dir: Pierre Morel
From a flick about a guy interacting with Mexican people and saying “eh, they’re not all so bad”, the flick being The Mule and the guy being Clint Eastwood, we now transition to a flick that, were it a person, looked at The Mule and screamed “NOT RACIST ENOUGH” and proceeded to render itself into a form that would be most pleasing to people who were leaving a Trump klan rally and thought they might want to watch a movie.
Peppermint is a revenge – vigilante thriller which, in and of itself, is not unique to American cinema, since every culture has its themes of vengeance and justice. But this is the quintessential American take on the genre, which celebrates self-determination, stick-to-itiveness and achieving justice through the barrel of a gun against racial caricatures that are meant to make the viewer uncomfortable until they are shot, and then everything’s fine
There’s a reason the Republican party uses photos and footage of members of a particular vicious gang called MS-13 in its scare-mongering electoral ad campaigns: because they’re Hispanic, and many of them have face tattoos.
There’s a reason why the movie uses Hispanic men with face tattoos as the perpetrators of violence, and then as the victims of retributive violence at the hands of the movie’s heroine: because the intended audience is already made uncomfortable by them and doesn’t mind if they get offed.