Who would dispute that boomers have been the worst generation ever? The greediest, most wasteful, most indulged, most sociopathic. They’ve made life economically arduous for Millennials, and almost futile if you look at things from an environmental perspective.

Eight years ago I read P.J. O’Rourke‘s “The Baby Boom: How it Got That Way and It Wasn’t My Fault and I’ll Never Do it Again.” That same year Reason‘s Nick Gillespie did a video interview with the libertarian O’Rourke during Freedom Fest 2014, and one of O’Rourke’s topics was about how today’s culture is much gentler for kids, or certainly less rough-and-tumble.

“Just this whole process of going through the baby boom’s history, I began to realize what a nicer society — kinder, more decent society — that we live in today than the society when I was a kid. I don’t think my ten-year-old boy has ever been in a fist fight. I mean there might be a little scuffling but I don’t think he’s has ever had that kind of violent confrontation that was simply part of the package when I was a kid.”

In my twelve years of primary education I got into one (1) schoolyard fist fight. It happened in seventh grade on a sunny spring day (or was it early fall?), on the edge of a baseball diamond. The other kid started it, but I fucking finished it.

It was over in less than a minute. Okay, 90 seconds. I took a few blows, but I kept punching and punching and actually knocked the guy down. The downside is that my hands were pretty swollen from all the hitting, and I think I may have gone to the family doctor to get my hands or wrists taped up.

I once came upon a pair of eight- or nine-year-olds beating up Jett. It was near the end of a school day, during some kind of outdoor recess. He was crying and crouching against a concrete wall, and his two attackers were standing over him. I stopped it, of course, and went over to the teachers who were presiding and explained what had happened. They in turn told the mothers of the two attackers, and subsequently those mothers really read the riot act to their boys.

HE to God #1: “Cosmic design, unity and connectivity are obvious to anyone with half a brain, but as a beyond-intelligent entity do you and your only begotten son feel just a teeny bit responsible for the massive amounts of stupidity, ignorance and arrogance that are directly attributable to religious devotion? Which is partly responsible for destroying the earth as we speak? Are you good with all that?”

Roughly 25 years ago I was hosting a Woodland Hills screening series called Hot Shot Movies, and one of the films I booked for the fall of ’97 was Taylor Hackford‘s The Devil’s Advocate. It’s no one’s idea of a great film. It has, however, a great Al Pacino speech at the very end — the Devil himself (i.e., “John Milton”) explaining what a pious asshole and sadistic mind-fucker God the Father is.

I don’t know who wrote Pacino’s rant, but the film is based on Andrew Neiderman‘s same-titled 1990 novel; the screenplay was co-authored by Jonathan Lemkin and Tony Gilroy.

Milton: “Let me give you a little inside information about God. God likes to watch. He’s a prankster. Think about it. He gives man instincts. He gives you this extraordinary gift, and then what does he do? I swear…for his own amusement…his own private cosmic gag reel, he sets the rules in opposition. It’s the goof of all time, [and] he’s laughin’ his sick fuckin’ ass off! He’s a tight-ass, he’s a sadist, he’s an absentee landlord.”

HE to God #2: “Do you agree or disagree with Gilroy‘s assertion that you’re an absentee landlord? When I was a kid I thought you were that deep, slowed-down voice in Cecil B. Demille‘s The Ten Commandments; now you’re nothing more than a component in one of the ugliest political-religious movements in U.S. history.”

Crimes and Misdemeanors (‘89) or Husbands and Wives (‘92).

Political cartoonist Dwayne Booth (aka “Mr. Fish”) is having an exhibition this evening at the Robert Berman gallery at Santa Monica’s Bergamot Station Art Complex.

I’m not comfortable admitting that I have a weird soft spot for ruthlessly violent, rightwing Mel Gibson movies, as long as they’re efficiently made.

From P.J. O’Rourke‘s “How to Drive Fast on Drugs While Getting Your Wing-Wang Squeezed and Not Spill Your Drink“, written in the mid ’80s:

“When it comes to taking chances, some people like to play poker or shoot dice; other people prefer to parachute-jump, go rhino hunting, or climb ice floes, while still others engage in crime or marriage. But I like to get drunk and drive like a fool.

“Name me, if you can, a better feeling than the one you get when you’re half a bottle of Chivas in the bag with a gram of coke up your nose and a teenage lovely pulling off her tube top in the next seat over while you’re going a hundred miles an hour down a suburban side street. You’d have to watch the entire Mexican air force crash-land in a liquid petroleum gas storage facility to match this kind of thrill.

“If you ever have much more fun than that, you’ll die of pure sensory overload, I’m here to tell you.

“Is that any way to have fun? How would your mother feel if she knew you were doing this? She’d cry. She really would. And that’s how you know it’s fun. Anything that makes your mother cry is fun. Sigmund Freud wrote all about this. It’s a well-known fact.

“Of course, it’s a shame to waste young lives behaving this way – speeding around all tanked up with your feet hooked in the steering wheel while your date crawls around on the floor mats opening zippers with her teeth and pounding on the accelerator with an empty liquor bottle. But it wouldn’t be taking a chance if you weren’t risking something. And even if it is a shame to waste young lives behaving this way, it is definitely cooler than risking old lives behaving this way.

“I mean, so what if some fifty-eight-year-old butt-head gets a load on and starts playing Death Race 2000 in the rush-hour traffic jam? What kind of chance is he taking? He’s just waiting around to see what kind of cancer he gets anyway. But if young, talented you, with all of life’s possibilities at your fingertips, you and the future Cheryl Tiegs there, so fresh, so beautiful — if the two of you stake your handsome heads on a single roll of the dice in life’s game of stop-the-semi — now that’s taking chances! Which is why old people rarely risk their lives. It’s not because they’re chicken — they just have too much dignity to play for small stakes.

“It’s important to be drunk because being drunk keeps your body all loose, and that way, if you have an accident or anything, you’ll sort of roll with the punches and not get banged up so bad. For example, there was this guy I heard about who was really drunk and was driving through the Adirondacks. He got sideswiped by a bus and went head-on into another car, which knocked him off a bridge, and he plummeted 150 feet into a ravine. I mean, it killed him and everything, but if he hadn’t been so drunk and loose, his body probably would have been banged up a lot worse — and you can imagine how much more upset his wife would have been when she went down to the morgue to identify him.”

It didn’t get the love it deserved, but John Lee Hancock‘s The Founder, which opened a little more than five years ago, is easily one of the most fascinating and easily re-watchable dramas of the 20teens — half character study and half hard-scrabble success story, and a film about a highly unusual protagonist — Michael Keaton‘s Ray Kroc — who straddles the line between admirable and not-so-admirable.

Most people don’t know what to do with a character like Kroc. Half-good and half-shifty characters are hard to relax with. It’s okay if a lead character is a bit of an ethical muddle, but audiences generally like their main protagonists to be more sympathetic than not.

Kroc and Scarlett O’Hara aside, what movie characters are the most memorable half-and-halfers? And don’t tell me that Charles Foster Kane belongs in this fraternity. Because he doesn’t.

The Founder is basically the story of how Kroc persuaded the earnest, slightly doltish, small-time-thinking McDonald brothers (Dick and Mick, respectively played by Nick Offerman and John Carroll Lynch) to let him franchise their small fast-food business and turn it into a super-sized empire.

But more generally The Founder is a nuts-and-bolts story about what a scramble it is to grow a business and then stay afloat with all the serpents snapping at your heels.

Robert Siegel‘s script is a portrait of dog-eat-dog entrepenurial capitalism — a movie that basically says “sometimes it takes a pushy, manipulative shithead to orchestrate a big success.”

Except Keaton’s Kroc is not really a shithead. He’s just a hungry, wily go-getter who believes in the organizational basics that made McDonald’s a hit during its early California years (1948 to ’54) and who has the drive and the smarts to build it into a major money-maker. Your heart is basically with the guy, and I was surprised to feel this way after having nursed vaguely unpleasant thoughts about Kroc (scrappy Republican, Nixon and Reagan supporter) my entire life.

You know who is unlikable? Offerman’s Dick McDonald — a guy who’s always complaining, always frowning or bitching about something, always a stopper. The bottom line is that Dick doesn’t get it and neither does Mac, but Ray does. And to my great surprise I found myself taking Ray’s side and even chucking when he tells Dick to go fuck himself in Act Three. Ray is a bit of a prick but not a monster. And I understood where he was coming from. He’s a little shifty here and there, but I couldn’t condemn him all that strongly.

Keaton turns the key in just the right way. He doesn’t try to win you over but he doesn’t play Ray as a bad guy either — he plays it somewhere in between, and it’s that “in between” that makes The Founder feel quietly fascinating. It allows you to root for a not-so-nice-but-at-the-same-time-not-so-bad guy without feeling too conflicted.

And yet The Founder didn’t exactly burn up the box-office. It wound up grossing $12.8 million domestic and $24.1 million worldwide.