Recent non-PC Movies

[Charlie]

Warning: Spoilers ahead.

'Knowing' (2009) ($187 million worldwide gross receipts/$50 million production cost) Scientist Nicholas Cage knows Earth will be destroyed by a solar flare. Fortunately angel-like aliens arrive to take two white children to another world where they can start over. The boy and the girl each carry rabbits as they run towards a large tree set in a field of alien wheat.

While there are other alien space ships hovering above this far-away world we don't see any other pairs of rescued Earth children. Have aliens only rescued white children? How easy for the film makers to show a collection of 'genetic lottery party favors' as additional pairs of Adams and Eves, but we don't see that.

Since this is a sci-fi retelling of the Garden of Eden it brings up the question of what race were Adam and Eve? Given the choice who would God or God-like aliens select as the starting material for a new society? The movie also brings up the question of whether our existence is simply a random event without meaning. Did we evolve from humanoids like Lucy to only end up looking like Lucy, equally unable to control our fate or to even give it much thought?

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'Taken' (2009) ($225 M world gross/$25 M cost) Liam Neeson's daughter is kidnapped for purposes of being sold into white slavery. Neeson the ex-spy then kills scores of blacks, Albanian Muslims and Arabs in the streets of Paris. He saves his daughter.

There is little done to mask the actual racial dynamics of crime in France. This bothered critics who are used to the American practice of obscuring or even reversing the actual color of crime.

Even at the start of the film Luc Besson, one of the writers and the person most responsible for the story, doesn't pull racial punches. Neeson is providing security for a popular singer at LA's Staples Center. A deranged man, obviously not white, perhaps Mestizo, lunges with a knife. He is quickly subdued. Once again, how very easy for the film makers to provide a correct racial angle, especially in light of what is to follow. Yet they resist the temptation.

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'I Have Loved You For So Long' (2008) This French-language movie's minor characters show the French attitude toward immigration. An Iraqi doctor, skilled and compassionate, is accepted as a friend and intellectual equal by his French neighbors. Meanwhile a black African is unable to pass his college courses, blames others, and is dismissed as both stupid and irritating.

A 'correct' scenario would have the black African overcoming racism to cure cancer and then jumping into 'Taken' to discipline Mr. Neeson.

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'Californication' David Duchovny goes to a movie. A Latino begins a loud cell phone conversation. Duchovny objects, breaks the cell phone and gets into a fight which he wins to the general approval of the movie theater patrons.

Later Duchovny gets into a fight with a black, wins that fight and goes to jail.

Duchovny's daughter performs at a music recital. The music of course is classic, as in The Ramones. Which is to say 'white'. Proper protocol requires homage to black music, which is generally known as being superior to anything four white kids from NYC could ever do. As proof there are precious few soundtracks that are not full of black music. Yet that may be changing.

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'The Minor Accomplishments of Jackie Woodman' Jackie gets drunk, plays with a leaf blower and says, 'Wow, this is fun. Now I understand why Mexicans like this sport so much.'

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'Stuck' (2008) (limited theater release of less than 2 months and $67K in receipts, then to DVD sales) Based on the true story of a Houston black woman, high on drugs, running into a white man with her car and his becoming stuck in the windshield. He died over several days yet the black woman and visitors to her house made no attempt to help.

Director Stuart Gordon is faced with a problem. No way is he going to get away with accurate racial casting. The 'Law and Order' series did the story and made the criminal into a white professional woman but did keep the victim as white. Solution: cast Mena Suvari and make her as black as possible. Corn rows, black boyfriend, junk food, casual drunkenness and drug use, casual dishonesty, flat hard stare.

Stephen Rea is the victim. A succession of people are going to exhibit perfect indifference to his problems.

1. At the employment center his file has been lost. The counselor there insists he fill out more forms and came back later. 'But I've lost my apartment. You see I'm even carrying my clothes with me.' 'Sorry, but here's a pen. And my card.' Name on card: Liebman

2. A boy sees the victim in the perpetrator's garage. He tells his parents. But the father, concerned about their illegal immigrant status, refuses to help.

3. A homosexual walks his dog. The dog gets into the garage and licks the injured man's compound fracture. The homosexual wonders what his pet has gotten into. 'Bad dog, what is this sticky red stuff you got all over my sweater. Let's go home to clean you up.'

4. 911. 'So you don't know where you are? Sir, how can we help you if you don't know where you are?'

5. The black boyfriend. 'Baby I've killed lots of people. In broad daylight.' Sadly, the black boyfriend is killed by a pen through his eye socket. Pushed right into the brain.

6. Suvari's character winds up being burned to death despite being assured she won't be reported to the police. Rea's character is able to save himself.

There are other nice touches. A bar frequented by the would-be murderer and her boyfriend is the 'High and Low'. There we see black and white couples in a dull and depressing 'club'. No glamor at all. The white girls are ugly sluts and the black boys are minor thugs. No Remy Martin Louis XIII cognac here.

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'Waitress' (2007) ($22 M world gross/$1.5 M cost) Nothing especially political about this movie. But the story of what happened in real life to the writer and director Adrienne Shelly (born Adrienne Levine) is tragic and entirely due to politics. Before the movie was released it won several awards at film festivals. It had a good cast including Keri Russell and Andy Griffith.

On November 1, 2006 an illegal alien from Ecuador murdered Shelly. She had caught him in her apartment stealing from her purse. He knocked her unconscious then hanged her, while still alive, in the shower to make it appear she committed suicide. He received a sentence of 25 years to life. Shelly's family is suing the illegal alien's employer.

The baby in the film was played by Shelly's daughter Sophie, who we see in the final scene being carried by Keri Russell's character.Edited by: Charlie

 

[DixieDestroyer]

"Gran Torino" certainly wasn't "PC"!

 

[Solomon Kane]

I liked "Taken". Good traditional paradigms. Innocent white california girls are threatened by sleazy non-white abductors and rapists. the bad guys are non-white immigrants and non-white lustful millionaires. The only problem was: it would have been more accurate if the sybaritic millionaire "customers" came from that "unmentionable" middle eastern state, rather than the usual "villain" states.

 

[Charlie]

'Gran Torino' was good too. Also 'Crossing Over'. Very interesting how the Rabbi lied to get a tribe member into the country. In the next scene a Border Patrol agent finds the corpse of a dead Mexican woman. Message being, 'Jews get in regardless of merit or circumstance, meanwhile a few dead Mexicans is no big deal.'

I don't think the victims in the white slavery trade have changed, they remain poor girls from Eastern Europe. But how clever to instead have tourists be the victims. Much easier for the audience to identify with. Quite a long way from 'Pretty Woman'.

Israelis as sex slavers? No way a movie like that could be made regardless of the truth of it. The closest thing like that to happen was 'The Sopranos' showing an Israeli as an E dealer. The best one could hope for is for the audience to categorize all foreigners as sleazy and dangerous. There's something very John Wayne and 'The Searchers' about 'Taken'.

 

[Jimmy Chitwood]

i stumbled across this review of the latest Robin Hood movie by one of the guys over at alternative right. i thought i'd share, as i enjoyed the movie (for the most part), the reviewer makes some good points, and he also points out the only politically correct portion of the movie (when Maid Marion dons chainmail and tries to fight)and rightly ridicules it.

<H1 =itemTitle>Lions &amp; Lambs</H1>
<H2 style="PADDING-BOTTOM: 4px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; COLOR: #333; FONT-SIZE: 150%; PADDING-TOP: 0px">What Rand Paul Could Learn from Robin Hood</H2>
<DIV =itemToolbar>By Richard Spencer &amp; Paul Smith
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<DIV =itemIntroText>At one point in Western history, the "Robin Hood" of Anglo-Saxon legend became a socialist. When Hollywood got a hold him, he also became a charmer and prankster (as portrayed by Errol Flynn and animated by Disney), and later a mellow loner from Southern California in Kevin Costner's godawful 1991 production. But mostly, Robin was a socialist, and a man defined by the imperative of "stealing from the rich to give to the poor." He became one of history's few universally beloved Leftists, his name emblazoned on various pieces of uplifting legislation. Ayn Rand declared him the epitome of evil.

Something must be rotten in Sherwood forest. For in Russell Crow and Ridley Scott's Robin Hood (2010) only briefly does Robin actually don a hood and rob passers-by in the woods. (His victims in this case are leaders of the Roman church who had refused the starving population of Nottingham recourse to their grain.) Otherwise, the prince of theives is scandalously upright and law abiding. The New York Times's dissatisfaction with the film indicates that more than a century's worth of wealth-redistribution metaphors have been put at risk. (Or as Steve Sailer puts it, "American audiences ... have been puzzled (not without reason) over why Robin Hood doesn't have much to do with, well, Robin Hood.")


<DIV =itemFullText>Uninterested in socialism and wary of taxation, if this new Robin has political ambition, it's not as a socialist but as an Anglo-Saxon nationalist. Liberal commentators have suggested that the hero belongs to the Tea Parties, but such snark misses the larger point that the character Crow and Scott construct is representative of a tradition best termed liberty before liberalism.

Robin demands his rights as an Englishman -- and specifically as an Englishman. This visceral sense of birthright liberty is not too distant from Thomas Jefferson's conception of the "Rights of British America," which he believed derived from liberties secured by the Anglo-Saxon followers of Hengist and Horsa.

A "parliament" of sorts is depicted in the film, and there Robin speaks forthrightly, but it is also a non-democratic body, and, much as with its 10<SUP>th</SUP>-century Icelandic antecedent, the nobles in attendance come armed. Peers are to be respected -- and feared. Lacking any inkling of "universal solidarity," Robin, and the rest of the red-blooded British representatives talk of the French as vile foreign invaders, almost as another race.

It's no coincidence that Ridley Scott casts the Frenchmen, including a court double-crosser, as olive-skinned, dark-haired, and quasi-Moorish. Even the insincere, shifty King John -- a representative of the potential tyranny within every state -- is noticeably swarthy. In Scott's England, complexion reflects character.

With Gladiator, Scott's first collaboration with Crow, he proved capable of making a film that criticizes American Empire from the right. "Rome," much like fin-de-siècle America, was decadent and given to bread, circuses, and foreign wars. Similarly, in the world of Robin Hood, Richard the Lionheart's military campaigns to the Holy Land have led to the financial ruin of the realm. Robin has followed his king off on the Crusades, and he fights valiantly, but when allowed to voice his opinion, Robin makes it clear that endless warring leads only to inhumanity and penury. Richard rebukes him ... but as "brave, honest and naïve."

"Steal from the rich to give to the poor" is, thankfully, never uttered once in the film. Instead, Robin's motto is "Rise and rise again, until lambs become lions," which, we discover, was instilled in him by his long-lost father, a radical (though classical liberal) philosopher whose ideas anticipated the Magna Carta.

"Lions and Lambs" certainly has an egalitarian quality to it, as do the Biblical verses it's drawn from, which describe the bliss on earth after the Second Coming. But Robin glosses the line as "Never give up." And by the climax of the film, it comes to stand for all Englishmen uniting together against the foreign invader.

It's also worth rejoicing at the total absence of political correctness in film. Well, almost total absence... In the climatic battle scene, Maid Marion enters the fray donning her late father's chainmail (which would have weighed 60 to 75 pounds and likely grounded the fair maid!) But luckily, Marion's foray into the man's world is quasi farcical, and she ends up whimpering in Robin's arms by the end, carried romantically along the beaches of Dover.

And despite her one assay at women's lib, Cate Blanchett's Marion is a loyal and feminine persona. Her relationship with Robin is, in turn, one of the most striking improvements over all previous versions. Robin enters her life as an impersonator of her late husband (a scheme devised by Marion's father so that the land might be kept in the family.) The Robin Hood legend is thus combined with that of The Return of Martin Guerre, one of the great romantic folktales of the West -- and a tale that's only powerful when its audience takes for granted the traditional duties of husband and wife.

Equally refreshing is the fact that Sherwood Forest has been cleansed of all token minorities. This is a notable change from the Robin Hoods of recent past. In Costner's Prince of Thieves, for instance, Robin was accompanied by a wise, avuncular Muslim played by Morgan Freeman (who appeared in the film between stints portraying U.S. presidents, God, and other forms of omniscience.) "Azeem" (a candidate to be celebrated in Fictional Black History Month) was depicted as more technologically and socially advanced than the backward English dolts of Sherwood, and he's given a rousing speech that inspires Robin's merry band to storm the Nottingham castle and save the virginal Maid Marion from the ravages of the Sheriff. Azeem helped deliver a child, despite the protestations of Friar Tuck, and provided a chemical compound that turned out to be gunpowder. (It must be white racism that prevents Azeem's descendents from achieving such wonders.)

In a recent BBC-produced a version of Robin Hood, Friar Tuck is actually played by a black actor. (One shouldn't hold one's breath for reciprocation and the casting of, say, Hugh Jackman in the role of Nelson Mandella in a future biopic.)

Robin Hood is so excellently un-PC -- not to mention stirring and successful as a film -- that one wonder whether rising anti-Establishment political candidates might tap it for inspiration...

Rand Paul recently won the Republican primary for the Senate seat in Kentucky and appears to be the front-runner against his Democratic opponent in the November election. In his acceptance speech, he claimed to bear a "message from the Tea Parties."

Though the mainstream media had liked Rand for a spell, as a "civil libertarian," once he became an actual threat, it was only a matter of time before they would work to destroy this "brave, honest and naïve" man. Over the past few days, they have been keying in on his views on the rights of private businesses owners that run counter to the Civil Rights Act of 1964.

Rand has defended himself ... tentatively ... but in doing so, he's evoked the name of the Patron Saint of multiculturalism and white guilt, the Rev. Dr. Martin Luther King Jr.:

<BLOCKQUOTE>Rand Paul: What I've always said is, I'm opposed to institutional racism, and I would have -- if I was alive at the time, I think -- had the courage to march with Martin Luther King to overturn institutional racism, and I see no place in our society for institutional racism.

National Public Radio: You would have marched with Martin Luther King but voted with Barry Goldwater?
</BLOCKQUOTE>Asserting the wonderfulness of MLK is the standard defense to any public charge of "racism," much like the "march with MLK, vote for Goldwater" meme is paramount to arguing the libertarians want the same multicultural, egalitarian society as the Left -- they just think the free-market is a better way of bringing it about.

What Paul and most libertarians fail to grasp is that, beyond criticism of the Civil Rights Act, any attempt to dismantle the Federal Government will be construed as "racist" by the Establishment and media for the simple reason that if Constitutional order were actually reinstated, millions upon millions of Black people safely ensconced in high-paying public sectors jobs would suddenly be forced to compete in the dreaded free market.

Limited government would sound the death knell of a black middle class built on cushy lifetime appointments at government bureaucracies. Black over-representation in nearly every agency is truly astonishing, and it ensures that African-Americans will fight tooth and nail against the Tea Party, Libertarians, Rand Paul, or anyone who even thinks about ending this good thing they've got going.

Libertarians aren't up to the task of limiting government anyway, for quite unlike Robin, they lack any sense of community and birthright, and thus will only engage people in endless, abstract, braniac debates about how, say, the welfare state retards black entrepreneurship or how much minorities would benefit by the lowering of the minimum wage.

Reason magazine, the major organ sustaining Libertarian opinion -- and a magazine that, one should remember, slandered Rand Paul's father when he questioned egalitarianism -- has come out in favor of the new Robin Hood film. But Robin has little in common with Reason. Men rise and fight against tyranny in defense of their people. No one has yet died for "free-markets," not to mention the right to enjoy cannabis and sodomy at will.

Libertarians usually treat race and ethnicity as the ultimate "collectivist" evil; and in doing so, fail to grasp the role both have played in the defense of liberty. (Unlike the white editors of Reason, most people of other races intuitively grasp the importance of group cohesion and have little compunction in calling upon it for collective advantage and survival).

Ridley Scott's Robin Hood introduces a dangerous idea -- that in the face of likely defeat, defiance and audacity are a people's only option. Arizona has heard the call, and has been unwavering in defending itself against all foes. Rand Paul should learn that groveling is the first step towards defeat and subservience.

Speak your mind, Rand, and rise and rise again, until lambs becomes lions.

 

[Anak]

Also on "Knowing" the angels were blond haired and blue eyed until they morphed into Alex Grey like creatures, and the rabbits the children carried at the end were white, which could symbolize white procreation. It looked like the other ships were coming from Europe and other white countries. There also were no prominent or even token black roles in this movie.

"Taken" was the other one that was definitely not "PC," and probably the only one. "Moon" is devoid of blacks and only has one non-White, a sleazy Korean CEO at the end, it is an excellent movie as well.

 

[Charlie]

The English-language German production 'Pandorum' (2009) ($17 M world gross/$40 M cost) is similar to 'Knowing'. Earth is doomed, in this case due to overpopulation. Happily a distant planet is discovered with the capacity to support carbon-based life.

The Max Planck Institute selects a broad range of plant, bacteria, insect and animal DNA to accompany the thousands of humans sent to this distant planet. But what should have taken decades instead takes centuries. During this time some humans, those not in deep sleep, mutate into translucent cannibals in adaptation to life aboard a ship.

Four awake humans remain normal. One succumbs to Pandorum, insanity caused by lengthy space travel (or more likely, caused by watching 'Avatar' and 'The Hurt Locker', the in-flight movies). The other three; lady German scientist, American astronaut and Viet farmer, try to find out what is wrong. The Viet farmer (played by MMA fighter Cung Le) has learned to hunt the mutants for food.

They encounter a black 'cook'. He also is a hunter, but of humans exiting deep sleep to perform ship maintenance. He gasses them, butchers them and eats them. He attempts to consume the human trio but is caught by the mutants.

The Pandorum victim and the Viet farmer die. The remaining couple discover the ship has been underwater for centuries on the destination planet. They release the escape pods and emerge. Just like 'Knowing' they are a white couple in a new world.Edited by: Charlie

 

[Charlie]

Hit Girl says, 'Eenie, Menie, Miny, Moe' and within 2 minutes dispatches 4 blacks and 3 Hispanics with a Mindystick while the Dickies play the Banana Splits theme song

'Kick Azz' (2010) ($96 M world gross/$28 M cost) was strongly disliked by Roger Ebert. He weally, weally disliked it, giving it one out of four stars. Largely because of the scene posted above.

"...Let's say you're a big fan of the original comic book, and you think the movie does it justice. You know what? You inhabit a world I am so very not interested in...the movie moved into dark, dark territory, and I grew sad..."

'Kick' is really good despite what Ebert says. Director Matthew Vaughn is the good director from Scotland (the bad Scottish director being Guy Ritchie who butchered 'Sherlock Holmes'). The score and soundtrack are near perfect; Elvis, Joan Jett, Primal Scream.Edited by: Charlie

 

[Jimmy Chitwood]

i watched the movie Charlie St. Cloud the other day, and i thought it was actually pretty good. it only has one black dude in it, and he is a complete jerk. what's even better is that Zac Efron (the star of the movie) busts him up pretty good for mouthing off.

i know Efron is a jew, but i suspect most folks don't. so they just see a blue-eyed white guy putting the hurt on a negro, which is a nice twist of the norm. i guess that it's probably Efron's jew-ness that is the only thing that allows such a non-pc event to take place ...

 

[Charlie]

I had no idea Efron was Jewish. Sometimes I don't want to know one way or the other. I guess the mark of a good actor is the ability to convince an audience of the improbable. James Caan was the anti-Woody Allen despite being just as Jewish and weighing all of 140 pounds.

 

[DixieDestroyer]

There are a few bad@$$ juden out there...namely one Bill Goldberg...

Edited by: DixieDestroyer

 

[foobar75]

Sorry to hijack the thread a little bit, but I cannot let this one go without mentioning two of my favorite movies, by the legend Clint Eastwood himself: Sudden Impact and Dirty Harry.

Enjoy:

Dirty Harry - Do you feel lucky?

Sudden Impact - Go ahead, make my day!

Can you possibly imagine these movies being made today? Al Sharpton, Jesse Jackson, ACLU, NAACP, et al, would be all over them.

Also, the upcoming move Expendables seems like another hard-ass Stallone movie, so looking forward to that. Rambo a couple of years ago was pretty good, too.Edited by: foobar75

 

[Tom Iron]

foobar75,

Don't worry, we are that guy. Once things start coming apart big time in this country, you're going to see a lot of White men exactly like that. It's just in our genetic makeup.

There's an old story of a Texas Ranger being dispatched to find some stolen cattle. The Mexicans heard that a/singular Texas Ranger (Anglo)was coming and returned all the cattle and more so they didn't have to deal with such a man.

Tom Iron...

 

[Charlie]

Roger Ebert reviews 'Dirty Harry':

"...if anybody is writing a book about the rise of fascism in America, they ought to have a look at "Dirty Harry."...The movie's moral position is fascist. No doubt about it..."Edited by: Charlie

 

[screamingeagle]

The movie, The Spirit, had a villian played by Samuel L. Jackson. He plays the Octopus. I wondered why he was cased, for in the comic strip he never shown. All you see of the Octopus is a pair of gloves, there is no hint that he could be a black character.
The scene where he is wearing what seems to be an SS uniforn is so strange. Then again the comic strip was strange.

 

[Electric Slide]

As mentioned in a thread I started before I saw this one "The Town" was a great non-PC movie, a bunch of hard nosed white criminals and cops, as well as the only romance being between white men and white women. Not that it tarnishes the movie at all, but there is a short clip of Albert Pujols getting a base hit, and a black cop is seen for about 2 seconds.

Also, "The Fighter" with Mark Wahlberg (who played another based-on-a-true-story white athlete in "Invincible") is another great one I just saw. It says it's based on a true story of a white boxer from Lowell, Mass who didn't have much success not due to talent or desire but because of his dysfunctional family who micro-manages him and put's him in bad match-ups simply to earn the money.

Without giving too much away, he does get pummeled by a black replacement boxer who had 20 lbs on him, but then after making the proper training steps he KOs another black fighter and a Mexican, he also fights white opponents.

The drawback is that there's about a 30 seconds scene with Sugar Ray Leonard with a younger white woman with her arm around him. Also it generally depicts whites in smaller rundown rust-belt cities as generally dysfunctional and hooked to drugs, although the main character Wahlberg is shown as being respectable and of high character, as is his step-father and other white characters in the story.

The major criticism I have for the movie is two glaring mistakes that were made. One is that in a scene a subtitle says "Thomas & Mack Center, Las Vegas" which is on the campus of UNLV. Though all the markings in the ring and the round number cards say "Caesar's Palace." The other thing is the movie is supposed to take place in the early 90s. The cars, hair, music, technology etc. was all painstakingly done correctly, all to be burst in one fight where the ring has ads plastered on it with some random dot com name. I can't believe that was missed and that something couldn't have been done to either change the ring markings, or even edit it out (which they have the technology to do).

The movie more than makes up for any drawbacks with showing the love interest with the red headed bartender girl who was a former college scholarship high jumper who won the New England 5A championship in high school. I don't know if that part is true. Also the movie doesn't portray in any significant way that whites are inferior or less talented at boxing, and that they don't belong in boxing or it's shocking for them to win. That deserves a lot of credit.

I'm very satisfied with seeing this film, if there's anyone who refuses to go the theater due to cultural marxism in movies, "The Fighter" is a great exception to this! Edited by: Electric Slide

 

[Tom Iron]

Here's a movie that's not recent, but very good. I recommend it highly. I just came across it. It's entitled, "29th Street." Very un-PC.

Tom IRon...

 

[celticdb15]

Check out Running Scared and The Town. Plan on seeing The Fighter soon.

 

[GridironGrits]

Hey what about Walker Texas Ranger Guys!!!! I always thought that show was pretty non-pc. Chuck kicks some serious minority butt in alot of the episodes.

 

[whiteCB]

I love this thread! Thanks for the heads up on some great movies guys. It's always tough to separate the garbage PC Hollyweird stuff from the great movies from just watching previews on TV.

 

[Westside]

'The Fighter' movie is based on real life fighter Mickey Ward. He was a top ten contender in the 140 lbs division. He was very successful, but, never could win a major championship. He had a fantastic trilogy with Artro Gatti.

He beat alot of great fighters and lost to great fighters.

 

[Charles Martel]

I just watched a good thriller starring Tom Cruise: Jack Reacher

Nothing anti-white or PC in this one.

 

[Matra2]

Whilst not entirely free of political correctness the first three series of French TV police drama Spiral (Engrenages) is pretty good and it is far less PC than anything you are likely to see in the English-speaking world. It's available on Netflix in the US.

 

[Charles Martel]

The Vikings TV series written by a Jew portrays white people in a negative way.

But here's VERY GOOD one I just watched that is written and directed by white Gentiles and is not anti-white:

Northmen - A Viking Saga (2014)

http://www.imdb.com/media/rm2746138880/tt2290553?ref_=tt_ov_i

 

[Old Scratch]

Here are some movies that I don't think have been recommended yet: Rush (about the rivalry between James Hunt and Niki Lauda), Skyfall (incompetent black woman agent nearly gets Bond killed), Robot & Frank, Cargo (good Swiss scifi film)