What are some good operator-core movies?
Just saw Sicario and it was fucking sick.
Zero Dark Thirthy
The main set piece is hardcore as fuck.
WHAT DOES THIS FUCKING MEME BUZZWORD MEAN
I wish there were a bunch of irreverent CIA Commandos that called themselves DETLA to snub the army guys. Go finish their missions first. Would make an entertaining action-comedy.
John wick is basically the king of slick operator movies.
This movie doesn't have a lot of scenes that work well with text, but this one at the beginning isn't too bad.
Great movie about what it's like to be hunted in a foreign land.
But 13 hours is the most operator as fuck, if you want to see good operator shit from TV, watch "The Unit" and skip through the wifey bullshit.
since you are underage, Delta Force called themselves Operators.
Now Navy Seals got jealous because Delta Force exceeded in their capabilities and was the number one task force under the President. So naturally Navy Seals started calling each others Operators.
Now you'll see people calling macho in-control military guys OPERATOR. And /k/ loves to do that.
>phrase not found
Pathetic. Literally the most operator movie in existence.
Black Hawk Down
Zero Dark Thirty
Jarhead is anti-operatorcore if you want to see the flipside.
There's a JPG of /k/-approved movies somewhere, I'd post it if I wasn't on a tablet.
It means people who are operators that operate operationally while on operations.
13 Hours was amazing, way better than American Sniper and other recent military movies.
It's too bad it has been heavily politicized, with liberal, left-leaning movie reviewers and journalists giving it bad reviews just because the events in the movie happen to be associated with a leading candidate for president.
I am pretty sure that under normal circumstances this movie would have over 85% on RT
>Neither an exoneration of Hillary Clinton nor a clear explanation of the events of September 11, 2012, which left four Americans dead at the U.S. embassy in Libya’s capital, Michael Bay’s 13 Hours: The Secret Soldiers of Benghazi is something political pundits almost never understand: It’s a movie.
>Bay focuses on five former military contractors assigned to protect CIA officers at an annex to the U.S. embassy, who eventually fight off marauding Libyan rebels. In these profiles in courage, actors portray real-life figures (some of them former Navy SEALs) Tyrone “Rone” Woods (James Badge Dale), Kris “Tanto” Paronto (Pablo Schreiber), Dave “Boon” Benton (David Denman), John “Tig” Tiegen (Dominic Fumusa), and Mark “Oz” Geist (Max Martini). Bay adds a sixth figure, the fictional Jack Silva (John Krasinski), who joins their muscular elite. He is both “brother” (as the former G.I. Joes address one another) and audience-surrogate.
>On these terms, 13 Hours is undeniably superficial — not an explicitly political film or a factual historical account. Action director Bay works “apolitically,” which is a more complicated circumstance than partisan pundits may be willing to comprehend. The economic motivations of Hollywood make it unlikely that a mainstream movie will dare indulge in political controversy. (Remember how Clint Eastwood played both sides of the aisle in American Sniper?) Historical tragedies usually make it to the screen through sentimental pandering, and that is the case with 13 Hours: Action-movie suspense is combined with stereotypical tough-guy heroism.
>Even that simplification has its political aspects, although most pundits customarily praise or condemn movies according to what fits their political bias. (Remember how discussions of Zero Dark Thirty ricocheted across both sides of the aisle?) But since many filmgoers are reluctant to consider that all cinema is ideologically loaded (“It’s just a movie!” fanboys insist), 13 Hours can be sold as an “important” action movie without actually saying anything important.
>Vague introductory titles assert that Libya’s strongman, Moammar Gaddafi, was “deposed.” In a TV clip, President Obama proclaims the end of a “long and painful chapter for the people of Libya” — conveniently disconnecting U.S. policy from regime change there and setting out Libya’s political chaos as a “turf war” among unspecified factions with American onlookers stuck in the middle.
>Bay is not of the Eisenstein, Pontecorvo, or Costa-Gavras politically motivated school that dramatizes ideological cause and effect. Bay and screenwriter Chuck Hogan avoid depicting the details that led to the death of Ambassador Chris Stevens. “We didn’t hear any protests,” one soldier says. “It was on the news,” another responds — conveniently glossing over the Obama administration’s convoluted propaganda war that first blamed the attack on an American-made Islamophobic video. Stevens (portrayed by actor Matt Letscher) is respectfully described as “the real deal, a true believer, here to win hearts and minds.” From that “due diligence” pretense, Bay proceeds to do his ad man’s thing.
>In the same way that Bay’s 2001 Pearl Harbor used history for a pseudo-patriotic blockbuster extravaganza, 13 Hours applies an advertising man’s delirium to the depiction of political turmoil. Whatever political-social comment on the Benghazi locale there is in this movie is presented through visual koans: Ambassador Stevens enjoying a large, blue swimming pool, Libyan kids playing on a rusted car hood, rebels shooting holes in an American flag (seen from on high in typical Bay-vision). Adducing these images never leads one to a political assessment. Yet, finally, when the embassy compound is under fire, Bay shifts gears and does a 360 circling of the rainbow-hued siege: An interior shot shows Stevens and staffer Sean Smith fleeing beneath a ceiling of flames. And among the waves of combatants, a video insert of the black ISIS flag can be glimpsed while ammo flashes punctuate the fighting.
>How else would Hollywood make a contemporary war movie when our media culture routinely dissociates itself from military purpose and commitment? Since Vietnam, Hollywood always looks at the military with either skepticism or contempt for what it stands for. Bay has inherited this cynicism, but, as an advertising aesthete whose fascination with technology has provoked snotty condescension from liberal critics loath to admit their secret regard for materialism and industry, he exults in the paradox of action-movie extravagance. Bay’s real motivation here is revealed when one soldier says the Libyan raiders are coming from “Zombieland,” and, aiming his weapon, shouts: “I feel like I’m in a fucking horror movie!”
>Bay illustrates the excessive violence of war in imagery that recalls Vittorio Mussolini’s infamous poetry describing bombs as “budding roses.” The best scenes in 13 Hours occur when Bay imagines warfare as spectacle. Soldiers caught behind a windshield during a street standoff take point-blank gunfire in a montage that would do Eisenstein or Peckinpah proud. In a rooftop bombardment, a barrage of mortar shells raises sparks that ignite into star-like twinkles — in dazzling real time. The audience I saw the film with was stunned by this, but I swear all Madison Avenue will gasp.
>This is the opposite of peacenik imagery — which doesn’t mean Bay is a fascist warmonger, but it makes his appreciation for fighting men’s bravery more convincing than 13 Hours’s superficial characterizations. Bay’s imagery externalizes the men’s stress as it also visualizes wonder, and this works better than the film’s mawkish view of military heroism, which conservative viewers should not fall for too easily. Krasinski’s Silva repeats a passage from Joseph Campbell’s The Power of Myth, which he and his post-9/11 fighter buddies read as religiously as soldiers in WWII movies read the Bible: “All the gods, all the hells, all the heavens are within you.” Worse than warmongering, this nods to the nihilism of post–Iraq War films like The Hurt Locker that demonize soldiers as psychopaths. In an after-battle scene, Bay contrasts a bullet-ridden American flag in a ditch with scenes of Libyan women in black reclaiming the bodies of dead jihadis. Like other post–Iraq War Hollywood movies, 13 Hours tries to have it both ways.
>Armond continuously reads absurd political messages into every movie he reviews
>reviews a movie with an actual political bent and refuses to analyse any of it
contrarian even towards himself, I like it
>You're just a typical high school pleb with typical high school pleb taste.
Just admit you don't like the movie because it might be viewed as being critical of a certain politician.
Reddit couldn't stop shitting on this movie since it came out.
>Two criminals in Los Angeles rob a man at gunpoint
>They're both white
>Final set piece
>Del Toro killing everyone at the mansion
>Has a suppressor attached to his gun
>It goes pew pew
Sicario was only good until after choking scene. This and bridge shooting was nice. Tunnel scene and mansion attack were complete b tier action movies bullshit. Sicario was not consistent in realism department at all.
I'm talking about the FBI raid on the house... where the bad guy misses kate, then she falls and sprays him.
Everything else either happened off screen or amounted to not much more than executions.
I'm not talking about the entire thing... just the gunfight that occurs between Kate and the shotgun-wielding guy.
It's kind of a dishonest representation of FBI HRT too... they're no pushovers, and have interoperated with CIA and US military SOF overseas for more than a decade now.
Any chance this will be operator?
The shoehorning of qt. "operators" was the weakest part of the show, but the chemistry that these two guys had was brilliant and made up for it all.
Why was CIA just sitting in his SUV during the border crossing? Why wasn't he out shooting the cholos?
>he did not like Scott banging a supermodel operator every episode
Great film, highly recommended
>implying I didn't enjoy it
>implying I didn't mean that most of them were not convincing at all.
The only really convincing ones were the Mossad agent,
too bad she got sniped in the middle of a street during a heist.and the FSB girl.
The British ones were the least convincing.
2 is a whole different movie, but still really fucking good, it was all the talk when they released it
I remember seeing a teaser poster with the BOPE symbol back in 2011~, got me hype as FUCK
Not what you'd call "operator", but it's a solid movie.
>that scene where hes constantly advancing on the two guys hiding in the little alleys, eventually running right up to the entrance and shooting them basically point blank
gets me so hard
Strike Back is the most operations focused series but less realistic than Unit. Jormungand and Black Lagoon are operator anime without the moe little girls doing cute things schlock.)
How could we forget about Generation Kill?
There's few "operator" scenes, but the whole plot follows operators complaining that they are not operating.
>When I was a drone at a factory
>When I was a soldier in the military
>still falling for trigger discipline bait
>Zero Dark Thirty
>Special Forces(french SOF)
That's my recomendation, in that order. Lone Survivor was great, and as close to realistic as they could get it. Great actors, GOAT soundtrack, amazing opening.
>Lone Survivor was great, and as close to realistic as they could get it
it's hagiographic garbage and glosses over what a fuckup the planning and execution of the op was.
>enlist in an army that has done nothing but murder tens of thousands and demolish entire cities so that some rich keks get more shekels
>kill people and destroy shit
>get butthurt when such people are called psychopaths
Is le black patricién really this intelligent?
Glosses over? It's crystal clear how stupid they are. They lose a chopper and several men due to no qrf and bad planning. They mission got compromised, they chose to follow order and lost their lives.
Equipment was close to authentic due to Mark working with them. Same with weapons. Actors went trough training for it to be as authentic as possible. If you're a soldier you can appreciate details like that, because most non-soldiers just want a Tom Cruise running around with dual guns movie.
I can agree with that, same happened to American Sniper. Thats just how it is. But it was still a better military movie than most others.
I only watch Zero Dark Thirty to jerk off to jessica Chastin and to watch this operator scene
If you pay attention they dont really kill a lot. They are trained, they are camouflaged and wait for them to come. Then they take out some before getting overrun. After that they get fucked up. All they do is surpress and move further back until they can make a call. You'll be surprised how many a trained soldier can take out, especially a SOF. These are Seals too.
nah don't buy it... they've lost the element of surprise and are at complete tactical advantage against a massively superior force on home ground.
special forces are light infantry at the end of the day... I don't care how much mark/producers try to forcefeed their glorification, they are fundamentally weak against a numerically superior force with heavy weapons and vehicles that know the terrain.