a spic-ess with the last name 'Barbaro', be a jet pilot, and as a jet pilot, a soldier, and as a soldier, a causer of violence, a killer. Forward movement would see her south of the border, getting diced up by some mongoloid indio, who would then proceed to be strafed upon by actual white attack-jet pilots.
[Look upon the spic-ette.]
Asides from amateurish editing, such as the use of awkward flashbacks to call back to events from the previous movie as if the audience were watching some kind of sitcom and not a theatrical work, I have little else to say about this doppelganger work.
I just want to provide a prompt for others to add upon. Go whip out comments and reviews about trends and media, especially recent stuff and ESPECIALLY sequels and MOST ESPECIALLY sequels that were made decades after the fact, that you notice specifically catering to older demographics. Think about the people directing and producing the movies and the reason they target older people. If such movies are sequels, think about the cultural significance of their predecessors and how the sequel attempts to imitate. Above all else, I want you to think about the appeal of such media to the American Right Wing counter-culture. I don't mean X guys (people who post on the Elon Musk website named after porn not gen Xers those are fair game) or Amarnites or Submarnites or Italian Americans or BAPians or Solbrahians or fucking whoever.
I mean outside of our strange but influential Right Wing circle. Since all of American Right Wing is basically a counter culture in the modern day, I want you to specifically and single-mindedly focus on the older guys. Your Dads and Uncles and maybe even older brothers. Think on the large section that is most notably old evangelical dispensationalist types, even if they are nominally Catholic [an American Catholic IE. the Catholic Zionist, just like my Dad who I love but can't help to pick on over this]. Think on the guys who are right leaning but not necessarily in-the-in. Think on both low-class and middle-class types. Think on Northern and Southern US cultures, even if the locality doesn't really apply anymore (where I live in the North East is loaded to the brim with rednecks repping the Dixie Flag, and Florida is loaded with New York retirees). Think about which demographics fought in GWOT or 'Nam or at the Gulf. Maybe bring some focus on divorced types as well? I want to place the magnifying glass on these guys because I suspect what we what we will see in Dying Tired Old People media (acronym DTOP) is a lot of stuff that at least appeal to older right wing types. Obviously there is going to be a lot of action movies, war movies, and perhaps romance movies focusing specifically on values that our elders are more concerned about (my ma and pa watch a boatload of Hallmark direct-to-TV movies). There will be material which recalls a period that they have passed by, or perhaps a cultural elements which have passed them by instead. The original Top Gun is a timeless piece after all, much like all good art, and regardless of the temporal context of the 80s the masculine spirit which is carried within the film transcends time in a way that its sequel, and most mortal men, specifically cannot. For most of them DTOP media recalls a less politically tense past [for their myopic memory; any of us can say with confidence that Gay Nigger Communism was zombying along way before even our parents were born]. Perhaps the media provides an escape from rapidly oncoming death coinciding a long fulfilled internal spiritual death. I would also like to focus on fantasies captured in DTOP media that are only appealing to a specific subset of old Americans. Think stuff such as rekindling an old romance after a rough divorce or separation, or perhaps an older protagonist teaching younger punks a lesson or two. Those kinds of fantasies that are both impotent and short-sighted (in the sense that the only thing to look forward to is a not-too-violent death) and only capable of being spawned from a mind with not too much left to live for. Compare this to your fantasies, both conscious and unconscious. I had dreams about raping women and them falling in love with me afterwards, or jumping into the howling black depths of danger without certainty of victory or death. Regardless, I'd like to hear more from all of you.