Clint Eastwood’s New Movie, The 15:17 To Paris, Will Not Be Liked By Terrorists Or Liberals

This flick is a real thumb in the eye to Hollywood where leftism and progressivism is the favored ideology. Of course, that means that Patriots are gonna LOVE it!

Clint Eastwood directing and American heroes thwarting a terrorist. What’s not to love?

Eastwood has done something marvelous with this new film.

This movie stars the heroes themselves.

What. A. Tribute.

Check out the review by Breitbart’s John Nolte.

On the afternoon of August 21, 2015, on a train headed to Paris from Amsterdam, an Islamic terrorist named Ayoub El Khazzan exited a bathroom with a AKM rifle and 300 rounds of ammunition. The first person to try and stop him was Mark Moogalian, a 51-year-old American-born Frenchman, who wrestled the rifle away from El Khazzan but was shot in the back with a pistol Moogalian did not know the terrorist was carrying.

With his rifle and rounds back in his grasp, El Khazzan made his way to the passenger car. It was here that he met up with three Americans, three lifelong friends enjoying a European excursion together: 23-year-old Airman First Class Spencer Stone, 23-year-old Anthony Sadler, and 22-year-old Specialist Alek Skarlatos.

It is the story of the American friends that producer/director Clint Eastwood wants to tell. In fact, the three-time Oscar winner is so interested in these three, he had them play themselves in a $30 million studio film.

Watch the trailer:

The only way I can describe Eastwood’s highly original approach to this story is to call it a populist art film. To begin with, the screenplay, written by Dorothy Blyskal, and based on the book written by our three heroes with Jeffrey E. Stern, primarily focuses on just how American these three guys are.

As kids, Spencer owns an arsenal of toy guns that would make a SJW cry. The boys love to play army, to shoot at each other, to get in trouble. They pray to God and work at the local Jamba Juice. Spencer and Alek are white, Anthony is black, everyone is colorblind. These guys like pretty girls, enjoy some sin in Amsterdam, are unfailingly polite to everyone, and, as young men with so much life in front of them often do, they talk a lot about life’s ultimate purpose while snapping countless selfies.

That is the populist part.

The reviews coming in are that the film is loved by conservatives and getting a ‘meh’ by non-conservatives.

Eastwood really did take a huge risk with having the heroes play themselves — none of them are professional actors. He did it to create authenticity in the film.

The art film part is Eastwood’s overall approach — which is as close as a narrative movie could ever come to a documentary. Although amateurs, the three key players are surprisingly natural actors. Their dialogue is also natural, which means it avoids the smoothness of moviespeak. You are going to hear a lot of “likes” and “you knows,” just as you do in real life.

Because the central event only lasts a few minutes, there are 80 other minutes to fill, which Eastwood does without dramatics or anything that feels Hollywood. A thing called life just happens to these guys, and it is oddly compelling.

It was really a cool move. Personally, I love that it just sticks it to these Hollywood big shots like Meryl Streep, George Clooney, and Leonardo DiCaprio that lecture about how they know everything about everything because they received shiny statues for playing pretend on film.

By casting three ordinary guys to play their ordinary selves, by showing us their ordinary lives, their ordinary friendship, and their ordinary vacation, it makes that moment when they become extraordinary unspeakably moving; a shock to the senses, a true act of bravery and selflessness (to say the least) made all the more truer because these are not movie heroes.
Source: Breitbart

I was pretty excited to see this movie before Nolte’s review, but now I know I have got to see this in the theater.

How about you?

Let us know what you think in the comments.

 Effeminization Of The American Male

by Doug Giles

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