About

Author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies - the DEFINITIVE Alt-Right statement on Hollywood. Follow me on Gab and Twitter.

“Dragged Across Concrete”

Summary
Review Date
Reviewed Item
"“Dragged Across Concrete”"
Author Rating
4 1star1star1star1star

S. Craig Zahler is back with a solid and satisfyingly rough follow-up to the jaw-dropping Brawl in Cell Block 99, reuniting with Vince Vaughn and teaming him up with Mel Gibson in a literally gut-ripping, downbeat buddy cop brutalizer. Seasoned detective Brett Ridgeman (Gibson) and partner Anthony Lurasetti (Vaughn) are caught on video using excessive force in the apprehension of a Hispanic drug dealer, creating a scandal for their police department, and get suspended without pay by their superior (Don Johnson). Both men need money – Lurasetti because he plans to propose marriage to his girlfriend, and Ridgeman because his daughter is no longer safe in their ghettoized neighborhood and the family needs to get out. At the extent of his tether, Ridgeman hatches a half-baked plan to rip off a heroin dealer that winds up with him and his partner pitted against a gang of formidable paramilitary bank heisters. A career highlight for Gibson equal to his over-the-hill hero roles in Edge of Darkness and Blood Father, and yet another impressive entry in Vaughn’s growing résumé of scary tough guy characters after True Detective and Brawl in Cell Block 99.

4.5 out of 5 stars. Ideological Content Analysis indicates that Dragged Across Concrete is:

Anti-drug. Troy Kittles plays ex-con Henry Johns, whose stint in prison illustrates a very possible outcome for a dealer. His mother, a heroin addict, has turned to prostitution. It is also mentioned that the dealer Ridgeman mistreats has been selling drugs to children, undermining any potential audience sympathy for the criminal.

Ableist! Lurasetti compares a hearing-impaired woman’s speech to a dolphin’s.

Anti-Semitic! Writer-director Zahler, as Soiled Sinema’s Ty E. puts it, is an artist who seems to have “transcended his Jewishness”, which may account for the brief and harmless but stereotype-oozing portrayal of the friendly jeweler Feinbaum, who says his wife has two brothers who are therapists and three sisters who are lawyers.

Homophobic! Henry dismisses his “cocksuckin’ father” as “a yesterday who ain’t worth words.” Disapprovingly, Ridgeman fails to see “much of a difference these days” between men and women, and also mocks Lurasetti’s “gay hair s**t” disguise.

Media-critical. Chief Lieutenant Calvert (Johnson) derides the anti-police bias of “the entertainment industry formally known as ‘the news’”, which “needs villains” and fabricates them if necessary.

Natalist, i.e., sexist! Unexpectedly, the movie features a tender (albeit offbeat) portrait of a new mother, Kelly Summer (Jennifer Carpenter), desperately trying to avoid going back to work after using up her maternity leave. The necessity of keeping a job seems cruel and absurd now that she has a baby. Her proper place, she realizes, is at home with her child. Her boss, Mr. Edmington (Fred Melamed) describes her as a “radiant vision of maternity”. The section of Dragged Across Concrete that follows Kelly is even more affecting on a second viewing.

Class-conscious. “My job [in a bank] is so stupid,” Kelly laments. “I go there and I sell chunks of my life for a paycheck so that rich people I’ve never even met can put money in places I’ve never even seen.” Henry’s little brother Ethan, meanwhile, sees big game hunting as “rich white people s**t”. There is also the suggestion that those with wealth have the means to elude the law, as Ridgeman at some point in the past allowed the son of businessman Friedrich (Udo Kier) to escape punishment for an unnamed crime in exchange for a future favor from the well-connected father. Ridgeman no longer believes in a meritocratic American dream. “I don’t politick and I don’t change with the times and turns that that s**t’s more important than good, honest work,” he tells his partner, determining: “We have the skills and the right to acquire proper compensation” for thankless years of public service.

Race-realist – with exceptions. “They’re so cute before they get big,” says Ridgeman’s daughter Sara (Jordyn Ashley Olson) – ostensibly with reference to lion cubs, but subtextually referring to the black boys who harass her when she walks home from school. “This fucking neighborhood, it just keeps getting worse and worse,” frets Mrs. Ridgeman (Laurie Holden). “You know I never thought I was a racist before living in this area. I’m about as liberal as any ex-cop could ever be, but now,” she demands, “we really need to move” or else, “someday, you and me,” she tells her husband, “we are in a hospital room with our daughter talking to a rape counselor.”

Ridgeman and his partner are both depicted as casual racists. “I’m not racist,” Lurasetti jokes: “Every Martin Luther King Day I order a cup of dark roast.” In a twenty-first century world in which “digital eyes are everywhere”, however, old-school law-and-order enforcers like Ridgeman and Lurasetti are living on borrowed time. “Like cell phones, and just as annoying, politics are everywhere,” Calvert observes. “Being branded a racist in today’s public forum is like being accused of communism in the fifties. Whether it’s a possibly offensive remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children […] It’s b******t – but it’s reality.”

Softening Dragged Across Concrete’s racial edge is the presence of Henry, the conspicuous specimen of Africanus cinematicus played by Troy Kittles. This ghetto thug with the soul of a poet is given to saying things like, “Before I consider that kind of vocation, I need to get myself acclimated” and is at all times depicted as being more astute than those around him. His little brother Ethan, too, is portrayed as an underprivileged but bright lad of great potential. The case can be made that Dragged Across Concrete makes examples of its most prominent bigots by punishing them while rewarding Henry in the end. Ridgeman, who has refused to change with the times, is taught the important lesson that he “should have trusted a n*****.”

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“The Public”

Summary
Review Date
Reviewed Item
"“The Public”"
Author Rating
3 1star1star1star

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

3 out of 5 stars. Ideological Content Analysis indicates that The Public is:

Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

Communist. “To each, according to his needs” is very much the moral of the film.

Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knock-out game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“The Miseducation of Cameron Post”

Summary
Review Date
Reviewed Item
"“The Miseducation of Cameron Post”"
Author Rating
3 1star1star1star

Chloe Grace Moretz, who began her career in a skintight superhero costume as a sexually exploited child in the disposable Kick-Ass films, embraces her prostitution to the cultural Marxist establishment in her role as a teenage lesbian cruelly condemned to be treated at a totalitarian Christian conversion therapy camp. There, she is insensitively disciplined by a suspiciously cold and masculine Christian psychologist (Jennifer Ehle) and mentored by a friendly reverend (John Gallagher, Jr.) who, unsurprisingly, turns out to be a recovered homosexual himself. The Miseducation of Cameron Post has little point apart from further demolishing western civilization and tediously depicting Christians as stupid, corny, boring, mean, and hatefully judgmental.

The other major objective of the film is to tempt young women into lesbian relationships. The unsightliness of male-male physicality is prudently kept off-screen, but more than one sultry scene of hot, quick lesbian seduction is featured. A key meta moment occurs in the sequence depicting Moretz’s first girl-girl experience. She and a friend (Quinn Shephard) are hanging out and watching Donna Deitch’s 1985 film Desert Hearts and find themselves overcome with lust during one of the movie’s lesbian scenes. This, of course, is how The Miseducation of Cameron Post is intended to function. With its much greater reach than this obscure eighties predecessor, The Miseducation of Cameron Post is designed to get mentally malleable adolescent girls to question their own pedestrian sexuality and wonder if it might not be more rewarding to luxuriate in a childless life of unending slumber parties and digitally induced, guy-free orgasms.

I find a great irony in this movie’s contrived shock moment of homo horror, when gay boy Owen Campbell, tortured by the contradiction between his Christian ardor and his burning desire to gobble a c**k, freaks out and mutilates his genitals, leaving a pool of blood on the floor of a bathroom for Chloe Grace Moretz to find. Are Bible-thumpers really the ones bullying young men into cutting off their penises, though, or is that messaging emanating from some other quadrant of our cultural landscape?

3 out of 5 stars. Ideological Content Analysis indicates that The Miseducation of Cameron Post is:

Democratic. When Moretz and two of her pals at last escape from Sobibor, they hitch a ride in a pickup truck that boasts a Clinton Gore sticker – the Democratic Party being the vehicle that will carry Americans forward into a more enlightened future.

Multiculturalist. Moretz’s buddies at camp include American Honey’s mystery-meat dreadlocks vixen Sasha Lane and fellow pothead Forrest Goodluck, a laid-back Native American lad with “two spirits”.

Pro-drug. Dope enhances the thrill of an intense backseat lesbian encounter, and Moretz also bonds with her new gay camp companions over weed.

Anti-Christian. Yes, apparently Christianity isn’t quite dead yet – or, at any rate, Hollywood wants to make absolutely sure, and so continues to flog its carcass. “How is programming people to hate themselves,” the screenplay poses, “not emotional abuse?” (I wonder if the buffoon who wrote this line has, in this same spirit of fairness, taken an honest look at the ways in which whites are typically depicted in Hollywood fare.)

Anti-family, antinatalist, and pro-gay (i.e., pro-AIDS). Gay as the U.S.A. is these days, it still isn’t proactively putrescent enough to satisfy the ass venerators in Hollywood. Movies have given us gay teens, gay parents, gay artists, gay cowboys, gay scientists, gay singers, gay strippers, gay soldiers, gay superheroes, gay angels, gay Holocaust victims, and even gay Nazis – and yet, as The Miseducation of Cameron Post capably demonstrates, there remain still-ungay filmic frontiers to be reamed in trailblazing explorations. As long as there are virgin goyish bloodstreams yet to be blessed by the gift of a full-flowered autoimmune disease, and homophobic churchgoing bigots yet to be epically BTFO’d on the big screen with feels and thotness, Hollywood can hardly afford to flag in its valiant venereal efforts.

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“Sollers Point”

Summary
Review Date
Reviewed Item
"“Sollers Point”"
Author Rating
4 1star1star1star1star

American Honey’s McCaul Lombardi stars as Keith, a directionless Baltimore wigger and drug dealer just released from prison and attempting to find his place in the world. At stake in the formless, meandering story is whether the poorly behaved and inarticulate protagonist will settle into the family pattern of working-class tedium and community coexistence or fall back in with the white nationalist gang with which he became affiliated while incarcerated. Keith bowls from one unnecessarily unpleasant situation into another, getting into fights, making a little money, and chasing after various specimens of ghetto tail. Lombardi is an intense performer, and Jim Belushi is likable as his boring but well-meaning dad. What at first appears to be a downbeat and largely pointless character study, however, is revealed to be an accidental comedy once the filmmaker’s ridiculous intentions are taken into consideration.

4 out of 5 stars – in part for the unintentional humor furnished by the director in the DVD extra features. Ideological Content Analysis indicates that Sollers Point is:

Anti-drug. Diminishing marijuana’s glamor, a thug mentions that his stash had recently been stuffed up his ass. The film also offers a putrid portrait of an aging, heroin-addicted w***e hawking her unappetizing wiles on a roadside.

Pro-family. Keith’s father does what he can to protect and provide for his wayward son, and other family members are also helpful and affectionate. Keith seems to be troubled by his absence from his niece’s life.

Multiculturalist, pro-miscegenation, and anti-white. Baltimore appears in the film as a more or less functional chocolate city marred only by the presence of reckless and immature young white men and trashy white women. Keith’s father, at least, seems to be a good man as evidenced by the fact that he hangs out and plays cards with blacks – so not all white people in the movie are criminals or addicted to dope. “I was really interested in reflecting the diversity of this neighborhood in southeast Baltimore,” soyboy writer-director Matt Porterfield explains in an interview included on the Sollers Point DVD, “but I wanted to sort of focus on the ways in which they shared space rather than the divisions, you know?” The way in which Keith shares space with his black neighbors, however, seems to entail an inferior and deferential role. When Keith’s wigger nationalist acquaintances roll up with hostile intentions, Keith’s black thug neighbors come to his aid by throwing liquor bottles at the white gang’s van; but then they expect him to pick up the broken glass littering the street – which he obediently does. Keith, Porterfield says, has to “figure out who his people are”, and as Porterfield concludes, “his people in the film are white and black” – which may go a long way toward explaining why the character is so lost. Interestingly, the writer-director describes his movie as “a portrayal of a white male in society trying to find his place,” adding that Keith is “not being given any traditional rites of passage.” I burst out laughing, however, when he added that the protagonist is “representative of, you know, a large portion of the population that put our current president in office. […] It’s tapping into a cultural energy that we all kind of want to understand, that put Trump in office.” Which, of course, is 2016 in a nutshell. The Dems should never have underestimated Trump’s appeal to the wigger jungle fever ex-con MAGA drug dealer demographic!

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“The Death of Superman”

Summary
Review Date
Reviewed Item
"“The Death of Superman”"
Author Rating
3 1star1star1star

Will this animated adaptation of DC’s 1992 “death” of Superman storyline please those old enough to have read it when it first appeared? Considering that grown men still sufficiently juvenile to persist in taking an interest in comic book characters must have rather low standards for keeping themselves entertained, one assumes that it probably will. In between automobile-chucking super-brawls, personal drama involving the Man of Steel’s tense relationship with Lois Lane keeps this feature-length production from becoming overly monotonous – but, as with most superhero sagas, the ethnic subtext remains the most intriguing aspect.

3 out of 5 stars. Ideological Content Analysis indicates that The Death of Superman is:

Anti-Russian. Lex Luthor mentions having enjoyed a “private performance by the Bolshoi”, connecting Russia with supervillainy in audiences’ minds.

Anti-gun. A police officer’s passing reference to assault weapons highlights the danger to law and order posed by private firearm ownership.

Feminist. Strong, sarcastic, frowning women abound.

Black-supremacist, with blacks disproportionately represented in prestigious and powerful positions. The mayor of Metropolis is black, as are the two top scientists at S.T.A.R. Labs.

Judeo-globalist and anti-white. Superman, whose creation was a Jewish response to the Nazi concept of the Aryan superman and whose Justice League receives funding from the one-worldist United Nations, represents a confident Jewish self-concept, with Kal-El (interpreted by some as meaning “Voice of God” in Hebrew) being a Kryptonian (i.e., a crypto-Jew) who conceals his power behind the nerdy façade of the WASPy-sounding “Clark Kent”. Significantly, “Kent” occupies a position of influence in the media through his job at the globalism-evoking Daily Planet (although DC obfuscates Jewish control of the media which in this series is “White” via the newspaper’s editor-in-chief Perry). “Kent”/Superman is an effective arbiter of truth and justice as long as kryptonite is not utilized against him – i.e., as long as his enemies do not confront him with his secret Jewishness. Lex Luthor – whose name echoes history’s second-most-notorious critic of Jewry – almost seems to be explicitly criticizing Jewish influence when he decries “obsequious cretins who worship aliens, believing them to be the agents of justice. But I have seen the alien’s true face,” he explains. “I understand his threat.” Luthor’s subtextual anti-Semitism is then emphasized when he employs the German word “ubermensch”. It is moral exemplar Superman, however, who selflessly saves his archenemy when Doomsday comes.

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“The Leisure Seeker”

Summary
Review Date
Reviewed Item
"“The Leisure Seeker”"
Author Rating
3 1star1star1star

The Leisure Seeker is little more than a piece of scurrilous hate mail that disguises itself as a valedictory love letter to the Baby Boomer generation. Donald Sutherland and Helen Mirren play John and Ella Spencer, an elderly couple whose twilight years are rapidly fading to black. John is a retired literary scholar whose intermittent lapses of long- and short-term memory at times reduce him to petulant childishness, and Ella is dying of cancer and getting by on pills and alcohol. Conscious that they both have little time left, Ella, without informing their worried son and daughter, is taking a final road trip with John to Key West for a life-and-death-affirming pilgrimage to Ernest Hemingway’s house. The title refers on the literal level to the Spencers’ gas-guzzling motor home and on the figurative level to hedonistic selfishness as the outmoded vehicle in which the Baby Boomers tripped, crashed, and will righteously burn. Morbid vitriol thinly veiled as bittersweet dramedy, The Leisure Seeker will hold the most appeal for the unperceptive.

3.5 out of 5 stars. Ideological Content Analysis indicates that The Leisure Seeker is:

Gun-ambivalent. Ella defends herself against redneck highway robbers with a shotgun, but the senile old man’s access to the weapon is intended to cause the viewer anxiety, and Ella discards the shells after the would-be muggers have gone. Guns, if permitted at all, should be placed in women’s responsible hands, the movie appears to suggest.

Pro-gay. It is strongly insinuated that the Spencers’ cake-baking son Will (Christian McKay) is a homosexual. Ella is not only unperturbed, but seems to be fond of the idea.

Pro-miscegenation. John and Ella barge uninvited into a retirement home to visit her black ex-boyfriend, Dan (Dick Gregory), who, as it turns out, does not even remember who she is. Ella’s wistful expression on seeing him again makes clear, however, that her memories of him are dear.

Anti-white. The Leisure Seeker evinces resentment and distrust toward the Baby Boomers, whose revolutionary potential and openness to new experiences have ended in mindless, maudlin conservatism. The film is set shortly before the 2016 presidential election and a tacky pickup truck flying Trump flags rolls into view during opening credits as Carole King can be heard lamenting, “it’s too late, baby, now it’s too late, though we really did try to make it.” In a later sequence, John, in one of his absent states, confusedly wanders into a crowd of Trump supporters robotically chanting “USA! USA!” and seems to be enjoying himself until his wife retrieves him like a mother apprehending an errant toddler. This is the film’s representative Trump voter: a senile and disoriented bumbler in need of supervision. Disingenuous appeals to Boomer nostalgia are inevitably undermined, as when John and Ella’s attempt to resuscitate the disco spirit makes her nauseous and causes their dance to be interrupted when she abruptly vomits. Displaying their insensitivity to the people of color oppressed by their hegemonic ancestors, John and Ella visit a theme park simulating colonial America and blithely ignore the background actors performing as toiling negro slaves. Their self-absorption reveals that the Boomers have failed to make amends and that further generational redress will be necessary. They repeatedly bore and annoy the younger and browner people around them, such as when John insists on discussing Hemingway with strangers in restaurants. In one key scene, however, John encounters a bright black waitress who turns out to be a Hemingway scholar herself (as contrasted with a ditzy white waitress featured in a previous scene). When John suffers a memory lapse and cannot recall a passage from The Old Man and the Sea, the black waitress finishes his thought for him, demonstrating that the white man has become a redundancy and that non-whites are fully capable of serving as the repositories of high culture going forward.

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“Hunting Emma”

Summary
Review Date
Reviewed Item
"“Hunting Emma”"
Author Rating
3 1star1star1star

This is an okay Afrikaans-language thriller about a schoolteacher, Emma (Leandie du Randt), whose car breaks down in South Africa’s arid Karoo region on her way to her father’s home for a holiday visit. Compounding misfortunes, Emma is witness to a drug-related execution and must flee for her life through the desert whilst pursued by a gang of criminals. Unfortunately for the bad guys – led by the icy Bosman (Neels van Jaarsveld), who comes across like a cross between Gian Maria Volonté and Bono – it turns out that the resourceful Emma was trained in military survival skills by her ex-Recce father. Will the direness of her situation be enough to goad Emma to finally dispense with her philosophy of nonviolence? Furthermore, will she ever learn to shoot straight? Finding out makes for a fun hundred minutes.

3.5 out of 5 stars. Ideological Content Analysis indicates that Hunting Emma is:

Family-ambivalent. Emma’s father (Tertius Meintjes) is depicted as a devoted parent whose lessons stand his daughter in good stead in the face of a challenge. Emma, however, displays a distaste for domesticity, and teaching seems to fulfill whatever impulse she has toward motherhood.

Class-conscious. One of the crooks is a rich, recreational criminal.

Feminist. “My favorite kind of kitchen work – ironing,” martial arts expert Emma declares after tediously dispatching a sexist gang member with an iron. This fight, significantly, takes place in an abandoned home.

Anti-white. Leave it to South Africa’s Department of Trade and Industry, the agency responsible for Black Economic Empowerment, to facilitate the production of a film in which the threat to a woman traveling alone through the “Rainbow Nation” is a pack of white rapists and drug dealers. Emma’s mocha-colored students, meanwhile, give a glimpse of the country’s non-white future.

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“Rough Stuff”

Summary
Review Date
Reviewed Item
"“Rough Stuff”"
Author Rating
3 1star1star1star

This enjoyable Australian outback adventure stars Gareth Rickards as Buzz, a rugged “rover” hired by a group of eco-activist weenies to get them across a difficult, mountainous terrain and to the site of a new American mining venture where they plan to film a documentary on the project’s environmental impact – and the sense of urgency to their mission gets ratcheted up a notch when Buzz realizes the group is being pursued by the relentless and enigmatic “Ranger” (Jono Cheal). The characters, though never developed too deeply, are likable enough, and the movie’s rapid pacing and wilderness setting prevent it from ever getting boring. Frizzy-haired slob Sam Glissan deserves a special mention, as well, for his supporting role as the salty and indomitable Scraps.

3.5 out of 5 stars. Ideological Content Analysis indicates that Rough Stuff is:

[WARNING: SPOILERS]

5. Abo-empowering. While whites are allowed to play the heroic roles, a bit of ethnomasochism does creep into the film at the end when Buzz, having discovered the site of a cache of gold, abstains from seizing the booty so as to let an elderly abo have it, the implication being that he is somehow more entitled to it for having a more organic and intimate connection to the earth. It is interesting to note, however, that Buzz nearly drives himself off of a cliff after virtue-signaling.

4. Green-ambivalent. Rough Stuff stops short of discrediting environmentalism altogether, but does suggest that those activist types drawn to such causes are frequently naïve, poorly informed, fanatical, or possessed of ulterior motives.

3. Anti-feminist. The comic supporting character Skye (Katie Garfield) represents feminists as obnoxious and unnecessarily combative. Not content to keep her viewpoints to herself, she more than once attempts to infect her more feminine comrade Tori (Hayley Sullivan) with her corrosive ideology, encouraging her to be more sexually assertive and insisting that the patriarchy has conditioned Tori to deny her true wants and needs. Skye’s militancy is revealed to be hollow, however, when – after stubbornly refusing to allow a man to carry her across a stream – she finds herself stuck and petulantly cries out for help. Her pampered stupidity, too, comes out when it suddenly dawns on her that there will be no ladies’ rooms available in the outback. Women can talk tough or even shoot guns, but ultimately require rescue.

2. Anti-corporate. The eco-activist group’s leader, Eric (Jamie Kristian), turns out to be plotting a terror attack on the mining concern – which plot in turn is revealed to be a scheme of the mining multinational to discredit conservationists. The corporation, in addition to staging a series of eco-terror false flags around the world and lobbying the Australian government for special privileges, is also skirting government regulations by initiating the exploitation of a new region before securing public permission

1.Populist. Rough Stuff gives audiences a masculine, self-reliant, working-class hero in Buzz, and the movie evinces a healthy distrust of both left-utopian activism and nihilistic, big-business concerns. Traditional sex roles are reinforced, as is the dignity of the rustic Australian as opposed to globalizing and cosmopolitan forces.

 

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“Wonder Wheel”

I have mixed feelings about Allan Konigsberg. Revelations about his sexual proclivities as well as my own awakening to the director’s participation in a massive tribal project of hostile culture distortion make it impossible for me to like “Woody Allen” the way I did when I was younger; but it would be dishonest of me to pretend that his body of work did not influence my intellectual development. Coming from a blue-collar Midwestern background, Konigsberg’s stories of New York sophisticates were exotic and illuminating. His movies made me want to become a literate person so that I could be witty and impress complicated women. And – as much as I dislike to concede it – he has continued to produce worthwhile entertainment well into his decrepit years.

Wonder Wheel is no exception, and offers exactly what those familiar with the writer-director’s filmography have come to expect. Its tawdry tale of two shiksas – older, married woman Kate Winslet and naïve stepdaughter Juno Temple – who both fall for sophisticated and handsome Jewish aspiring playwright Justin Timberlake contains a great deal of Hebraic wish-fulfillment, particularly with Jim Belushi portraying the boorish and slovenly goy alternative. Set in the bustling Coney Island of the 1950s, Wonder Wheel is both a rather painful melodrama and a comfortable nostalgia piece, evoking fondness both for America’s past and for Konigsberg’s, so that the whole experience seems like old times.

Summary
Review Date
Reviewed Item
"“Wonder Wheel”"
Author Rating
4 1star1star1star1star

Ideological Content Analysis indicates that Wonder Wheel is worth seeing if viewers can do so without putting any money into the filmmaker’s probably candy-filled pockets. Also:

Anti-drug. Looming over Ginny (Winslet) and Humpty (Belushi) throughout is the specter of alcoholism which threatens to reassert itself over their wills in times of stress. Ginny embarrasses herself in a drunken state at the end of the film.

Borderline pedophiliac. Juno Temple, like previous Konigsberg muses Mariel Hemingway and Christina Ricci, evinces a childlike presence despite her experience. The word “Toys” is visible in a shop window in a scene in which Mickey (Timberlake) picks up Carolina (Temple) to give her a ride, slyly emphasizing her youth.

Anti-family, anti-marriage. “Don’t ever have kids,” Ginny advises. Marriage, too, is “scary”. Ginny is only “going through the motions of lovemaking” while she has “so much to give” to a smart and beautiful Jewish boy. Ginny also insinuates that Humpty has incestuous inclinations toward his daughter when she accuses him, “You treat her like a girlfriend.”

Anti-white. Carolina rejects the “dull, colorless, boring [i.e., WASPish] guys” her father would have preferred she marry. Instead, she falls in love with a tribesman. There is a sort of malicious glee in Konigsberg’s decision to name the head of the household “Humpty”, presenting the American father of yesteryear as a gruff and abusive but fragile figure destined to fall and never to be restored to his previous station. Humpty distrusts the influence of movies and radio – i.e., the Jewish-dominated mass media – on his family, calls psychology a “phony head doctor” racket, and is probably therefore suspect in Konigsberg’s imagination as a potential anti-Semite. Carolina’s son (Jack Gore), meanwhile, is a little pyromaniac – symbolic of the potential of every goy boy to grow up to perpetrate the world’s next Holocaust. Sadly, waitress Carolina must endure the indignity of serving “redneck clowns” in her clam house – representing the ever-present threat posed by rustic deplorables infiltrating and crudely stinking up the nice, respectable, kosher stronghold of New York City.

 

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“Jurassic World: Fallen Kingdom”: An Allegory About Demographic Apocalypse?

Summary
Review Date
Reviewed Item
"“Jurassic World: Fallen Kingdom”: An Allegory About Demographic Apocalypse?"
Author Rating
4 1star1star1star1star

Star-Lord (Chris Pratt) is reluctantly recruited by ex-girlfriend Gwen Stacy (Bryce Dallas Howard) to rescue as many species of dinosaurs as they can from Isla Nublar before the island’s volcano erupts. The enterprise is being bankrolled by a mysterious philanthropist (Rafe Spall) – but is his offer what it appears to be? Most importantly, can the unfossilized and feral creatures be contained after they are transported to safety? Jurassic World: Fallen Kingdom delivers the mayhem fans are expecting and more, with the volcano’s explosion providing the perfect pretext to fill the screen with giant reptiles of every variety as they scurry and stomp for their lives.

Ideological Content Analysis indicates that Jurassic World: Fallen Kingdom is:

[WARNING SPOILERS]

4. Feminist and pro-miscegenation. Representing the Coalition of the Fringes are a tattooed Latina man-hater (Daniella Pineda) and a nebbishy mulatto computer whiz (Justice Smith).

3. Anti-white, anti-gun, and animal-rights-militant. Ted Levine appears as a “great white [sic] hunter” whose hobby of assembling necklaces from the teeth of endangered species earns him a dinosaur jaw’s worth of trouble. Guns, in addition to being unreliable, are problematic in the possession of trigger-happy white men in particular.

2. Disingenuously antiwar but actually anti-Slav and neoconservative. The dinosaur rescue operation turns out to be a nefarious military-industrial plot – what? social justice hijacked for capitalist plunder? I’m shocked! – and the movie climaxes at an auction at which arms procurers from around the world bid on weaponizable reptiles. Present at the auction are representatives from Russia, Slovenia, and Indonesia, the world’s most populous Muslim nation. “Too many red lines have been crossed,” as well – ostensibly with regard to Frankenstein genetic science, but probably also in reference to Syria.

1.Racist! Bookending the film are testimonies from learned elder of science Jeff Goldblum, who warns that humanity, by saving the dinosaurs, is risking its own extinction. Underlying the film is the West’s anxiety about the acceptance of “refugee” populations from the Third World. The dinosaurs, as savage, prehistoric animals – rather like Africans, the film seems to imply – are objects of both amazement and civilizational trepidation. Indicative of the mingled fear and excitement experienced by mentally ill social justice warriors in the presence of rapefugees is an unsettling scene in which a dark-colored dinosaur creeps into a little girl’s room and hovers over her in her bed, extending a claw to caress her. This same child’s decision at the end of the film to release the dinosaurs into the modern world can be read either as a parody or a celebration of naïve Europeans’ – and particularly women’s – childishness and erotic retardation in ushering in their own racial and cultural annihilation. She makes her momentous choice after discovering that she is a clone and not the person she thinks she is – which is to say, after having her sense of identity undermined.

Alternatively, Jurassic World: Fallen Kingdom can be read as an allegory about the danger inherent in providing succor to Jews. After rescuing the dinosaur-Jews from the volcano-Holocaust, western man is faced with the problem of how to survive with these troublesome creatures in his midst – an interpretation bolstered by an attempt to exterminate the dinosaurs with cyanide gas at the end of the film and which, furthermore, would put a somewhat different and perhaps self-revelatory spin on the aforementioned scene of the giant lizard in the little girl’s bedroom.

 

Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest

“White House Down”

Summary
Review Date
Reviewed Item
"“White House Down”"
Author Rating
3 1star1star1star

Magic Mike himself, big badass Channing Tatum, stars as a Capitol policeman and would-be Secret Service agent who gets his chance to play at the real thing when he and his daughter (Joey King) tour the White House on precisely the day real-life Obama…

[Read the rest of my review via IcaReviews.wordpress.com]


Sharing is caring:
Share on FacebookEmail this to someoneTweet about this on TwitterShare on LinkedInShare on RedditShare on TumblrShare on StumbleUponDigg thisPin on Pinterest


Search for more movie reviews?

CONNECT:


© COPYRIGHT STFUHOLLYWOOD.COM 2018 Terms of Service