Archives for posts with tag: American Honey

Stray Dolls

For those who enjoy movies like Heaven Knows What (2014), American Honey (2016), and White Girl (2016), which wallow nihilistically in America’s unwiped asshole, Stray Dolls is a decent entry in the growing genre. The story centers on Riz (Geetanjali Thapa), an illegal immigrant who gets a job as a maid at the super-seedy Tides Plaza Motel. Riz, who worked with a gang of thieves in India, is attempting to start her life anew but gets drawn back into a life of crime by her lowlife roommate Dallas (Olivia DeJonge). Dallas wants to open a nail salon someday, but meanwhile spends her time doing drugs and getting screwed on bathroom sinks. Her boyfriend Jimmy (Robert Aramayo), a creep with a neck tattoo of a snake, is the Tides Plaza manager’s son and a smalltime hustler, and when Riz steals a brick of cocaine from one of the motel rooms, they think they might be able to make enough money to get out and break the cycle of humdrum degradation. Unfortunately for the two antiheroines, things get complicated and they end up having to murder a couple of people before the movie is over. Those who enjoyed the three films mentioned at the top of this review will probably appreciate Stray Dolls, as well, but it breaks no real new ground in the field of cinematic slumming.

4 out of 5 stars. Ideological Content Analysis indicates that Stray Dolls is:

Pro-miscegenation. Jimmy cheats on Dallas with a black chick named Peaches (Yvette Williams).

Pro-gay. Riz and Dallas have a sort of half-hearted sexual attraction to each other, and participate in a three-way encounter with Jimmy.

Drug-ambivalent. The argument could be made that Stray Dolls is anti-drug in that nearly everyone whose life intersects with the business is ruined: a dealer is murdered, Riz and Dallas are drawn deeper into dangerous criminal activity, and an addict mother’s children are left unsupervised. Riz, too, is vulnerable to sexual assault after Dallas drugs her. The anti-dope message of the film almost seems accidental, however, and Riz and Dallas experience no immediate repercussions after bonding over some coke they snort together.

Misandrist. All men in the movie are sleazy and ill-intentioned, and Jimmy in particular turns out to be a rat. The others are violent and/or sexually predatory.

Immigration-ambivalent. Stray Dolls attempts a sympathetic portrait of a new arrival in the character of Riz, but fumbles it in that she and the other foreigners depicted in the film are hardly credits to an open-borders agenda. One of her fellow Indians, Sal (Samrat Chakrabarti), uses the motel to move cocaine by arrangement with the manager, Una (Cynthia Nixon), who seems to be from Poland. Una shreds Riz’s Indian passport after she hires her, knowingly employing an illegal immigrant, and is a generally unsympathetic character, though she does appear to want a different and better sort of life for her son, whose lifestyle she disapproves. “You work hard, you make it here. You believe that?” Una asks Riz when she hires her. Riz claims to believe it, and whether or not the “American Dream” remains viable is at stake throughout Stray Dolls. Notwithstanding the less than wholly flattering depiction of aliens, there is an undeniable anti-American content to the film. Juxtaposed with Riz’s initial meekness and politeness, Dallas represents Americans poorly by rudely using the bathroom with the door open right after meeting her. “Are you, like, Mexican or somethin’?” she asks, indicating possible nativist residue or, at the least, a stereotypical redneck lack of culture. “You’re gonna give yourself a heart attack,” one of Riz’s coworkers tells her, seeing her busily at work in the motel laundry room, thus perpetuating the meme of lazy, entitled Americans and hardworking immigrants. In one scene, Donald Trump’s inauguration speech appears on a television screen as Riz is cleaning, but the moment carries not so much an emphatic anti-Trump impact as a seemingly numbed indifference. Trump’s ineffectual pontifications are simply irrelevant to the situation on the ground in America, but the election of Trump may be added to the mix as a contributor to Riz’s anxiety about being caught by the authorities.

Irreligious. Una displays a picture of Pope John Paul II in her office, but represents Catholics rather badly. The John Paul portrait even seems to smirk knowingly as Una destroys Riz’s passport. “Jesus fuck,” her son cries repeatedly after being shot, saying little for the quality of his Christian upbringing.

Relativistic. “We’re all just a buncha sinners doin’ the best we can,” claims Dallas, and it says quite a bit about the film’s worldview that it features not one major character who isn’t a criminal.

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

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