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Re: You're the one praising the hero, not the film. He's a creep with Alzheimers.

"Remove the Alzheimers from this film. It's not important at all. It's just a revenge film."

Incorrect. Again. Logic and cognitive thought are not your strong suits, so I'll assist. Sometimes watching a film requires more thought that simply processing an image or story on the screen. For example, your statement that these cops somehow are not real cops. I reply that I have professionally known and come into contact with many investigative officers, and your statement is patently false. Your reply. Zip. Nada.

I write to inform you that your support of such carnage flicks as Pulp Fiction with their amoral characters killing defenseless people would seem to run counter to some of your complaints to this film, to which, again, you do not reply. I provided an example in Bourne, a film you seem to admire, in which our hero is amoral, would seem to suffer the same critism you place on this film, yet nary a reply. Sounds hyprocrital. I can only assume that you feel that senseless, amoral murder is okay if done with style, wit, and panache. Perhaps you should add an addendum that senseless and mindless killing is okay if done with a certain flair. Would you agree?

Now, here goes some back story, which, I think, the diretor and screenwriter assume an intelligent viewer can supply. This is an elder hitman. Hitmen arrive at his age because, (1) they are very good at their jobs (good shots, secretive, intelligent, good planner, yada yada yada) (2) loyal and trustworthy, and (3) do what they are told, and are emotionally detached. They do not become good hitmen because they take on a personal cause, such as revenge, which is, by its very nature, personal.

So, why has this very successful hitman, who has tried to retire because of his ailment, now killing, with the exception of the police officer, bad guys? Because, dear tinhead, he has nothing to loose. His handlers are now trying to kill him because they have a man in the field who is leaving a trail of bodies, and is being pursued by the police. Kind of tough to be a good hitman when the police have identified you, are on your trail, and, to cap it all off, the hitman is actually contacting the police telling them he is doing their jobs.

Why does he have nothing to loose? Because he knows that his alzheimers will slowly rot his brain, and everything important to him will be gone. Contrary to your insipid comment, I am not praising his actions. The police officers are in the film to be the moral compass of the film, and the lead officer plainly tells the "hero" that he does not, in any way, support the killings, and that his intent is to bring him to justice. Hardly a "hero."

If he had no alzheimers, there is no film, because, for this hitman, he would trudge on as business as usual, maybe even making an appearance in another Tarantino film, which would then require you to towel off from the drool dripping from your mouth in praise. So, you see, your statement that the alzheimers means nothing in the film is simply incorrect. It is, in fact, the entire impetus for the entire film.

Oh, yeah, and your statement relative to Memento is also incorrect. Memento was hardly original relative to the loss of memory and note taking. Dana Carvey starred in a film called Clean Slate from 1994 that involved a character who had the same ailment, and utilized the same remedy. Memento was released in 2000. Although Clean Slate had its funny momements, I'd hardly call it, or the concept, brilliant. No doubt there was another such film before Clean Slate.

Now, do you want to engage in an intelligent dialog with correct facts rather than unsupported conclusions, and avoid the name calling?


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