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Movie Review: 'Bad Boys'
by William Anderson
26 April 2005
Before he was beating Mudonna and flying to Baghdad for pow-wows with Saddam Hussein, Sean Penn played the role of Mick O'Brien, a kick-ass White street punk sent to juvenile prison for running over a spiclet during a robbery gone bad. Although "Bad Boys" was made more than two decades ago, Penn was already showing the fire and raw talent that was destined to make him a star within a few years, as he struggles to survive in a world of niggers, whiggers and spics, all of whom want his ass dead.
O'Brien is no angel. The first time we see him he's robbing an old lady and beating up the man who goes to her aid, but it's impossible not to sympathize a little with the lad. He's got an alcoholic slut for a mother and lives in a mud-infested neighborhood in urban Chicago. His nemesis is a spic vato named Paco Moreno (Esai Morales). Paco is a drug-dealing scumbag, a real greaser's greaser, and the first time we see him he's looking to move a suitcase full of coke and pills for a big payoff. He's got a gang of niggers lined up to buy the stuff.
Mick and Paco go to the same high school, where Paco is constantly trying to get his greasy hands on Mick's girl, J.C. (Ally Sheedy). Goddamned spics never change, huh? J.C. can't stand the sight (or smell) of Paco, though. If this movie had been made nowadays, she would have been fellating him during study hall, but in the '80s White girls were still portrayed as preferring their own kind. Mick and his buddy Carl (Alan Zuck) have a plan to take Paco down.
They set up watch on Paco's apartment, and when he and his gang go out to make the sale, Mick and Carl tail them. As Paco is pimp-rolling down the street, Mick makes his move. At the same time, the gang of boolies who were supposed to meet Paco are also making plans to rip him off. In contrast to movies like "The Warriors," in which street gangs are depicted as some kind of rainbow coalition of young toughs, here the gangs are homogenous and, just like in real life, at each other's throats.
As Mick moves in on Paco and his homies, the nogs panic and start shooting. A wild three-way shootout ensues, with the gangs blazing away at each other and bystanders taking cover. One of the spics goes down, and Carl takes a shotgun blast to the chest. The blacks screech off in their car. Mick goes to help Carl, but when he sees he's dead he tries to drive away, just ahead of a police car. Another cruiser cuts him off; he swerves and runs right over a spiclet, Paco's brother. The little tyke had followed his hermano to the scene of the robbery, and now he'll never get the chance to compile a rap sheet as long as his brother's.
Next, we see a battered Mick before a judge. Given his criminal history and killing of a young kid, even if it was a Rican, Mick's going away for a while. But, being a juvenile, he gets sentenced to Rainford Juvenile Correctional Facility.
After getting the usual "Welcome to prison" speech from the warden, the new prisoners, Mick and a niglet, have to walk a gantlet to their cells. Here, the inmates rough up the new arrivals, throw things and spit all over them. What is it with niggers and spitting? Anyway, Mick finds himself covered in sputum and rooming with a dwarfish yid named Barry Horowitz (Eric Gurry).
When Horowitz learns Mick's name, he's not happy. "Great, a fucking Mick," little Barry sneers. Stop the hate, jews. Just stop. One wonders if the yid would be happier sharing his cell with a Roblero Martinez or Abdul Mohammed. He'd probably be a little more respectful, that's for sure. It's strange to see a jew in a prison movie. For obvious reasons the Chosen don't like to see their members depicted as the criminals they are. Barry's in the slam for burning down a bowling alley and killing three innocent people. He was trying to kill three guys who'd beaten him up, but made a mistake and killed the wrong people. Kind of like the IDF on the West Bank, huh? Horowitz is smart, but twisted, like most jews.
The next day is roll call, and the prisoners line up to get counted by the two "barn boss" trustees who run the place: a whigger named "Viking" Lofgren (Clancy Brown) and a jig named Tweety (Robert Lee Rush). As we'll see later, Tweety is also a raging bull queer who likes to slip it to the little inmates. The job these guys have is semi-official. They have responsibilities like lining up and counting the prisoners in the morning and they get to hand out work assignments. But Viking and Tweety also get a cut of all the drug and cigarette sales in the prison.
Mick adapts to prison life as best he can. Playing it smart, he tries to keep a low profile and do his time, but Viking takes an instant dislike to him. At first it's just harassment, but it soon takes a more deadly turn. Don't you just hate whigger punks like this guy? They always end being bigger bullies than the damned niggers they wish they'd been born.
When Tweety rapes a smaller nig, the little nig comes at Tweety with a knife. He's no match, and Tweety flings him to his death over a railing. Mick is a witness and, after that, Viking and Tweety decide they're going to get Mick O'Brien. Big mistake, because Mick has been pushed too far already. He rigs up an improvised Nigger Beater (™) by filling a pillowcase with soda cans and proceeds to whale the living shit out of the two dirtbags the next time they fuck with him. I can't convey with words just how great this scene is, but both whig and nig end up lying on the floor bleeding and crying with a White boy swinging down on them like Conan the Barbarian.
Meanwhile on the outside, Paco the Taco is looking for some payback. He tracks down one of the nigger gang members and wastes him in a drive-by, but he can't strike directly at Mick. Instead, he goes after Mick's girlfriend, J.C., like the cowardly beaner he is. He and a homie trail J.C. one night when she's walking home, and chase her into a deserted alley.
J.C. tries to fight, but Paco beats her bloody and rapes her while his vato holds a gun on her. Boy, Paco really puts the "spic" in despicable, doesn't he? After he finishes teaching J.C. to celebrate diversity, he tells his homey to shoot her. But the cops swoop down on them first. Paco ends up under arrest and the cops blow his homey away. Later, the cops try to get J.C. to press charges, but she says she wants to talk to Mick first.
When's the last time a Hymiewood film has depicted a non-White on White rape? I literally cannot think of a single film made in the last 15 years. Yet, this is a reality White women (and men) must face on a daily basis.
When Mick gets the news on the inside he's devastated, and tells Horowitz he wants to escape. Horowitz does too, and the little sheeny has a plan. Horowitz steals some acid from the prison workshop. During morning exercise he fakes an ankle sprain and applies the acid to the chain-link fence encircling the prison. The next day Mick and Horowitz bust out through the weak spot and start running. Horowitz gets caught in some barbed wire, but Mick gets back to Chicago.
Mick heads straight to J.C.'s house and, of course, the cops are waiting for him. One of the guards, a mestizo named Ramon Herrera, is kind enough to give Mick a little time with J.C. before hauling him off. Herrera is one of those mud authority figures (there's a black one, too) the jews love to sprinkle in their movies. Hispanapig Herrera is there to counterbalance the loathsome Paco in the minds of the audience, so Mr. and Mrs. Whiteguy can leave the theater feeling good about the Latinization of their country. "See, Caitlin, they're not all like that Paco character!" It seems the more devolved and savage the muds get, the more the jews depict them as our equals and superiors. The bodies weren't even cold in the Wichita Massacre before the kikes were casting nig-nog Morgan Freeman as president of the United States (Deep Impact) and even God (Bruce Almighty).
Herrera is concerned for Mick's future, and takes him to adult prison to show Mick where he'll end up unless he changes his ways. Wow, gotta love that Herrera, huh? He's so caring he's almost a White man. Just like real life. But when Mick gets back to the juvenile joint he's got an unpleasant surprise awaiting him: Paco.
As a temporary measure due to prison overcrowding, Paco is being held at Rainford before he gets sent on. This is the movie's biggest plot contrivance, but it's necessary for the film's climax because with Mick and Spic in the same facility there's going to be a showdown for sure.
The tension starts building, and Paco gives Mick attitude when Mick assigns him work details. Paco gets shitty, and Mick tells him the only reason his brother got killed was "because you weren't looking out for him." Put that in your crack pipe and smoke it, Paco!
There are some who might take exception to Mick's not immediately making plans to destroy Paco for the rape of J.C., and I can understand the sentiment. However, I believe Mick is playing it right. His only goal is to do his time and live life again. By killing Paco he would only be extending his time in jail. Let Paco go on to the state pen, where he belongs. Jail is hell on a White man, whereas muds seem to thrive in stir. They come out toned and hardened, having learned all kinds of new ways to break the law. White men often come out broken and diminished by the experience. "Stay legal" are the watchwords of the WN movement, but in Mick's case the next best thing would be to "get legal" again.
The other prisoners are aware of the Paco-Mick hatred, and start laying odds on the winner. For some reason, the betting is heavily against Mick. Mick and Paco are about the same build, and you'd think Mick had already made his bad-ass bones by beating down Viking and Tweety. Betting that Mick will lose is probably just wishful thinking for the mostly mud prisoners.
The night before Paco is to be transferred he fakes an appendicitis attack, and Herrera sees him writhing on the floor. When Hispanapig checks on him, Paco beats him senseless. Then Paco goes after Mick. But Mrs. O'Brien didn't raise no fools, and Mick is ready for Paco.
"Bad Boys" is a pretty good flick, with damned little semitical correctness. You won't come away with any deep insights, but the great acting, action scenes and realistic racial portrayals make this movie worth watching.
WILLIAM ANDERSON
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