Archives for posts with tag: Al Qaeda

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

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Passenger 57 (1992)

Passenger 57 (1992)

A number of seemingly insignificant films of the 1990s, revisited in the context of the New World Disorder of the present millennium, yield disturbing resonances of what was to come. One such work is the Wesley Snipes action vehicle Passenger 57, a movie which, in addition to hosting much of its action aboard an airliner, is concerned with the rising specter of international terrorism.

Produced by Jonathan Sheinberg – who, this writer suspects, may be Jewish – Passenger 57 has Snipes playing counterterrorism expert John Cutter, goaded into taking a job as an airline’s security consultant. Before boarding the fatal flight that preoccupies him for the rest of the story, Cutter delivers a lecture on terrorism to his clients:

Do you know how many airlines have been hijacked in the last three years? [. . .] Twenty-seven. Almost every commercial airline in the world has had to cope with terrorism. All except one. The Israelis have never been fucked with. They never let them on the plane.

The lesson here is clear. If only the nations of the West would look to Israel for guidance – and place savvy blacks in positions of leadership, of course – the world could be spared this presently savage pandemic of skyjacking terrorism.

Later, when stopped by airport security, Cutter is made to pass more than once through a metal detector. “Ever notice how the real suspicious ones never seem to have any trouble?” he muses aloud. “Right,” agrees Cutter’s colleague Delvecchio (Tom Sizemore). “That’s how they get on the plane.”

The identity of this “they” and those “real suspicious ones” is unspecified, but the viewer, given the context of other remarks – as well as the long Hollywood tradition of caricaturing Muslims – is left to assume that Cutter and Delvecchio are referring to Arab terrorists. Charles Rane (Bruce Payne), the villain of Passenger 57, is a mad European and not an Islamic fanatic; but viewers are also informed that despite being “linked to several bombings in London and Ireland [. . .] because of his close ties to the Middle East, he’s been untouchable” – whatever that means.

Unfortunately for those who died on September 11, 2001, or as casualties of the wars that followed, American “security” was in Israeli hands at the key airports that day. ICTS International, an Israeli firm, had responsibility for “security” at each of the airports from which the “al Qaeda” hijackers are alleged to have embarked – and this same company also ran the “security” at the airports at which the “Shoe” and “Underwear” bombers boarded flights, in addition to having a hand in the London 7/7 event. Fortunately for ICTS, the Patriot Act just happened to include a provision precluding lawsuits against foreign “security” companies operating on 9/11.

9/11 provided the Orwellian pretext for the establishment of the Transportation Security Administration and the Department of Homeland Security, as Secretary of which Israeli citizen Michael Chertoff lined his pockets by hawking the body-imaging scanners that suddenly seemed so necessary in the wake of the “Shoebomber” and “Underwear Bomber” incidents. Understandably, Chertoff did not publicize the fact that body-imaging contractor Rapiscan was represented by his own Chertoff Group.

“Always bet on black,” Cutter advises the arrogant Rane in Passenger 57’s most quotable sass; but, given the subsequent turn of events on this chronically fucked-up Zionist-occupied planet, would he not have been closer to the mark to suggest that Rane and his fellow gentiles “always bet on Jew”?

Rainer Chlodwig von Kook

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