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https://www.reddit.com/r/world/comments/1l7gy64/this_is_real_video_from_la/

Saw another video of some "protestor" who got hit in the face by a rubber bullet, literally crying and whining that the cops wouldn't call an ambulance.

Hollywood’s Violence Trinity Peak: Crime, Chaos, Nihilism

The 1990s marked Hollywood’s violent zenith, blending raw aggression with narrative genius. Three films—Quentin Tarantino’s Pulp Fiction (1994), Oliver Stone’s Natural Born Killers (1994), and David Fincher’s Fight Club (1999)—forged archetypes of criminal, nihilistic, and anarchic violence.

These masterpieces didn’t just breach a threshold; they became eternal benchmarks, dissecting an era’s obsession with bloodshed.

Pulp Fiction defines criminal violence—calculated, transactional, rooted in underworld codes. Tarantino’s nonlinear saga of hitmen (John Travolta, Samuel L. Jackson), mobsters, and a rogue boxer (Bruce Willis) weaves violence into the everyday. Executions and betrayals, driven by greed or loyalty, unfold with cold precision, often undercut by banter over burgers or biblical recitations. Tarantino’s razor-sharp edits and pop-culture wit make bloodshed magnetic yet routine. Its influence pulses in crime tales from Lock, Stock and Two Smoking Barrels to John Wick, where violence is just business, its moral ambiguity timeless.

Natural Born Killers embodies nihilistic violence—purposeless, excessive, reveling in meaninglessness. Stone’s frenetic satire tracks lovers Mickey and Mallory (Woody Harrelson, Juliette Lewis) on a killing spree, their carnage a kaleidoscope of neon filters, rapid cuts, and surreal vignettes. Devoid of motive beyond infamy, the violence critiques media bloodlust while embracing its allure. Stone’s provocative aesthetic—both condemning and exhilarating—sparks unease. Its legacy thrives in hyper-stylized works like Kill Bill or The House That Jack Built, where gore probes society’s moral void.

Fight Club captures anarchic violence—chaotic, anti-establishment, ideologically driven. Fincher’s adaptation of Chuck Palahniuk’s novel follows the Narrator (Edward Norton) and Tyler Durden (Brad Pitt) as bare-knuckle rebellion escalates into terrorism against consumerist norms. Fistfights and bombings, visceral in Fincher’s grimy lens, start as anarchic defiance but spiral into nihilistic despair, exposing rebellion’s futility. Fight Club’s anarchic template shapes films like V for Vendetta or Joker, where anti-system rage blurs into madness, its cultural echoes haunting modern unrest.

The 1990s, steeped in post-Cold War anxiety and media saturation, fueled Hollywood’s violent renaissance. Pulp Fiction, Natural Born Killers, and Fight Club didn’t merely reflect this moment—they interrogated it, fusing style, philosophy, and provocation. Their archetypes—crime’s logic, nihilism’s void, anarchism’s chaos—endure, probing violence’s roots. These films remain cinematic north stars, their questions undimmed.

Carriers (2009) & The Crazies (2010): Intelligent Horror After 70s Idiocy

The 1970s horror scene often churned out films with idiotic plots and characters that frustrated discerning viewers. Movies like The Texas Chain Saw Massacre (1974) or I Spit on Your Grave (1978) leaned on shock, with flimsy narratives—random slaughter, implausible survival—and characters making baffling choices, like wandering alone into danger. These films, though iconic, often left cinephiles wanting psychological depth and logic.

Carriers (2009), directed by David and Àlex Pastor, and The Crazies (2010), directed by Breck Eisner, redefine horror for intelligent audiences. Carriers (2009) tracks four survivors in a viral pandemic, its plot weaving moral complexity—e.g., abandoning the infected versus preserving humanity—without cheap scares. Characters like Brian (Chris Pine) and Danny (Lou Taylor Pucci) are rational yet flawed, making calculated choices that reflect real dilemmas, driving a grounded narrative.

The Crazies (2010), a remake of the 1973 original, focuses on a town poisoned by a biological weapon. Sheriff David (Timothy Olyphant) investigates with clear-headed resolve, while characters organize resistance and question authority, acting with intelligence. The tension arises from plausible human behavior and systemic breakdowns, not arbitrary chaos.

Unlike 1970s horror’s gore and stupidity, Carriers (2009) and The Crazies (2010) offer nuanced narratives and characters who think and grapple with ethical weight. These films satisfy cinephiles’ hunger for horror that respects their intelligence, blending cerebral depth with visceral chills.

https://www.youtube.com/watch?v=ACoYXsAbrh8

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