Seth Rogen vehicle Neighbors, while vile, was at least a passably funny film for fans of the star’s repugnant antics. This sequel, sad to say, retains and amplifies the grossness of its predecessor while disposing of any of the franchise’s previous charms. This time Rogen and wife Rose Byrne are subjected to the obnoxiousness of an upstart sorority headed by new neighbor Chloe Grace Moretz. Moretz, for several years one of Jewish Hollywood’s favorite shiksa voodoo dolls, is as usual degraded under the guise of women’s empowerment as she and her cohorts smoke dope (“College is about new experiences”), throw noisy parties celebrating the loss of virginity, wage war against “super-sexist” fraternities, and demonstrate themselves to be “strong adult women” by flinging their saturated tampons at Seth Rogen’s windows. Zac Efron, Rogen’s original nemesis from Neighbors, switches sides and joins forces with his old foe in Neighbors 2, while some of his old fraternity brothers also appear as part of a subplot that serves no purpose apart from the promotion of homosexual “marriage”. NBC sitcom old-timers Kelsey Grammer of Frasier and Lisa Kudrow of Friends are similarly wasted (no pun intended) in brief supporting roles. One also wishes character actor Billy Eichner’s supporting turn as eccentric real estate agent Oliver Studebaker had been expanded.
2.5 out of 5 stars. Ideological Content Analysis indicates that Neighbors 2 is:
6. Anti-marriage. The opening scene in the film shows a wife vomiting in her husband’s face during intercourse. This is how the filmmakers choose to establish the horror of conventional domesticity in audiences’ minds.
5. Pro-miscegenation. The obligatory interracial couple expresses interest in buying Rogen’s house.
4. Pedo-friendly. A small child is regularly present during inappropriate discussions and is repeatedly seen playing with a dildo. The last time this reviewer saw such a thing was in an Israeli film, so maybe kids and dildos is a Jewish tradition? There is also a joking reference to child pornography.
3. Pro-drug. Weed humor abounds, with illegal marijuana dealing highlighted as a quick way for college kids to pick up some extra cash. “I think this is my thing now,” one of the girls enthuses.
2. Pro-gay. A gay marriage proposal elicits a rowdy chant of “U.S.A.! U.S.A.!” The lucky couple also makes known that they intend to adopt. In addition, the film appears to encourage sexual experimentation even among heterosexuals, as “sometimes you gotta suck a dick to realize you don’t like suckin’ dick.”
1. Feminist. “Don’t call ‘em hoes. It’s not cool anymore.”
Shia LaBeouf keeps getting trolled by Trump fans … even when he tries keeping the protest covert.
Brooklyn’s Williamsburg neighborhood is infamous for its Hasidim – the ultra-Orthodox Jews who habitually inconvenience their neighbors with their bizarre behavior and their ritual insistences. Visitors to Wikipedia wanting to learn about Hasidic Judaism are informed that it “is noted for its religious conservatism and social seclusion.”1 This people’s holiness is such that women are obliged to step aside for men in the street and to go out of their way not to touch the men if, for instance, money changes hands in a shop.
Observance of this rule outside the confines of the community is, however, somewhat slack. “All these really holy roller Hassids stop on Allen Street prior to going over the Williamsburg Bridge to get the nightly blowjob,” says one of the officers interviewed for Mark Baker’s 1985 book Cops: Their Lives in Their Own Words.
It’s the funniest sight you ever want to see…
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I’ve never seen the film with that name, but the other day I finally read the comic, or, as they are called these days, “graphic novel” with the same title. The art was by David Lloyd, whose work is very efficient and professional. I don’t know much about comics these days, but I’m sure he’s a very popular artist.
It was written by Alan Moore, who promotes smoking marijuana and thinks “racism” is the most stupid and evil thing ever. He undeniably has a literary bent. This is why he stands out above most of the hacks who dominate the comic biz. I actually liked the work he’s done for “Swamp Thing”. Since that comic is notoriously eco-friendly his hippy dippy philosophy is actually an asset there, but I really have some problems with much of his other work. I’m not sure whether he’s jewish or just as naive as hell, but…
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“In 2017 Adele’s brand of power sadness makes Celine Dion’s bittersweet romantic ditties seem incredibly mawkish, sentimental and old fashioned,” says Morgoth’s Review. “Adele’s music depicts an emotional wasteland inhabited by the humped and dumped, the finished via Facebook messenger and text, the cheated on, abused and betrayed wandering the broken heart dystopia of revenge porn and dating sites. It’s the chart topping pop song equivalent to Mad Max 2.”
Regular followers of this blog may be aware of my ongoing interests, not only in the Jewish Question as it expresses itself both culturally and politically in recent films, but also in the obscurely nostalgic as well as my apolitical fondness for VHS refuse of the awesome eighties and tacky nineties. These readers will understand and forgive my indulgence of curiosity in a moment of impaired judgment when I discovered a cheap 1991 video era relic titled Sinai Guerillas. Just take a look at the art on the box. What VHS trash aficionado could pass over something as righteous as this? That too-cool yenta commando with her machine gun, shades, exposed cleavage, and bullet belt, ready to mow down a horde of evil, cartoonishly stereotyped Arab primitives, like some hyper-Zionist variation on the work of Andy Sidaris, Fred Olen Ray, or Cirio H. Santiago! How could this promising cover adornment not herald some rare and boobs-and-blood-filled VCR viewing experience? Unfortunately, not since Sybil Danning beckoned siren-like from the similar cover of the abominable Panther Squad have I been so completely and mercilessly let down by a deceptive and damnable VHS box.
Imagine my disappointment when Sinai Guerillas turned out to be not some unfairly neglected exploitation gem of the early nineties but a retitled and English-dubbed repackaging of the utterly tame and quaintly corny 1960 Israeli adventure movie Blazing Sand! Concerning a perilous mission to rescue a wounded Israeli stranded in Arab territory, the story plays much like a Middle Eastern western, with tiresome scenes of the Jewish posse riding their horses and camels across a desert peopled not by savage Indians, but by Jew-despising Arabs. Emphasizing the parallel with the western, one of the characters even dresses like a Jewish cowboy!
The genre connection is, furthermore, more than superficial. Just as the western in its heyday celebrated a rugged confidence in American mastery and expansiveness, so Sinai Guerillas extols the Zionist claim to a twentieth century “frontier” in Greater Israel. The story takes the characters into what is supposed to be Jordan – which, however, is never mentioned by that political designation. After all, this “whole place used to belong to us. Now we have to come here illegally,” one of the Jews says indignantly. The artificially imposed lines on maps “are a hindrance to the cultural development of a rising young nation,” the viewer is told. Apart from constituting a mild cinematic curiosity as a pop-cultural artifact of Zionist chauvinism, the film does offer some regional scenery, but very little else. Even the awkward attempt at sex appeal, with actress Daliah Lavi performing a robotic fifties-style exotic dance routine to entertain a dying comrade in his final moments of life, is enough to put a chill into those blazing sands.
You can take the “college” football star out of the ghetto, but can you take the ghetto out of the “college” football star?
“Throughout America, college campuses are reliving the Jim Crow South where black men stereotyped as rapists were lynched by the Ku Klux Klan,” thunders a dindu website, Save Our Sons, in perfect earnest. “Today at colleges when a white female accuses a black male of assaulting her, Title IX teaches that she is to be believed automatically. This brazen and radical feminist stance of ‘believe’ is leading to hundreds of innocent males being falsely accused, expelled and denied a college education for life.”
Under this is a series of links to “true stories of alleged campus sexual assaults involving innocent-accused black college men being lynched by white college feminists and their fake accusations” – for example, “Sexy Consenting Female w 3 Black Males. She Accuses…
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