The Abortion Movie that Hollywood, the MSM, and Organized Feminazidom Want to Stop You from Seeing! A Review

By Nicholas Stix

“The way it looks to me, you’ve got two choices.”

We hear that line twice in the first five minutes of Gosnell: The Trial of America's Biggest Serial Killer (2018); it establishes the character played by the nominal star, Dean Cain.

The first time Cain’s character says the line, is as he walks his daughter down the aisle at her church wedding. The second time is to a suspect he has just busted in a drug case.

Cain’s character, that of a wise-cracking narcotics detective, is always in character. Cain’s Det. James Wood is the conscience of the picture, a man who wears his heart on his sleeve, whom the moviemakers hope the audience will identify with, and will have the same change of heart that he has.

We encounter another major character saying, over the phone, in the kitchen in front of her small children, “I'm doing drugs, and then you'll have me doing murders.”

Then we learn she’s a prosecutor, and not a criminal!

That was Philadelphia assistant DA, Alexis “Lexy” McGuire (Sara Jane Morris), a pro-abortion Democrat (if you’ll pardon the redundancy), who has five young children.

Without that realistic sense of black humor, the picture would be intolerable, as would such jobs.

That leaves two other major characters in Gosnell, an ensemble production, in order of appearance: Dr. Kermit Gosnell (Earl Billings); and Gosnell’s defense attorney, Mike Cohan (played by director Nick Searcy, doing very able double-duty).

As the murderous doctor, Earl Billings give the best performance of a strong company. Although he is a monster, he is completely baffled by his arrest and prosecution, and spouts feminist talking points, whereby he was just providing a necessary service.

Billings’ performance reminds me of an insight from Lee Marvin, the greatest movie heavy of them all: Heavies don’t think of themselves as bad guys.

Some of the moviemakers have previously made docudramas in which every word was lifted from grand jury proceedings. Gosnell is not as literal as that, but it is every bit as credible.

For instance, there’s a scene where the prosecutor sits down with a black female chief judge of the jurisdiction, who commands, “This case cannot be about abortion.”

Not literal, but certainly credible.

But of course, the case is about abortion, just as Gosnell is an abortion movie.

Mind you, although Gosnell is a docudrama, based on real people and real crimes, only the titular character, the serial killer, is played under his real name. Other characters are lightly fictionalized. My friend and partner-in-crime, David in TN, who gave me the DVD, tells me that the prosecutor was based on an ADA who has a mere four children. (The moviemakers didn’t need to exaggerate by adding yet another tyke.)

The subject matter of Gosnell is horrific. Keep in mind that our favorite pictures (in the Stix household) have very little blood and gore, compared to those of today. A Western masterpiece like The Searchers is practically bloodless. On top of that, I have an aversion to stories of murdered children, whether fictional or factual.

The only way the police even learned about Gosnell’s murders was when they busted him for dealing drugs (pain-killers).

The clinic worker they busted, led them back to the house of horrors, where they found countless dead babies and baby body parts in bottles and bags, and blood and gore galore. The cops learned from the worker that some of the aborted children had been born alive, and that Gosnell had then casually murdered them with a scissors.

Nick Searcy plays the defense attorney in a deadpan manner that reminded me of the legendary Los Angeles attorney who never broke a smile, no matter how weird the statement he made was, as described by career prosecutor Walt Lewis, in his memoir, The Criminal Justice Club: A Career Prosecutor Takes on the Media—and More.

Searcy’s biggest scene—and the picture’s biggest scene—comes when his character, defense attorney Mike Cohan, gets the big-time abortionist, Dr. North, on the stand as an expert witness. Has she ever had a child survive an abortion attempt? No. What would she do, if a child did survive said attempt? She’d leave the baby clean and dry on a table, until it died. Kill it, in other words, though without the scissors. However, he also has Dr. North describe the standard abortion procedure, and she explains it in such a way that it is the same matter of active killing as murdering the live newborns, except that it is performed within the womb.

In the context of the trial, this is to show that Gosnell did virtually nothing different than what an abortionist routinely does. In the context of the picture, however, the scene's purpose is to show that ... Gosnell did virtually nothing different than what an abortionist routinely does; i.e., abortion is murder.

The witness was played by Janine Turner (Northern Exposure), now in her mid-50s, but as beautiful as ever, and quite affecting as the abortionist. I’d only seen her play unsympathetic, bitchy young women before.

Other brief roles that are performed effectively include the aforementioned abortion clinic worker, and the (completely fictional) crime blogger who knows more than the cops.

As I alluded to earlier, there’s a good deal of black humor, as would befit a crime drama, and without which, a story about hundreds of murdered babies would be intolerable.

When Dean Cain’s Det. Wood busts Gosnell’s clinic worker, a unit of feds pops up, as well. Even when it turns out they’re dealing with a mass murderer, the feds want their drug bust.

You had to be there.

The opening credits tell me that the screenplay was written by the husband-and-wife team of Phelim McAleer and Ann McElhinney. I know those guys! I interviewed them both when their play, Ferguson, was playing off-off-Broadway in New York. The thing was a VDARE night at the theater, probably put together by Peter Brimelow’s wife, Lydia. McAleer and Ann McElhinney got together with the Brimelows and a host of Friends of VDARE at a local watering hole near the off-Broadway theater, where their show was playing.

[Note that two years after Ferguson’s opening, McAleer and McElhinney’s entry in The Pretend Encyclopedia, aka Wikipedia, still contains no refence to it.]

McAleer and McElhinney’s are a couple of middle-aged (McAleer is actually older than that, though not to look at him), Irish mischief-makers, who seem to be having the time of their lives. However, there has to be a less than mirthful undercurrent to their story. They tell fact-based stories of horrible crimes, which violates all Left-wing taboos. And yet, they started out as lefties! There has to have been some sort of epiphany that turned them against their old comrades.

The worst part of Gosnell is its real-world coda: According to my friend and partner-in-crime, David in TN, the infanticide bill recently signed into law by New York Governor Andrew Cuomo, and getting copycat versions all over the country—surely with one on the way, in Pennsylvania—will make Kermit Gosnell an un-murderer, and probably lead to his release from prison.