Mel Gibson’s New Pro-Police Brutality Movie Is Crazy Racist
Laura T Magruder / Lionsgate
There is probably nothing that the world needs less than Force of Nature at the moment, a film with Mel Gibson and Emile Hirsch as trigger-happy policemen with a violent past and settings that are not prisoners and have the task of a black man, a rookie Latina officer, rescuing a Nazi descendant (and his stolen work of art) from evil Puerto Rican villains during a Category 5 hurricane in San Juan. What would be tasteless, declining nonsense at any other time, sounds almost catastrophically deaf and insulting at this special moment in US history, making director Michael Polish's thriller (June 30, VOD) the most misunderstood endeavor of the year.
Force of Nature was written by Cory Miller with the originality and grace of a fortune cookie prophecy and plays Hirsch as Officer Corrigan, who has been instructed by his superiors to leave his security check-in post to search San Juan for remaining residents, and - with the help of Newbie Officer Pena (Stephanie Cayo) - to take her to a security room. Corrigan has no real desire to evacuate anyone, as he says Pena, trying to do the right thing invariably leads to formal complaints from ungrateful citizens that thwart the coveted professional promotions. He is a dull white American policeman who refuses to learn Spanish and distrusts the locals. If that doesn't make him an immediate embodiment of law enforcement intolerance, the fact that he ended up in this outpost thanks to a scandalous incident - ruthlessly firing his gun and killing an innocent woman cost him his NYPD detective job - Certainly, if he consolidates his reputation as Blue Lives Matter, he is only interested in himself and in those who look, sound and think like him.
Emile Hirsch brutally attacked a female film manager. He now plays in the new Tarantino film.
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Force of Nature gives one that Corrigan, a protagonist who previously committed brutality against women, is played by Hirsch, who is notorious for strangling a Paramount Studio manager until she passed out at the 2015 Sundance Film Festival additional layer of dirt. And that's before the sexist, racist, anti-Semitic Gibson shows up! The embarrassed actor plays Ray, a former policeman who lives with his doctor's daughter Troy (Kate Bosworth) in the house where Corrigan and Pena end up after they have agreed to take Griffin (William Catlett) - a black man in an argument with a grocery store - back to his home to feed his mysteriously starved pet. No sooner has he made his screen access available, Gibson announces Ray's constantly coughing: "The current PD is full of pussies, who are more concerned with obligations and politics." Minutes later, he brags that when a person once called a fake crime report and then snatched the answering officers with a BB gun, he took care of the fool - another ungrateful citizen, Amirit? - by breaking his fingers.
Mel Gibson, Emile Hirsch, Kate Bosworth and Stephanie Cayo in power of nature
Laura T. Magruder / Lionsgate
Force of Nature is a fantasy about misogynistic Caucasian police officers (Ray "does not react exactly to female authority", Pena learns quickly) with a preference for using supposedly justified extreme violence. That alone makes it an unpleasant genre practice. But shortly after the 2017 Hurricane Maria tragedy, exploiting a fictional Puerto Rican hurricane for cheap and fictitious thrills through the material pushes him into the realm of ugliness. Given this state of affairs, the subsequent rancid twists and turns of the narrative are not surprising. For example, Griffin admits that he moved to Puerto Rico after winning a financial settlement against the NYPD for unjustified harassment, bought an insatiable pet (behind closed doors) he had trained to attack police officers, and himself now feels guilty of taking this "blood money" in the first place. It is clear that black Americans know that police brutality is a fake and that no compensation is earned.
Force of Nature reinforces this terrible notion by Griffin's older German neighbor Bergkamp (Jorge Luis Ramos) admitting that he also understands the terrible, weighty guilt of the blood money, since he inherited priceless stolen works of art from his father from the Third Reich. Nazis and black Americans are identified as related self-despising thieves, although they are still likeable characters because they either regret their behavior (Griffin) or have not actively taken what was not theirs (Bergkamp). Given that he is the son of a rabid Holocaust denier (and avid anti-Semite), Gibson's participation in a film with a sympathetically repentant man of Nazi descent is hardly a shock. But why Poland or Bosworth want to get involved in such filth remains confusing.
As for the plot itself, Corrigan, Ray and Troy, who have the name of a traditional boy because Gibson's chauvinistic father naturally wanted a son, are fighting with a gang of high-end thieves led by John the Baptist (David Zayas ), the definition of which is that he knows a lot about classic paintings and has no qualms about murdering cold-blooded people. Many protracted fistfights and shootings follow, each of which is more superficial than the other.
Every step of the way is incredibly fictional, but in a half-hearted B-movie way, so you can almost feel the filmmakers compromising because they haven't invested enough in this material to do something plausible. Nowhere is this more evident than in relation to Griffin's oh so comfortable animal, whose climatic purpose is telegraphed the moment it is introduced. Most of what is on display here, including a random apartment that is conveniently armed, and John the Baptist, who knows things he can't possibly know - about Corrigan's troubled past - because he explains, "I know everything . I am John the Baptist. "
Unholy is the best way to describe Mel Gibson and Emile Hirsch's 91-minute sitting as rugged cops who shoot first, ask questions, and later shoot down Spanish villains and rescue non-Puerto Rican men and women against a stormy background remember a real life disaster. Force of Nature is in this regard a relapse into a very familiar, very standard type of action, in which police officers apologize for their malicious transgressions because this hostility speaks for their venerable masculinity and light-skinned characters invariably have the help of helpless - and appreciative - dark-skinned people. Even before George Floyd's recent protests and the associated demands for reform of intolerant institutions, this template was outdated and uncomfortable. Today, however, it stinks of the indecency of the old school that most Americans want to get past.
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