WATCH: Baby depicted in ‘American Sniper’ is fake

20 Jan 2015 | Author: | No comments yet »

American Sniper Shoots To Top Of Winter Box Office Record Breakers List [Infographic].

Clint Eastwood’s “American Sniper” has been the talk – or a talk – of the town since surprising prognosticators by mopping up six Oscar nominations last week.Sarah Palin slammed Hollywood as headquarters for America’s sissies after Michael Moore and Seth Rogen mocked the country’s adulation for Chris Kyle, the slain Navy SEAL portrayed in the new film “American Sniper.” “Hollywood leftists: While caressing shiny plastic trophies you exchange among one another while spitting on the graves of freedom fighters who allow you to do what you do, just realize the rest of America knows you’re not fit to shine Chris Kyle’s combat boots,” Palin wrote in a Facebook message late Monday.

Clint Eastwood’s Iraq war drama, American Sniper, earned an astonishing $90 million on its opening weekend, making it the most successful winter movie release in history. Palin was among the conservatives defending the film from critics who said the new Clint Eastwood film, starring Bradley Cooper as Kyle, glorified war. The film, which focuses on the life of Chris Kyle, a Navy SEAL who shot his way to a record 160 confirmed kills in Iraq and Afghanistan, was also the target of some sniping from celebs. The gulf accommodates hindsight since, in the words of Benjamin Franklin, “Wars are not paid for in wartime, the bill comes later.” It also allows the spectator to digest it in palatable, abstract terms, since the true horrors of war cannot be fathomed by the uninitiated mind.

Moore, the liberal documentary filmmaker, tweeted over the weekend that snipers are cowards, recounting his family history about an uncle who was killed by a sniper in World War II. It took three to four years from the fall of Saigon for movies like Deer Hunter, Coming Home, and Apocalypse Now to examine the costly toll of the Vietnam War. After the comments ignited controversy on social media, Rogen and Moore tried to backtrack and explain that they actually liked the movie, but conservatives weren’t hearing it.

The Oscar nominations gave the fake baby attention new life: after they were announced on Thursday Mark Harris of Grantland penned this arch tweet, with other outlets jumping aboard, too. Arizona Congressman Paul Gosar (R) also took to Facebook praising the movie, highlighting the service of Sean Johnson, a former Marine who works in Gosar’s office as a veterans liaison. “I personally know what our snipers do. And invaders r worse.” Writing yesterday on Facebook he confirmed his view of snipers as “cowards” who “don’t believe in a fair fight.” However, he said he had not mentioned American Sniper in his tweet. “So here’s what I think about American Sniper.

On February 2, 2013, the warrior was gunned down at a shooting range in his native Texas by Eddie Ray Routh, a PTSD-stricken Marine Corps veteran who later made off with Kyle’s Ford F-350. “I traded my soul for a new truck,” Routh reportedly told his sister following his arrest. If anyone knows cowards it might be him…pray for Michael Moore to one day understand that his liberty to attack snipers like Chris Kyle is only possible because of these brave patriots,” Johnson wrote. Last week, VIce President Joe Biden saw the film at a D.C. premiere with Cooper and was reportedly moved to tears, telling reporters after the movie – “it’s intense.” New York Magazine branded it “a Republican platform movie,” while The Hollywood Reporter saw it as “a companion piece—in subject, theme and quality—to The Hurt Locker.” Meanwhile, “Hanoi Jane” Fonda came away impressed, labeling it “powerful” and “another view of Coming Home,” whereas Michael Moore, who famously denounced the Iraq War and then-President George W.

Bush while accepting an Oscar in 2003, said, “I think most Americans don’t think snipers are heroes.” This is Eastwood’s view of the world laid bare, with Kyle assuming the role of the existential hero, like The Man with No Name, Harry Callahan, and Will Munny before him. Two-and-a-half years ago, Eastwood took the stage at the Republican National Convention and, over the course of 12 mystifying minutes, addressed an empty chair representing President Barack Obama. “And when somebody does not do the job, we got to let ‘em go,” he said to Imaginary Barry, before capping things off with his infamous Dirty Harry quote.

Film critic Roger Ebert called the improvised speech “sad and pathetic,” while Ben Affleck told this very reporter, “He didn’t kill with the speech, but I by no means thought it was a huge embarrassment.” And in Double Down, a book chronicling the 2012 Republican campaign, it was revealed that during Eastwood’s soliloquy, one of Mitt Romney’s senior strategists had to excuse himself to vomit in a trash can. American Sniper is Eastwood’s first directorial effort since that highly publicized gaffe to be viewed through this hyper-politicized lens (you’re better off forgetting Jersey Boys ever happened). Its opening ritualistic chant of Allāhu Akbar is designed to send chills up people’s spines, and before you can say, “welcome to hell,” we’re dropped into the heart of the Iraqi insurgency.

Like any first-person shooter game, we assume Kyle’s POV through his sniper scope—a perspective boosted by a match cut to a 10-year-old Kyle picking off a deer. Kyle, we learn, was raised to be an American hero since birth. “There are three types of people in this world: sheep, wolves, and sheepdogs,” preaches his father. “Now, some people prefer to believe that evil doesn’t exist in the world… those are the sheep. He shoots her. “There was a kid who barely had any hair on his balls, his mother gives him a grenade and sends him out there to kill Marines,” a shaken Kyle says ex post facto. “Dude, that was evil like I’d never seen before.” Here is where critics of the film have an ax to grind. Kyle and his fellow cowboys constantly refer to their enemies, who are all seemingly al-Qaeda, as “savages.” The “savages” consist of al-Zarqawi, who’s introduced via the infamous clip of him decapitating Nick Berg; his No. 2, “The Butcher,” who brutally executes an informant’s young son by drilling his head with a power tool, and stores people’s heads on shelves; and Mustafa, a Syrian Olympic sharpshooter who videotapes his kills and hawks bootlegs of them on the street. Mustafa is, like all classic villains, dressed in black, doesn’t utter in a word, and is single-minded in his pursuit of Kyle—he has a poster of Kyle’s bounty, $180,000, on his wall, and spends his spare time spinning an armor-piercing bullet on a table.

His PTSD at first manifests itself in high blood pressure, and complaints to Taya of how everyone in suburbia is living their lives blissfully unaware of the chaos unraveling overseas, and the men laying down their lives for their country. American Sniper’s final 15 minutes attempts to portray the psychological traumas of war, with Kyle silently weeping at a bar, sitting in a loveseat and staring at a blank TV screen while hearing gunshots, cries for help, and the awful sound of that power drill, and nearly striking a dog that’s mauling his son (which seems like pretty understandable behavior even for someone not suffering from PTSD).

Kyle gets better after visiting the VA and helping injured veterans shoot—a process called “exposure therapy,” subjecting the patient to the feared object or scenario without any danger so that they’ll conquer their fears. We see Taya slowly closing the door on Kyle and Routh as they get in his truck and head towards the gun range, and then the film cuts to black, followed by the message: “Chris Kyle was killed that day by a veteran he was trying to help.” The closing credits are accompanied by moving footage of Kyle’s real-life funeral procession and images from his memorial service at Cowboys Stadium.

They’ll quote questionable passages from Kyle’s book, e.g. “I only wish I had killed more,” or when he recounts that scene in the film where he shoots a woman wielding an anti-tank grenade (she was actually just cradling her son), saying, “My shots saved several Americans whose lives were clearly worth more than that woman’s twisted soul.” They’ll try to reconcile the film with the tall tales Kyle told prior to his death, like the time he claimed to have joined another sniper in climbing to the top of the Superdome in the wake of Hurricane Katrina and picking off 30 looters. They’ll wonder how Clint “we’re always hoping every [war] is the last one” Eastwood could helm a film that is, as The New Yorker called it, “both a devastating war movie and a devastating antiwar movie.” But American Sniper isn’t a documentary.

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