No Blood ’n’ Guts...No Vainglory!

I'm pining for sequel to RHINESTONE myself.

There's just so much unexplored territory in that subject matter!

I finally got around to sitting through this piece of crap while stuck for a week on an assignment in Gillette, Wyoming. This should give everyone some accurate measure of just how difficult it is to find entertainment in Gillette.

There isn't much to add to the previously noted negative sentiments. This is perhaps the most appallingly, gratitutiously violent movie ever made...it's definitely in the top 3. Mel Gibson would be embarrassed by the level of unnecessary violence in this film. There was really no plot whatsoever, simply a vehicle for utilizing state of the art special effects to watch scores of bad guys meet a gory and graphic demise. The good guys were good guys simply by virtue of being American and Christian with no other requirement of explanation. The bad guys were bad guys strictly by virtue of being foriegn, specifically Oriental.

For the record, the fact that this was a Stallone vehicle undoubtedly added to my personal distaste, but I would have been offended and appalled by this movie regardless of who made it. I shudder to think ANYONE actually found anything positive in it.

At least it didn't have any of the following:

• Zack Ward repeatedly fall over in a broken chair during an interview, despite there being other chairs nearby.
• A van plow into a baby in a stroller.
• A bunch of kids being shot up, often in slow motion, while they wait for dolls shaped like crotches.
• A broadcast journalist arrange the dead bodies of the very same kids into a photo op.
• Four cute babes sporting Hitler mustaches so they can blend into a German themed amusement park.
• A black policeman shoot an elderly Asian woman because she speaks with a thick accent and can't get her car through the light.
• The same black policeman scold his neurologically challenged ward because the guy only pulled in $13 at the spot where he was left in his electric wheelchair to panhandle.
• A group of paused rampagers discover the only thing they have in common is that they hate Jews.
• Verne Troyer fulfill prophecy by being raped by a 1000 monkeys.
• Uwe Boll explain his movies are financed by Nazi gold.
• Dave Foley display his full monty and then avail the toilet while Chris Coppola blushes at the view and grimaces at the fumes. 
• The opening sequence with the hijackers debating how many virgins they will receive remains the best scene in the movie. 
• The shootout at the welfare office, as well as the recorder's triple WHAM!my comeuppance later in the movie. 
• Zack Ward's reaction to the interview question "What is the difference between a duck?"
• A promotional speaker getting flattened by a falling, flaming car while cussing out his publisher on the cel phone.
• George Bush and Osama bin Laden holding hands and skipping into the sunset dotted with nuclear explosions.

Thanks to cvcjr13 for all those scary details.

A point needs to be made in drawing contrast between Postal and Rambo IV:

Postal was graphically violent, but it was also intended as satire and black comedy. (It failed miserably on both counts, but indulge me and read on.) It was an extremely lame and nearly unwatchable film, but very different in both intent and spirit than John Rambo. The sole intent of Stallone was to invoke some twisted sense of patriotism by presenting an "heroic" American shooting up foreigners and blowing them into as many pieces as possible. No effort was made whatsoever to define the context of the conflict in which the main character places himself...whether it is just, evil or somewhere in between. The bad guys are evil and deserve to be massacred by an American for no other reason than the fact that they salute a different flag.

It should be further pointed out, again, that Rambo IV has already reached a pretty large audience and regretably, some folks have even expressed enthusiasm for it. Most likely, everyone who will ever see Postal could probably fit comfortably into a typical NFL stadium. It bothers me equally that people seem to find this type of stuff attractive, but there isn't anything in Postal that isn't regularly presented in the types of video games from which Boll's films are drawn. He is simply presenting imagery suggested by the source. Awful as it may be that people find any of this stuff entertaining, whether presented by Boll or Stallone, we are probably presenting the planet with all the ammunition it will need to cleanse itself of our presence soon enough.