A North Korean terrorist may be responsible for taking the president hostage, but it’s Bulgarian-made CGI that does the most damage in Antoine Fuqua’s intense, ugly, White-House-under-siege actioner Olympus Has Fallen.

Cut past the pic’s superficial patriotism, and the message is ironically clear: Never outsource your visual effects when a domestic shop will do.
Courageously representing the human element in this mostly digital assault on American soil, Gerard Butler holds his own as a one-man-army. Millennium was wise to push this grim act-of-war movie out three months ahead of Columbia’s like-minded “White House Down.
Olympus Has Fallen” helmer Fuqua, who’s known for bringing an unflinching toughness to inner cities (“Training Day”) and ancient history (“King Arthur”), sticks to the “Die Hard” model here, minus most of the tossed-off one-liners.
In ex-Special Forces pro Mike Banning, Butler presents a gritty but humorless hero who cusses, bleeds and occasionally pauses to remove shards of glass from his wounds.
Olympus Has Fallen

Reviewed at Aidikoff screening room, Los Angeles, March 18, 2013. MPAA Rating: R. Running time: 120 MIN.
A Film District release of a Millennium Filmspresentation of a Nu Image/Gerard Butler/Alan Siegel Entertainment production. Produced by Antoine Fuqua, Butler, Siegel, Ed Cathell III, Danny Lerner, Mark Gill. Executive producers, Avi Lerner, Danny Dimbort, Trevor Short, Boaz.
Directed by Antoine Fuqua. Screenplay, Creighton Rothenberger, Katrin Benedikt. Camera (color, widescreen), Conrad W. Hall; editor, John Refoua; music, Trevor Morris; production designer, Derek R. Hill; art director, Karen Steward; set decorator.
Cathy T. Marshall; costume designer, Doug Hall; sound (Datasat/Dolby Digital), Steve C. Aaron; supervising sound editor, Mandell Winter.
re-recording mixers, Chris David, Daniel Leahy; special effects coordinator, Jack Lynch; visual effects producer, Scott Coulter; visual effects, Worldwide FX, Ghost FX, Base FX; stunt coordinator, Keith Woulard; associate producer, Danielle Robinson; second unit director.
Jamie Marshall; second unit camera, Gary Capo; casting, Cathy Sandrich Gelfond, Amanda Mackey, Ryan Glorioso.
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One of the authors of the Policy Exchange report on academic free speech thinks it is "ridiculous" to expect him to accurately portray an incident at Cardiff University in his study, both in the reporting and in a question put to a student sample.


Here is the incident Kaufmann incorporated into his study, as told by a Cardiff professor who was there. As you can see, the incident involved the university intervening to *uphold* free speech principles:


Here is the first mention of the Greer at Cardiff incident in Kaufmann's report. It refers to the "concrete case" of the "no-platforming of Germaine Greer". Any reasonable reader would assume that refers to an incident of no-platforming instead of its opposite.


Here is the next mention of Greer in the report. The text asks whether the University "should have overruled protestors" and "stepped in...and guaranteed Greer the right to speak". Again the strong implication is that this did not happen and Greer was "no platformed".


The authors could easily have added a footnote at this point explaining what actually happened in Cardiff. They did not.
I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x


The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x

Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x

The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x

It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x
. THREAD 1/x

David Baddiel is getting lots of coverage and feedback on his book which again focuses on so called 'left wing' antisemitism.

I will start by saying that I have seen antisemitic comments made by Labour members and some genuine cases.

However, I have huge concerns.


2/x

Let's look in detail at this article written in April 2019 in the @Guardian - and I will explain the concerns.

The areas highlighted guide you to believe this was all Labour - IT WASN'T.

It also occurred before 2015! Detail follows...

https://t.co/cK59FP83aG


3/x

So as you see the writer of this rather deceitful piece starts with

"THAT CHANGED IN SEPTEMBER 2015" 🙄

This was done to point the timeframe as Corbyn's leadership. Yet the article goes on to describe things that are not even related to Labour, which occurred in 2014.


4/x

So... What in fact the @Guardian writer is discussing here is this case - where a group of Neo-Nazi's spent months inflicting abuse on Jewish MP Luciana Berger

All the detail is in the Court Notes when Bonehill-Paine was sentenced by the judge.

https://t.co/wAyo6Yro5Q


5/x

The Justice sentencing remarks to Neo-Nazi explain the previous cases too. See the date 2014.

Yet the Guardian writer refers to this NON LABOUR case to effectively make her article a lie.

"Star of David" - this was Garron Helm another neo-Nazi..

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