“The burning sermons will survive their curse between the hammer and the anvil.”
-Judas Priest, “Between The Hammer And The Anvil”
I have been a huge fan of Wanted’s Art Director (and legendary performer, director, photographer, set designer and radio/podcast host) Kylie Ireland for some years now, over which time we have exchanged several messages, tweets, re-tweets and, off the top of my head, at least one favourite. I have also been a huge fan of one of the film’s stars, Amber Rayne, for about the same time, and we have exchanged some tweets, retweets and favourites. I have exchanged two tweets with Wicked Pictures’ Jessica Drake, who also appears in the movie. I have exchanged one tweet with yet another star of the movie, Anikka Albrite. I have never met any of these ladies in real-life, nor am I likely to. We live in different countries. My travelling days are largely behind me and I cannot conceive of a reason why any of them would want to voyage the abandoned fourth-rate colony of a country I call home.
On a related note, I have an immense respect for the people—cast and crew—of the adult entertainment industry. The abandoned fourth rate colony of a country I call home has state television (called the CBC) which produces a lot of crap labelled as “entertainment” on my tax dime. The adult entertainment industry, on the other hand, is an entirely private industry, a real-life embodiment of John Galt. They do not get taxpayer dollars from the government. They only get harassment from the government, and yet they still manage to create a product that is vastly more entertaining than taxpayer-funded Canadian state television “entertainment,” such as Murdoch Mysteries ( a rip-off of Masterpiece Mystery), Company X (a rip-off of BBC’s Fleming and Marvel’s Agent Carter) and Schitt’s Creek (as if Canada just needed another glorification of whiskey tango after Trailer Park Boys, Corner Gas and Rent-a-Goalie.) Yes, I know that the Canadian private sector has produced excellent, original, world-renowned science-fiction series such as Lost Girl, Continuum, Orphan Black, Bitten, Killjoys and Dark Matter. Those are the exceptions, not the rule.
Likewise, I am more inclined to respect a Solingen-type product, a product that was not just tacked together as an afterthought but which rather was made with great difficulty and care, with so much soul that tears and heartbreak are as integral to the product as are its physical elements. A product made, not on an assembly line, but between the hammer and the anvil. Stormy Daniels’Wanted is precisely such a product, as is Jordan Owen’s The Sarkeesian Effect, as is Ren Savant’s The 8th Day and as are Eli Cross’ Corruption and Upload. Wanted, like The Sarkeesian Effect and the other films (see my second blog entry for a description of the horror and the majesty that was the making of The 8th Day,) was a film that was made in spite of adversity that threatened to shut it down. First, just as the manosphere flaked on Mr. Owen in The Sarkeesian Effect, one of the performers flaked on Ms. Daniels—quitting the business at four in the morning of the day she was supposed to show up, after arrangements had been made and confirmed. This turned out to be serendipitous for the viewer, for that no-name flake was replaced by Allie Haze, a super trooper whose admirable work ethic is such that she jumped out of bed and rolled onto the set at a moment’s notice after receiving a six AM phone call from Ms. Daniels. However, the suddenness of the inconvenience of the sheer irresponsibility of the flake is an annoyance factor which, although it was quickly overcome, was an unnecessary and thus thoroughly infuriating and energy draining irritant. Then someone stole Ms. Daniels’ cash, making it impossible for her to pay the crew for that day, and it is a testament to the loyalty that Ms. Daniels commands that the crew stuck with her until she could make good. Then Ms. Daniels suffered a horrific personal loss right in the middle of filming. She took perhaps a day off—and then came right back on sent, channeling the immense hurt and pain into script-necessary tears. Did I mention that they were filming out in the desert in the summer, in 100+ degree heat, in late 19th century period costumes?
To put the preceding paragraph another way, to me, Wanted, The Sarkeesian Effect, The 8th Day, Corruption, and Upload are to regular Hollywood/CBC craptertainment sets what the 20th Air Force is to the much talked-about 8th Air Force. The latter flew reliable B-17’s 500 miles to Berlin, all over land with plenty of navigational aids. The former flew unreliable B-29 Flying Hoopty’s with engines that tended to flame out under any stress over thousands of miles of either Himalayan mountains from the CBI (China-India-Burma) Theatre or over 1,500 miles of ocean from the Marianas to Japan. 20th Air Force crews captured by the Japanese had a 50% survival rate, while their 8th Air Force counterparts captured by the Germans had a 99% survival rate.
In other words, when I know of the hardship and heartbreak involved in making something, I am naturally sympathetic to the makers and tend to favour them over those who did not endure the same. That being said, I liked Wanted even more than I thought I would. For all my sympathy for Ms. Daniels and her crew, there were things going into watching Wanted that gave me the feeling that I would not like it that much. For one thing, the opening part of the plot is described on the back of the cover, setting out who the bad guys and who the good guys are (or, as it were, are supposed to be). To me, this takes away from my enjoyment of a film since I do not like predictability and I have a visceral aversion to binary “good guy versus bad guy” films as a whole. That story has been told countless times before. As well, I have a recent and extremely particular antipathy towards the binary “white hat/black hat” Western line because the retarded muscle-brained simpleton who was Canada’s most recent foreign minister, John Baird, when attending a briefing on current geopolitics, decided to “simplify” this extremely complex situation by categorising in his notes world leaders as either "white hats" or "black hats". Life is not binary. Neither were many Westerns filmed in the 1930’s, 1950’s, 1950’s and 1960’s. TV serial Westerns such as The Lone Ranger, were that simple, but many a Western movie of that epoch was not.
Another thing that had me apprehensive about viewing Wanted was that, as noted in the disclosures, I had contact with some of the key players beforehand. I feared it would be awkward watching them engaged in intense merrymaking. This is not unusual. The moderator Bill over at Adult DVD Talk reports becoming friends with Tricia Devereaux and being subsequently unable to watch her movies.
(A side note to all the Shelley Lubben/Gail Dines/Anita Sarkeesian drones who are about to use the previous two sentences to say “See? This is evidence that even porn watchers are harmed by porn!”; you are wrong. Neither Bill nor I have been “harmed” in any way when we say that we feel uncomfortable watching people we have been in contact with engaging in merrymaking. We are saying that it is awkward to watch someone we know on some level engaging in merrymaking. Nor are we the only ones. On The Wednesday Night Threeway, Ms. Ireland stated that, after years of working with him, she put Derrick Pierce on her “no” list because they had become friends and that, as a result, merrymaking would have been uncomfortable from that point on. Likewise, the awesome Charlie Laine became a production manager for Penthouse after she retired from performing. On the Sam Tripoli show, she said that she first was uncomfortable hugging her former co-stars on set, wanting to keep things strictly professional. Ms. Laine then said, as time went on, she became more comfortable exchanging hugs with her former co-stars. She also stated quite clearly that she would not engage in merrymaking with fellow production staff when asked by Mr. Tripoli or one of his co-hosts. It is a question of professionalism and of what kind of relationship you have with the other person. Guilt and shame, “wrong” and “harm” do not enter into it at all.)
Wanted proved those two apprehensions of mine to be groundless. In the first case, although the beginning of the film is so summarised on the back of the cover, there were still many plot twists and turns that kept me watching, something I will return to shortly. In the second case, Amber Rayne, Stormy Daniels, Jessica Drake, Allie Haze and Anikka Albrite are talented enough actresses, that they become someone onscreen who they are clearly not in real life. This is a function of neither their period wardrobe nor their makeup. This is a function of the fact that they are so thoroughly gifted actresses that they convince you they are someone else on-screen entirely through the means of role camouflage. In Wanted, they each carry themselves so differently than they do on social media, in plotless/minimum plot girl-girl films and scenes that, when you see their characters make merry in Wanted, you see their characters, and not the actresses you see on social media, making merry. Another way to explain the massive transformation between the Amber Rayne, Stormy Daniels, Jessica Drake, Allie Haze and Anikka Abrite of social media and girl-girl scenes and the characters these actresses play in Wanted is by comparison to Wanted’s fellow Western, The Man Who Shot Liberty Vallance.
In The Man Who Shot Liberty Vallance, Jimmy Stewart plays a coward who steals credit for other people’s work, Lee Marvin plays a bully and murderous scumbag and the eternally overrated Duke plays the hero who actually saves the day. Yet, in real life, these men were the exact opposite of their roles in The Man Who Shot Liberty Vallance. Jimmy Stewart volunteered for and served in combat over Europe with the US Army Air Force and then flew one mission as an observer over Vietnam with the US Air Force. Lee Marvin was very much like the late great Christopher Lee in that he was virtually perennially cast as a bad guy in movies while he was a supreme good guy in real life before he got to acting in movies. Just as Christopher Lee had volunteered to help defend the Finns against Stalin in 1939-40 before becoming a Royal Air Force special duties officer in WWII, Lee Marvin was a Marine Scout-Sniper who was wounded on Saipan, where he had to face not only the official enemy but also a murderous superior, the Douglas Haig/William Westmoreland-style butcher, Holland Smith. The closest the Duke ever got to war was making movies about it, just like William Shatner made movies about space travel.
Long story short, Amber Rayne, Stormy Daniels, Jessica Drake, Allie Haze and Anikka Abrite are as talented as Jimmy Stewart, Christopher Lee and Lee Marvin in that they completely make the viewer believe that they are somebody else when they act in a feature. Jordan Owen, in one of his videos, talked about seeing the day when employers will see “Porn Actress/Actor” on someone’s resume and simply reply “OK, you have acting experience. Good!” The dramatic and merrymaking performances of the aforementioned ladies in Wanted show that these ladies can indeed act quite well. This is not something unique to Wanted. The exact same thing holds true for the performers of other adult entertainment features such as Corruption, Upload and The 8th Day. In particular, Kylie Ireland has a central role in Corruption, but it took me a while to recognise it was her because she is so gifted at role camouflage that she embodied a character who had nothing in common at all with the person she is on social media.
Wanted, like Corruption, Upload and The 8th Day, in short and sum, show Jordan Owen to be correct that appearing in adult entertainment is an indicator of one’s acting skill and that this experience should be treated by future employers as an asset rather than a stigmatic liability.
Now, onto my review proper. I am not going to review the merrymaking aspects of the film per se. There are people far better equipped to do that, such as Adult DVD Talk. The only thing I will say about that aspect of the film is that the merrymaking is passionate and intense. Amber Rayne in particular, much like Kylie Ireland, has a gift for turning any merry making scene into an epic joust of the order of the duel between Prince Aleksandr and the Grand Master of the Teutonic Knights in Aleksandr Nevskii. Yet, Ms. Rayne and Ms. Ireland have both found a way of making their merrymaking scenes epically engaging—and simultaneously balanced and proportionate. Much as I respect the great Tory Lane, she has me diving for ear protection whenever her scenes/movies come up.
Likewise, it is immensely pleasurable to see the evolution in Jessica Drake’s and Stormy Daniels’ performances. I remember seeing one scene from each of these ladies from almost fifteen years ago, from the epoch when Ms. Drake was married to Evan Stone and living in a threesome with him and Dolorian. Those scenes were well done, but rather simple, reflecting the fact that they were done in an era still influenced by the 1980’s style of adult entertainment, simply having lost the big hair and hair-down-there on the girls and the bad 1980’s hair on the guys. Ms. Drake and Ms. Daniels’ performances in Wanted are altogether more profound, more engaging and more committed. As performers, Ms. Drake and Ms. Daniels have become more intensely charismatic and emotionally magnetic over the years. They are as beautiful as, but even more attractive than, they were fifteen years ago, even without makeup.
What stood out for me in Wanted were the characters, the plot and the set design. The best way to describe the characters and the plot without spoiling the movie is to say that the characters are a logical continuation of Marlene Dietrich’s hardy, no-nonsense, ready to knock sense into recalcitrants “Cherry Malotte” and “Frenchy” from the 1930’s Westerns The Spoilers and Destry Rides Again, (as well as all the other strong women who make a powerful showing in the latter film) and of Jean Arthur’s “Phoebe Titus” from Arizona. Mixed with this logical continuation, this natural progression, is the hard edge of Jimmy Stewart and Randolph Scott in their rather angry 1950’s Westerns, as opposed to their 1930’s Westerns wherein they play more idealistic, unidimensional characters. The plot involves an intertwining of survival and seeking to rectify a wrongdoing, like many a Karl May, Zane Grey and Max Brand novel, with the coldness of Winchester ’73, Night Passage, The Man From Laramie and Seven Men From Now.
Why did these characters and this plot stand out for me? The answer is simple. This welding of character and plot led to a product that is most assuredly not a simplistic, monochromatic Parsifal or Lohengrin morality tale of “good” versus” evil,” implying the necessity to be “good” in life. There are characters who are unquestionably “bad.” But there are very few characters who are unquestionably “good.” And even of the few characters who clearly fall into the latter category, they are no innocent Parsifals, but rather rough and tumble characters with thousand yard stares despite the high attractiveness of their faces. One of these latter characters says “There is something more powerful than love—hate,” and later goes to explain on tactical, rather than moral, grounds another character’s reasoning behind a plan of attack to an associate reluctant to go along with it. None of the non-bad guy characters can be described as altruistic. All pursue a degree of self-interest, although some pursue their self-interest with more enlightenment than others. This is how the real world works. The binary good guy/bad guy paradigm is best left to Parsifal and Lohengrin and their 20th and 21st century rip-offs, Lord of the Rings, Star Wars(the movies from the 1970’s and 1980’s with Mark Hamill, at least), Harry Potter and all the damned teenager-cum-fantasy hero/heroine movies of late. Wanted, by contrast, depicts the gritty, self-interested realism of humanity for what it is, very much in the cold manner of Winchester ’73, Night Passage, The Man From Laramie and Seven Men From Now, as opposed to the more lofty Arizona and Destry Rides Again.
Let me try to give a concise concrete example of what I am saying, hopefully without spoiling the film too much. Amber Rayne’s character “Birdie” resembles her character “Mel” in The 8th Day in that both “Birdie” and “Mel” are primarily motivated by self-interest (whereas the real Amber Rayne is one of the most kind-hearted and loyal people in the galaxy; see here) The vast difference between “Mel” and Birdie” is that “Mel” engages in wanton acts of cruelty while “Birdie”’s heartlessness only extends to what is necessary to her survival and her interests. In that respect, “Birdie” very closely resembles Chuck Heston’s “Amos Dundee” of Major Dundee and Bill Holden’s “Pike Bishop” of The Wild Bunch (in stark contrast to Holden’s starry eyed, naïf “Peter Muncie” of Arizona.)
In the preceding paragraphs, I have alluded to several of Wanted’s predecessors from the 1930’s, 1950’s and 1960’s and showed how Wanted is similar to them. Wanted stands apart from these films in one important respect, plotwise. Its predecessors basically focused on one protagonist, one antagonist and one or two secondary characters. Wanted, by contrast, focuses on several protagonists and manages to tell their stories with a beautiful depth—all squeezed into two hours and change which it had to share with all the merrymaking scenes. In this regard, Wanted tops not only its aforementioned predecessors but also its current competitor, AMC’s Hell On Wheels, which also deals with several protagonists, albeit with the luxury of several seasons of several episodes in which to do so.
These realistic characters, these protagonists who mix Marlene Dietrich and Jean Arthur with 1950’s-era Jimmy Stewart and Randolph Scott—are all women. Strictly on the basis of the dialogue alone, Wanted (and Corruptionand Upload and The 8th Day) would pass the social justice warriors’ (SJWs) Bechdel Test. The only problem is, the SJWs will inevitably find something else to whinge about. In the case of the movies mentioned in this paragraph, that something would be the merrymaking, which the SJWs allege “exploits” women. This allegation, as with all SJW allegations, is balderdash. For one thing, the director/producer of Wanted, Stormy Daniels, is a woman, as is Jessica Drake, who is a honcho over at Wicked Pictures, which co-produced Wanted with Adam&Eve. (This is not unusual for the adult industry. In the previous decade, not only Jessica Drake, but also Kylie Ireland, Devinn Lane, Chanta-Rose, Belladonna, Lorelei Lee and Princess Donna all rose from being performers to being directors and site/studio honchos.) For another thing, all of the players took pay cuts to appear in Wanted. This fact will serve as red meat for the SJWs who will go on to exclaim “A-HA! Exploitation by undervaluation!” Again, no. Amber Rayne, Jessica Drake, Allie Haze and Anikka Albrite are all big names in the industry. Chanel Preston, who also appeared in Wanted, is a honcho over at the Adult Performer Advocacy Committee (APAC), the voluntary union of adult performers. They did not have to take a pay cut. They did so willingly, out of loyalty to Ms. Daniels. They are loyal to a real person, whereas Gail Dines, Shelley Lubben, Anita Sarkeesian/Full McIntosh and Leigh Alexander are loyal only to the idea of people that is the demographic. This contrast carries over to the vast gulf between the actions of the cast and crew (not mutually exclusive categories) of Wanted and the actions of the SJWs. The SJWs abandoned Brianna Wu the second she became a liability to them. In contrast, Brad Armstrong, the head honcho of Wicked Pictures, rolled up his sleeves and, not only acted in, but served as the wardrobe department for Wanted. You will never see SJWs willingly carry out such hands-on crew work as Mr. Armstrong did. You will, however, see Air National Guard Apache pilots—officers, to be clear—do exactly the same thing as Brad Armstrong did in Wanted and re-arm their whirly-birds while the enlisted ground crew look over the engines. The people who work in the adult industry have a work ethic that resembles that of an efficient and loyal military team. SJW’s do not deign to give speeches unless they get their payola first.
Allie Haze openly confirms what I have said about the team spirit of working in the adult industry in the BTS segments. She talks about how she loves the “camaraderie” of it, and then goes on, in another BTS segment, to demonstrate that camaraderie by rushing to the aid of a co-star undergoing a health emergency. You don’t see SJW’s rushing to anyone’s help, unless that help is unsolicited and given only on social media. This camaraderie alone is enough to explain why the adult entertainment industry is far more pleasant and likeable than social justice warriordom will ever be.
Likewise, Allie Haze, like Stormy Daniels, Amber Rayne, Anikka Albrite and many of the male performers of Wanted is a horse rider in real life. Ms. Albrite is also skilled in scuba diving and had worked at a ranch where stray horses were paired with developmentally disabled children. Allie Haze, in her BTS interview, confirmed what Eli Cross said here what Eli Cross said here and what The Economist reported here what The Economist reported here . Features such as Wanted are fun to make, Ms. Haze said, but sadly few of them are being made now because there is less of a demand for them thanks to the cheap bastardry of the tube sites and the cheap bastards who frequent them. These off-screen skills and this awareness of how current market dynamics affect the industry show that the people who work in the adult industry are not even remotely stupid. They show that these people can and do think and act for themselves and that these skilled, thinking, caring people do not need to be “saved” by anyone else. The people of the adult industry are humourous, but they are hardy. They are anything but victims. In contrast, just listening to one hour of Gail Dines or Anita Sarkeesian/Full McIntosh shows that these SJW motormouths know as much about markets as Donald Duck and Kevin Smith know about pants.
And as far as the SJW’s boilerplate gospel that the industry is “exploiting” any of these women, I have a strong feeling that thems who actually try to “exploit” these women in person will soon thereafter end up with their teeth and noses where the holes in their asses used to be.
On a related note, Wanted, being a Wicked production, bears a Wicked Productions disclaimer that reads along the lines “This film is meant for informational and entertainment purposes only. Wicked highly recommends that you adhere to the Surgeon General’s Guidelines on Safe Sex, which include, in order of preference, abstinence, monogamy and safe use of condoms. We hope this film stimulates you.” In other words, Wicked states loudly and clearly that neither Wanted nor any of its other films, are meant as a “how to” manual for having sex, contrary to the SJWs’ constantly harped allegation that “adult entertainment=sex education.”
Now, let me finally address the set design of Wanted. The sets of Wanted were all period-appropriate with what ostensibly are a couple of obvious anachronisms. These obvious anachronisms, however, actually work as part of the charm of Wanted since obvious anachronisms are all integral parts of the Westerns of the 1930’s and 1950’s. The anachronisms of the Wanted set are a modern-day stainless steel thermostat/light switch panel that appears on the wall behind Jessica Drake’s character’s husband in their dining room, the fact that a doctor is wearing what, in colour photography, looks like a golf/polo shirt, the fact that the floor of Jessica Drake’s character’s house seems to have a shiny, modern-day finish and the fact that everything is so clean. These anachronisms go well with a verbalised anachronism wherein a male character says “These women sure ain’t here for the shopping!”, an anachronism which fits perfectly with Bill Holden’s “Peter Muncie” asking “What’s the best hotel in town?” when pulling into embryonic pre-Civil War Tuscon in Arizona and with one of The Horse Soldiers saying “Leaves are bein’ cancelled” as if he was in Second World War flick and not a Civil War flick. Wanted’s anachronisms perfectly replicate the spirit of the 1930’s and 1950’s Westerns, where the men were all clean cut and mostly clean shaven, looking nothing at all like the scraggly, real-life Bloody Bill Anderson and Little Archie Clement, and where films that take place during the Civil War or before have revolvers and Winchester rifles that use modern cartridges.
The inaccuracy of these anachronisms renders them authentic. The era that Western movies capture is nowhere near as well-photographed or expansively written about as is the era of the Third Reich. The vibe of the Western is the vibe of the 1930’s and 1950’s Westerns which projected those decades’ grooming and firearms standards onto the 19th Century. Seeing as many Westerns actors of these decades also appeared in contemporary films and seeing as how obtaining and using authentic firearms would have most likely been logistically, if not financially, difficult, this is understandable. By serendipity, this aspect of the Western’s vibe was born and this vibe and charm are faithfully and beautifully revived in Wanted. An anachronistic haircut in a Western film is part of its magic, while an anachronistic 1920’s or 1930’s uniform or accoutrement in a film that takes place either in 1938 or in the 1940’s like The Woman in Gold and The Book Thief is so sphincter-clenchingly bad that you feel as if the art direction of those movies actually did it on purpose.
There is a more particular anachronism of Wanted that is worth mentioning. Like all Wicked productions, its male performers wear condoms, a practice which may not have been standard in the 19th century. This is part of Wicked’s culture, and has been since about a decade before Michael Whinestain and the Ass Holes Foundation (AHF) exploited the excuse of condoms and the prop of Shelley Lubben in their peculiar jihad to abolish adult entertainment. Just because Wicked chooses to incorporate condoms as part of its business culture, that does not mean that non-condom companies are inherently unsafe. Indeed, since performers test frequently, one is far less likely to contract an STD from an adult performer than one is to contract and STD from a one-night pump-and-dump. The number of STD infections that can be verifiably traced to an adult entertainment set can be counted on one’s fingers.
Likewise, Wanted’s use of condoms in no way detracts from the enjoyability of the merrymaking scenes. The performers, as I noted above, are of such a calibre that they attract you with their eyes, their faces, and the way they carry themselves loooooong before they attract with their more southerly body parts, and it is their eyes, their faces and the way they carry themselves that make these scenes. The other parts are superfluous. And I say this as someone whose first exposure to adult entertainment was in the definitively non-condom 1980’s Big Hair era.
There is one more specific aspect of the set design that caught my eye, and that was Jodi Taylor and Eric Masterson’s room. The way it appears on film, it looks like a nice, neat, tidy master bedroom of a clean house. The way it appears in the BTS, this nice, neat, tidy bedroom was filmed in a structure as flimsy as the one Tobey Maguire and Skeet Ulrich winter out in Ride With The Devil and that the Coward Bob Ford winters out in The Assassination of Jesse James. The contrast between what the room looked like in the film and what it actually looked like is a supreme testimony to the maestro-level skill of the set design husband and wife team of Andy Appleton and Kylie Ireland. If The US military was not run by REMF ossifers too preoccupied with fellating Congressmen/Senators for their next promotions, they would see that Mr. And Mrs. Appleton are so skilled that they could make a replica of any hostile ville anywhere on the planet for the special duties boys to rehearse dynamic entry into and extraction from.
All this being said, I have to find something critical to say about Wanted in order not to be a mirror image of the SJWs and the manosphere writing fellationary hagiographies of their own through cyber-verbal kickbacks.
-the audio of the interviewers on many of the BTS interviews was difficult to hear
-Ms. Daniels’ character often holds her revolver in a two-handed Weaver grip, which was only conceived of in 1959. This, however anachronistic it may be, is understandable. Before directing and appearing in Wanted, Ms. Daniels directed and appeared in Pretty Dangerous (which also features Allie Haze and Anikka Albrite), a modern mystery wherein she handles modern automatic pistols. Although Ms. Daniels holding a single-action 19th century revolver in a Weaver grip is anachronistic, I am at least happy to see that her firearms training has been so successful that she defaults to it and its safety precautions when handling firearms.
-Ms. Daniels, like her character in Wanted, (and like Marlene Dietrich’s “Frenchy” in Destry Rides Again)is originally from Louisiana. Yet her character does not have a southern accent. This is only perceptible in the movie because it contrasts with Allie Haze’s and Anikka Albrite’s characters speaking with southern accents. In real life, the fact that Ms. Daniels speaks like Jimmy Stewart (and like Lexi Belle and like Jordan Owen), i.e. with no accent at all, is a testimony to her development as a public speaker. Like Ms. Belle and Mr. Owen, Ms. Daniels clearly understands a point from Tsedal Neeley’s October 2015 Harvard Business Review article "Global Teams That Work." which suggests that native speakers of a language “use familiar language and fewer idioms” as well as using standard English as a matter of preference. In this way, Ms. Daniels, like Ms. Belle and Mr. Owen, has made herself world-friendly and internationally accessible in a way that Michael Hogan, the apes of Trailer Park Boys and The Jersey Shore and the all the council-housing dwelling, Onslow-aping SJW’s of England fail to. That she, like Ms. Belle and Mr. Owen, speak this way as a default now shows the beauty of her polish.
-The only major gripe I had with the movie was how Ms. Daniels used her cocked, vintage-looking single-action revolver as a blackjack to knock out an opponent and then went about traipsing about the deck with same revolver stuck in its holster—cocked! This was a vintage revolver, not a modern single-action Ruger Blackhawk with a transfer bar that prevents discharge of the cocked revolver unless the trigger is specifically and deliberately pulled. Yes, I know the “revolver” was a replica and that it was not loaded with live ammunition and yes I know that Wicked’s disclaimer specifically said that Wanted is not intended to be an instruction manual of any kind. And yes, that gripe is something that is particular to me. I notice things like that and blatantly anachronistic1920’s and 1930’s uniforms being worn in 1938 and the 1940’s. Someone who is not as hyper-anal about details like that—i.e. a normal person—would never have picked up on this.
Having stated my criticisms, I think the reader can gather from the double sierra-load of paragraphs that came before the immediately preceding four critical ones that Wanted is a thoroughly enjoyable movie. You can enjoy your own autographed copy of the two-disc set Wanted DVD by donating $50.00 to the fund for the medical bills of Stormy’s daughter’s horse Fella. $50.00 to the fundraiser for the medical bills of Stormy's daughter's horse Fella