Conservative documentary filmmaker, and modern-day snake oil salesman, Dinesh D’Souza is, for all intents and purposes, stuck. His series of “alternative fact” disingenuous documentaries stretching back to 2012 have lambasted a cavalcade of conservative political targets, many of them grossly exaggerated, relying upon a core audience of ticket-buyers who were essentially looking for a vaguely academic cover for their crackpot theories that would otherwise bring them scorn at the Thanksgiving dinner table. Then in November of 2016 Donald Trump miraculously won the presidency and the Republican Party now controlled both houses of Congress. D’Souza no longer had “anti-colonialist with daddy issues” Obama or “Saul Alinsky demonic disciple” Hillary Clinton to kick around any longer. D’Souza’s last documentary, 2016’s Hillary’s America, barely even touched upon Trump, possibly because even D’Souza thought Trump was not destined to see the Oval Office unless part of a public tour.
D’Souza used to represent the loony fringe, but now a member of that conspiracy-minded, anti-intellectual underbelly has ascended all the way to the presidency. D’Souza’s debased theories aren’t just parroted by the trolls of the Internet any longer, the president now repeats them verbatim. In an unexpected manner, D’Souza had catapulted to being mainstream, and now I don’t think he knows what to do with himself, his platform of agitation against the powers that be trying to reshape the “real America,” and his future as a huckster. With Republicans presently in charge of the government, whom will D’Souza complain is thwarting the “real patriots” (I apologize, I’m going to go through a year’s supply of air quotes with this review, I can already sense it) from making American great again? His latest pseudo-intellectual, pseudo-documentary Death of a Nation portends his struggle (a subtle reference? You be the judge, dear reader).
Donald Trump is president of the United States. This is an inescapable fact. But even with all that executive power he seems to be stymied by the threat of radical liberalism, or so argues D’Souza. The Democrats are aligned with none other than Hitler (oh, we’ll be getting to that claim later) and they are poised to lead this country into ruin. “How do nations die?” D’Souza solemnly intones, as is his custom for his voice over narration. “Tell a lie big enough, and tell it frequently enough, and it will be believed.” Astonishingly, he’s using that old Hitler claim NOT to refer to a president who has, as of this review’s writing, lied over 6,500 times since his 2017 inauguration according to the running record by The Washington Post, a.k.a. “fake news.” Over the course of an hour and forty minutes, D’Souza attempts to recycle a flawed thesis from his other alarmist movies about how the Democratic Party is destroying the foundations of the country, conveniently ignoring their minority status and most of objective reality.
Once again, D’Souza falls back to a crooked mirror of historical distortion in an attempt to defend racism, xenophobia, and general incompetence, this time connected to that of President Trump. For D’Souza, it’s not Trump who is racist, but the Democrats are the real racists. It’s not Trump who is sexist, but the Democrats are the real sexists. He trotted out this “nuh uh” line of defense with Hillary’s America where he shoddily sought to recast 150 years of historical policy to declare the Democrats the real racists. With his new film, D’Souza doubles down on the same flimsy claims that he stripped free of supportive context, you know, like the fact that both parties were racist for decades because your average American just so happened to be racist. D’Souza declares that the party of Lincoln is still the one black voters should be supporting, blithely ignoring more pertinent examples of policy for the last fifty years. D’Souza’s rhetorical contortions are strained to the breaking point and amount to him saying African-Americans should support the GOP because Abraham Lincoln freed the slaves and Woodrow Wilson was racist. What’s the better track record for civil rights, the last 50 years or the middle of the nineteenth century? D’Souza even denies the existence of Nixon’s “Southern strategy” despite the fact that we have LITERAL audio recordings of Nixon and aides discussing this strategy in detail and by name. Too often the only way to believe much of D’Souza’s flaccid arguments is by performing your own homemade lobotomy.
D’Souza ties himself into knots trying to mitigate the racism of our current Commander in Chief, a man who called Nazis “very fine people,” has re-tweeted anti-Semitic tweets, who frequently refers to Hispanic immigrants and asylum-seekers as an “invasion,” refers to African and Caribbean countries as “shit holes,” and consistently goes after African-American critics in much more personal terms, castigating their intelligence, referring to them as “dogs,” and all the things a not-so racist person probably would refrain from doing. “We knew we weren’t electing a choir boy,” D’Souza intones, his feeble attempt to hand wave away all the personal failings and possible criminal activities of the president. It’s the same broad excuse that the White House press office has exhorted, that in electing Trump as president that the voters (never mind it wasn’t a majority of voters) have declared their general apathy to any number of scandals that arise (“Look, the voters made their voice known when they elected Trump and don’t care how many babies he eats on live television…”). You can’t separate the two; you can’t approve the policies but disapprove of the man. You can’t choose to ignore who he fundamentally is, which is likely why D’Souza ignores as much of Trump’s actual words and deeds as possible.
The epitome of D’Souza’s slimy, bad faith arguments, and a fuller picture at the depths he will lower himself, is when he directly declares that Adolf Hitler was really a liberal. Wow. That’s bold. Ignore Hitler’s antisemitism, anti-communist, anti-homosexual actions, castigation of foreigners as evil and stealing work from “real proud Germans,” rescinding of personal liberties, an independent press, and checks and balances, and his general anti-democratic policies, you still have a man whose ideology was built upon white supremacy and a racist belief in genetic superiority. Does that sound more like Bernie Sanders or like Jason Kessler, the organizer of the Charlottesville rally where, according to our president, “very fine people” chanted, “Jews will not replace us,” and ultimately killed a woman protesting their presence? D’Souza interviews white nationalist/neo-Nazi, Richard Spencer, and D’Souza even tries to somehow label him and the “Unite the Right” marchers of Charlottesville as liberals. They are self-described Nazis!
I would ordinarily chalk up D’Souza’s slimy re-litigation of labels as another sign of his moral repugnance and move along, but this is deserving of additional attention. This isn’t just academic. We have a genuine spike in hate crimes targeting Jewish citizens, most recently a Pittsburgh synagogue where a man murdered a dozen under the belief that Jews, with the thanks of conservative boogeyman George Soros, were funding the migrant caravan (“invasion”). This is but one example of a mentally distraught, angry, and dangerous individual resorting to violence having been fed on a stream of twisted lies and racist rhetoric meant to agitate and divide. It was only a month ago that explosives were sent throughout the mail with the attempt to eliminate Trump’s perceived enemies. D’Souza and his ilk are not simply harmless kooks bilking a willing audience in search of some veneer of prestige for its baser inclinations. This stuff is serious now. When elevated to the platform presented through Trump’s presidency, these words can have serious consequences. I’m not applying a one-to-one system of blame, as every person is responsible for his or her own direct actions. However, D’Souza is knowingly stoking fires and accelerating resentment within his core, secluded audience. When D’Souza plays fast and loose with the history around Hitler, at turns mitigating the man’s actions as well as smearing modern-day political figures with the hackiest guilt-by-association tactics, he is doing the work of the white nationalists for them.
It makes it harder to watch and merely criticize Death of a Nation as a work of film. I could critique its poor production values, insistence on including footage of D’Souza walking around important locations and looking forlorn, as well as its corny insistence on stock footage meant to represent a beer ad’s rendition of what constitutes America. I could rightfully complain that once again D’Souza brings things to a halt so he can showcase his wife singing. I could make fun of the stodgy dramatic recreations. I could write an entire essay on the logical fallacy and open insult of comparing Donald Trump to Abraham Lincoln, let alone smashing their faces together as the key poster art. I could laugh at D’Souza crediting himself as playing some small part for electing Trump. I could complain of D’Souza’s tortured, leaning style with interview subjects, desperately trying to coax them into saying the hidden phrase he’s in search of. The careful way he handles Spencer is bizarre, as if he didn’t want to upset the white nationalists who might buy tickets. The technical merits of this movie are beyond the point, not that there was much merit to them to begin with. It’s all about his fallacious arguments.
A funny thing happened weeks before the release of this movie in the summer of 2018. President Trump officially pardoned Dinesh D’Souza for his federal campaign finance crimes, sparing him a felonious record (though the rub is to accept a pardon one must accept guilt too). Is it possible that this entire film project was conceived as a means of flattering Trump and working forward the possibility of a pardon for its filmmaker? After three movies of disingenuous gambits, I wouldn’t put anything past D’Souza. He is, after all, the same man whose 1995 book declared the end of racism yet he routinely tweets racist missives (try and find some innocent meaning in his reference to Obama as a “grown up Trayvon”). Death of a Nation is what D’Souza plans to do with his mighty megaphone, and it turns out it’s blame others and fall back on the same old bromides for his reactionary base. I’m sure in two more years he’ll be fired up again to warn us all about the dire threat not re-electing Trump will pose to our nation, but hopefully by that time the nation will have tuned him out for good.
Nate’s Grade: F
Does muckraking filmmaker Michael Moore even matter anymore? That’s the question in the wake of the tepid opening of his newest documentary, Fahrenheit 11/9, a spiritual sequel to 2004’s Fahrenheit 9/11, which impressively grossed over $110 dollars (the next highest grossing doc is about $80 million away). Moore has been a loud progressive voice, a champion of the little guy, a provocative and some might argue deceptive filmmaker for three solid decades, but have we simply tuned him out? His last two movies (Where to Invade Next, Capitalism: A Love Story) have done middling business and he seemed to have lost a step. If anything can animate the Moore of old, it should be the stunning ascendancy of President Donald J. Trump.
I was expecting a take-down of our 45th president, but Moore doesn’t really go in for an extended catalogue of the mounting scandals, setbacks, and prevarications of the Trump Administration. It would be hard to keep up with the 27/7 news cycle that seems to fly from one Trump scandal or offensive statement to the next, creating an endless loop of scandals and headlines that can inure the public to negative attention (Trump is certainly counting on this as he games his base to disbelieve any and all negative coverage as “fake news”). By its a nature, a documentary takes a lot of time to fashion, and if Moore had simply made a two-hour catalogue of Trump outrage, it would have been instantly dated (he does sneak in some Helsinki footage of Trump cowing to Putin’s version of events). To be clear, Moore criticizes Trump and his cronies for the lasting damage he feels they are inflicting upon democracy and civility, but this Fahrenheit sequel is really all about the American people, namely those who have grown apathetic or too complacent in the notion that society will be safe and sound without direct and responsive action. There’s a renewed passion here that was solely absent in the last few Moore documentaries.
Moore states that Trump is not an isolated incident but a symptom of bad actors unchallenged for too long. This includes the media and especially the Democratic Party, including the Clintons and President Obama. There is more time actually spent railing against the shortcomings and decision-making of Democrats than there is on the Republicans. Lest you think Moore is blaming anyone and everyone for the rise of Trump, he even points the finger at himself and his own complacency. He regrets the times he could have stood up and challenged Trump, like on Roseanne’s daytime talk show in the 90s, or to his mouthpieces, like when he’s chummy with Kellyanne Conway on election eve. Back when Trump was still a Democrat, Jared Kushner was a producer on Moore’s 2007 doc, Sicko, which was also amazingly distributed by Steve Bannon’s company. Moore argues he too fell into the trap of complacency, of assuming Hillary was going to win comfortably, that a self-serving, unqualified candidate such as Trump would never be elected president, that the sensible American people would set things right. Moore’s film relives the slow, sickening realization of that fateful night by first crafting a montage of incredulous voices promising Trump had no chance (in a two-person race), and then he veers from the upbeat Clinton election party, complete with vaulted glass ceiling waiting to be ceremonially shattered. As the night wears on and tears give way, the glass ceiling would remain intact. It’s a painful moment to relive for any person hoping for the alternative, and Moore wants his audience to remember that shocked, stomach-churning feeling so it can be prevented in the future.
Moore’s thesis is that the only hope for our society pulling out of its tailspin is for new blood to be injected into politics and government. The resulting two-plus-hours seems to throw a lot of anecdotes and selective statistics at the wall to see what sticks. We jump from a teacher’s strike in West Virginia, to Alexandria Ocasio-Cortez as she canvasses before her upset in New York’s 14th district, to the Parkland High School students staging their own resistance movement for gun control, to the Flint water crisis. It makes for a somewhat haphazard documentary because it feels more like its parts than the sum, losing a sense of momentum. Fahrenheit 9/11 had the Iraq War to act as a narrative focal point, and it was timely and tangible and raw. Fahrenheit 11/9 is missing that central drive, which is why it feels like it’s too episodic. Thankfully his stunts and fitful attempts at humor, usually Moore’s weakest aptitude, are kept to a minimum so as not to further dilute the urgency of his message. His best section on Flint could have been an entire movie unto itself.
Moore’s personal connections to Flint, Michigan run deep and he has featured the city in every documentary going back to his first daring film, 1989’s Roger and Me. It feels like this beleaguered city can never catch a break. The government switched its local water supplies in 2015 and effectively gave every child in Flint lead poisoning, a condition that literally alters DNA and the DNA of future generations. This will affect the children of the children of Flint. It’s that insidious and tragic. The corrosive water pipes were a result of opportunistic greed, of trying to create a new pipeline for donors to Michigan governor Rick Snyder. It’s here that Moore sends up Snyder as a pre-Trump data point, a businessman with no experience elected to public office who took extra powers, blessed hand-picked emergency managers to circumvent local electoral choices, eschewed checks and balances, and installed cronies and crooked business partners into office. Snyder and his government knew about the lead poisoning for months and did nothing, and then they tried covering it up by telling doctors to doctor the numbers. It’s this segment of the film that feels most impassioned, most excoriating, and most impactful. If these elected leaders could knowingly poison a generation of children for profit, it could happen to you next. It’s here that Moore serves up his biggest criticism of Obama, who visited Flint after the water crisis gained national attention after months of suffering. He performs a stunt, which he swears was not a stunt, where he drinks a glass of Flint tap water to help his parched throat. You can feel the pained anguish of the Flint locals as one of their heroes, a man who was supposed to be a different politician, a man of the people, looks like another disingenuous politician.
But of course there is still time to ridicule Trump and his narcissistic tendencies. Moore argues that Trump has been hiding in plain sight the whole time and we’ve just ignored all his bad behavior and warning signs. There’s a searing montage of Trump’s gross obsession with how attractive his daughter Ivanka is, from talking about her future breasts as a little baby, to saying on a talk show that if she wasn’t his daughter he could see them dating. If you’re going to vomit during this screening, it will be here. Trump’s open admiration of dictators and strong men (he has said more positive things about Kim Jong-Un than John McCain) and his disdain for independent law and order, democratic norms, and American moral standing leads Moore to one apocalyptic conclusion. He warns that when, not if, some kind of terrorist attack happens and Trump demands new powers to combat this new reality, we will have willingly given away our democracy to a dilettante. Moore talks about shying away from direct Trump-as-Hitler comparisons but then throws up his hands in defeat and employs a few talking heads to make the connections more concrete. He even uses Trump rally audio and plays it over a Hitler speech, which was the funniest moment for me because of the bizarre dissonance (Trump is a much worse speaker). There will be people that tune out specifically because of the Hitler comparisons, deeming Moore an alarmist, which the man might agree with. He’s trying to sound an alarm to wake everyone up out of complacency, to get out and vote, to run for office, and to be more involved in their government so that it’s more representative of the 330 million people rather than an elite cadre of special interests with vast outputs of capital.
Fahrenheit 11/9 is a call to action to Moore’s ever-decreasing audience. It’s emotionally affecting and persuasive at points but it’s also too scattershot and lacking momentum, especially after Moore makes the conscious decision to keep Trump as a background presence, the latest malignant symptom of an apathetic voting public. Moore’s central argument is that too many of us, himself included, became complacent and now our democracy is in peril from a wannabe tyrant who doesn’t care about inflicting lasting collateral damage. If our country ever needed Moore, it would be now, but his time might have already passed as an influencer. The last time Moore was breaking through into the cultural conversation was with Sicko in 2007, years before the formation of the ACA. Since then we’ve seen the rise of social media, YouTube, and the instant commentaries of media old and new, all trying to one-up one another in expediency and exclusivity. Is Moore just another member of the old guard he laments has become obsolete? Fahrenheit 11/9 is better than I thought it would be but it still left me wanting more of Moore. But if his message is anything, don’t count out Moore and the American people just yet, because with the right push, it can all come roaring back.
Nate’s Grade: B
Assassination Nation is an explicitly potent and timely Movie of the Moment; it’s a modern “Monsters Are Due on Maple Street” for the Age of Trump, exposing the fissures in our society, primarily the elements that prey upon, police, and punish women. The film is brimming with female rage that you may leave shaking. It’s a movie that wants to grab you and scream its message in your face, and that will be off-putting to several, but the overall experience was so stimulating, so ambitious, so affecting, and so emotionally cathartic, that I wanted to howl back, now championing this audacious movie to whomever might listen. This is one of 2018’s best movies and most vital statements.
In Salem, four teenagers have become the most hated people in town. An anonymous hacker has been stealing people’s private information, correspondence, and intimate pictures and uploading it for the public to digest. The town has gone mad with this feeding frenzy of new info and open secrets, leading to suicides, retribution, and murder. Lily (Odessa Young, a strong debut that reminded me of Olivia Cooke) and her BFF posse, Bex (Hari Nef), Sarah (Suki Waterhouse), and Em (Abra), become the main suspects and the town turns on them, looking for some good old fashioned vigilante justice.
The film is messy and chaotic but these are not the usual detriments; it is exploding with things it wants to say about the hypocrisy and nastiness of our modern era. Early on Lily remarks to the audience, “I read this quote from a writer once who said 10 percent of the population are cruel, and 10 percent are merciful, and the other 80 percent can be swayed in either direction. I’m sure that writer has never seen 4chan or Twitter.” At the end of the day, Assassination Nation will not allow its audience to take comfort even as it transforms into a female revenge thriller. Here is a movie that grabs you forcefully and says, “This is who we are now so what are you gonna do about it, huh?”
When Twilight Zone creator Rod Serling wrote “Monsters Are Due on Maple Street” he was critiquing the veneer of civilization we clung onto through our “good manners,” yet with the right pressure points we could just as easily turn on our fellow man with suspicion. The divisions in our current political climate often feel unable to be bridged; how does one reconcile a middle ground between one side that views gay people, trans people, women, people of color, and immigrants as human beings deserving of rights and protections and another side that laments the Way It Used to Be? There was one tense moment at gunpoint where a character that had previously led a literal lynch mob says, through convenient tears, that he’s sorry. Oh, he’s sorry he almost murdered an innocent classmate? Are there some decisions, some votes that you just can’t erase with a “sorry”? When people are willing to drop all pretenses of humanity for tribal allegiance, then perhaps those people don’t get away with an apology for their grievous harm. As the hacking begins, it’s initially pinpointed coming from a Russian IP address, and I wondered if maybe writer/director Sam Levinson (son of Barry) was making an additional comment about how easily these divisions can be exploited by an outside actor, as they were with the Russian propaganda missions of 2016 (and beyond). There’s another culprit responsible for the dissemination and the eventual explanation for a motive is a pitch-perfect end note demonstrating the destructive nature of casual cruelty.
The breakdowns in the Salem society stem from a deluge of secrets being unleashed and consumed without abandon. Everyone feels exposed, naked, some of them quite literally considering the treasure trove of hacked pictures, again drawing comparisons to celebrities like Jennifer Lawrence getting their intimate personal pictures broadcast. The expectations of privacy are malleable in a digital age of consumption, where the wider public is insatiable to know and see everything no matter the violation. The ravenous consumption of intimate secrets then foments into a mindless mob in need of blood. It’s the social media horde that has to find a new victim to point the outrage machine at. This is best demonstrated by the school’s principal (Colman Domingo), an early victim of the hacker. Included on his cell phone’s gallery are nine pictures of his young daughter in the bathtub. Ready to take down another target, the community demands that the educator resign despite his pleas that they are innocent pictures but the crowd argues that all nudity is the same and therefore sexualized, especially when it depicts females. He’s dubbed a pedophile and a child molester and every horrific term. He’s pressured by the school board to resign and he faces down his hostile, accusatory crowd. I was so taken with this storyline and the personal anguish this man was going through that I wish we had gotten more time and appearances with him as a significant supporting character (this refrain will be referenced again). It’s these early moments that made me think of the Salem of Arthur Miller’s play, a bluntly obvious comparison point for a painfully blunt movie.
The world of Assassination Nation is deadly to women. It’s the kind of movie where male entitlement can turn a street harasser into a would-be murderer, which dredges up memories of Mollie Tibbetts, killed by a man who refused to accept that she didn’t have to talk with him or acknowledge him while she was out jogging. The teen girls are pressured to be sexual beings by those who want to commoditize their bodies, and then they are puritanically demonized when these actions become public knowledge. I kept finding relevant correlations with so many moments and themes throughout the film, and I imagine many others will do the same. That is one of the charms of a movie bursting with so many things to say; each person may be challenged or affected by something different. The satire is unsparing and darkly comic but when it needs to be serious and disturbing, Assassination Nation can switch tones with ease. You’ll be laughing at some violence, cringing at other examples, and possibly cheering by the end as just deserts are served. Having a multitude of tones and messages doesn’t detract from the overall impact; it just means there are more storytelling avenues to chase and different emotions to elicit.
Take for instance a scene that occurs after the end of the movie. We watch an African-American marching band lead by a lead female performer with a baton. They stomp in unison through the smoldering remains of a suburban neighborhood and play a brassy rendition of pop scion Miley Cyrus’ “We Can’t Stop.” It’s a song about youthful revelry but also a declaration of independence from the oppressive expectations of others (“It’s our party, we can say what we want/ It’s our party, we can kiss who we want”). Can this moment relate to the idea that a younger generation must keep marching onward in the face of tragedy after tragedy, that the racism and misogyny and mass shootings won’t stop, that we’re a constant shuffling funeral march in the unmovable face of broken politics? Is there reference to the expectation of African-Americans to perform through horrifying adversity for the entertainment of a white audience? Is this a celebration or elegy? It’s a strangely beautiful coda that left me thinking even more, and if something that happens even after the end credits can stay with me, you know you have a worthy work of art.
This is a movie that affected me deeply as a drama and, as it changes gears, a suspense thriller. There are some extended assault and torture sequences that will test the comfort level of every viewer. There is a healthy exploitation streak that runs through the film, but I found it far more meaningful than say the recent gonzo art flick earning overzealous critical raves, Mandy. Levinson’s camera will adopt the male gaze that imprisons these teen girls with close-ups of gyrating movement and pouty stares. Some will characterize these moments as Levinson muddying his message by indulging in the same objectification he has been criticizing. I can understand that analysis but I think it goes deeper. I think the camera is adopting the objectification of the world and Levinson is asking us how we feel now that we’ve gotten to know many of these women. Are they so easily disposable once you widen the lens and see them as vulnerable, sympathetic, and relatable human beings?
The final act delves into full-on exploitation vengeance thriller and becomes a feminist rallying cry against the wider array of misogyny poisoning society. I imagine future generations will memorize Lily’s final speech to the American public with the same degree of awed reverence as college-aged males do for Tyler Durden (a movie where its target audience missed the satire). It would be glib to simply dismiss Assassination Nation as an opportunistic RiotGrrrl response to the Me Too movement. This is a primal cry against the Age of Trump and feels like the first great film in response to our 45th president and all that his ascension has wrought.
When the film does go into thriller mode, Levinson proves surprisingly adept. There is an extended tracking shot that swoops from window to window, floor to floor as we slowly watch a home invasion in progress, and it’s exceptionally taut. The camerawork by cinematographer Marcel Rev (White God) is remarkably fluid, floating around its subjects in glides like the camera is serving as the eye of god. There’s a mesmerizing quality to the visuals that transcends the array of genres the film effortlessly hops between. One minute you’re caught up with the arresting, upside down camerawork leading to an explosion of violence, and the next you’re taken with a surreal depiction of suburbia. The music selection is also on fire with choice tracks by K. Flay, Bishop Briggs, Joywave, Bams Courtney, Gracie Mitchell, Billie Ellish, and others. It alternates between guttural and polished, angry and contemplative, but it screams as loud as the film itself. I’ll be surprised if I come across a better contemporary soundtrack to a 2018 movie.
If there is a niggling detraction for the movie it’s that we could have used more time spent rounding out the supporting characters. Besides Lily and Bex, the other girls are more defined by their relationships and proximity to our protagonist. I wanted them to open up more as characters. I also wanted even more catharsis by the end of the movie. After almost two hours of rampant misogyny and subjugation, I could have used even more lingering vengeance as the girls defended themselves from their attackers. Still, my biggest regret with Assassination Nation is that I didn’t spend more time with the supporting characters and their individual personalities and trials. I just wanted more.
Bristling with anger and feminine agency, Assassination Nation is a warning shot, a rallying cry, and a daring artistic statement about the role of women in response to the rise of Trump and his cronies. It’s not subtle but that doesn’t mean it isn’t effective. It’s blunt and extreme because our times are blunt and extreme, it’s messy because our news cycles are messy, desperate to cover a cascade of catastrophes and scandals, it’s using the language and imagery of exploitation cinema because that is too often the lens with which women are viewed in modern society, as achievements to unlock, as trophies to be won, and as a product for mass consumption. Levinson has put together a movie that has a possibility of being a seminal film, of being a touchstone of the resistance to the Trump Era and all that it stands for, but at its core it opens up with excoriating detail the pressure and punishment women must persevere through on a daily basis as targets of patriarchal entitlement and the dangerously fragile egos of dangerous men. In the recent weeks we’ve watched a possible Supreme Court nominee who might have committed multiple acts of sexual assault, and the response has been to “plow ahead” and appoint the man for a lifetime position ruling on the legality of women’s rights without further inquiry or investigation. The film feels even more charged, relevant, and prophetic with each new allegation of wrongdoing being hand-waved away as mistaken identity, boys-will-be-boys moral relativism (more like rapists-will-be-rapists), and the same kind of nonsense that women have been subjected to since the original Salem and well beyond that. For every woman fed up with the status quo, Assassination Nation is your movie, and for every man whom needs a feminist lesson with an extra dose of Purge-style bloodletting and vengeance, here is a brazen and affecting statement. Assassination Nation is the movie of the moment and it’s a knockout.
Nate’s Grade: A