Archives for posts with tag: anarchism

Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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Escape Plan

Sylvester Stallone, who previously suffered and grunted to great effect in the excellent Lock Up (1989), gets thrown into the slammer again in Escape Plan as Ray Breslin, the Harry Houdini of incarceration. Breslin is so adept at egress from maximum security penitentiaries that he actually makes his living at it, hiring out his services to the Federal Bureau of Prisons and going undercover in different correctional institutions across the country to test their tightness. Breslin finds himself in the bind of his life when he agrees to try his hand at the Tomb, a CIA-commissioned, privately operated black prison “off the grid” and designed for containing dissidents the government would prefer to see “disappeared”. This time Breslin’s sentence is more than a game.

A gray-haired Arnold Schwarzenegger plays second fiddle to Stallone’s hero, but does add considerably to the fun of the film. He is given one moment of greatness equal to his larger-than-life persona when, in testosterone-mainlining slow motion, he levels a machine gun and mows down a gallery of disposable baddies. Jim Caviezel, unfortunately, is inadequate to the task of furnishing proper antagonism for the likes of the two leading titans. Sam Neill collects a paycheck for playing a tiny supporting role as the prison’s doctor, while Curtis “50 Cent” Jackson keeps it real representin’ the African-American computer genius community as Breslin’s loyal “techno-thug” Hush.

Escape Plan has exactly two things going for it: Sylvester Stallone and Arnold Schwarzenegger. The script is lame and about as original as the title, with typical lines of dialogue being, “You hit like a vegetarian”; “I’m gonna fuckin’ kill you, motherfucker!”; and, still more amazing, this brilliantly sarcastic coup of a zinger: “Have a lovely day, asshole.” Weaknesses aside, the story is fast-paced, the performances are fun, and the dynamite action combo of Stallone and Schwarzenegger will be a difficult one for fans to resist.

3.5 of 5 possible stars. Ideological Content Analysis indicates that Escape Plan is:

7. Anti-tobacco. A guard’s routine of taking a smoke break causes him to be distracted.

6. Pro-miscegenation. The streets of New Orleans teem with interraciality.

5. Anti-Christian. Schwarzenegger, putting on a show of insanity for the guards, spouts religious nonsense in German. Stallone tears a page out of a Bible and burns it.

4. Anti-torture. Guards pummel Stallone and force water down Schwarzenegger’s throat with a hose.

3. Anti-neoconservative. The Tomb, with its savagery, high-tech surveillance, and disregard for citizens’ constitutional rights, serves as a microcosm of life in post-9/11 America. Giving the lie to the Islam-bashers, Muslim prisoners are violent only when they are provoked.

2. Anti-cronyism/anti-capitalistic. The Tomb is operated by “Blackwater rejects” who do the dirty work of corrupt, authoritarian governments and international bankers. “From a financial standpoint I like it,” Breslin’s business partner (Vincent D’Onofrio) says on hearing about the Tomb and the money he stands to make by cooperating with the CIA. Schwarzenegger is an anarchist or revolutionary of some sort who seeks to bring down the financial establishment.

1. Anti-state. The Tomb is administered by the significantly monickered Mr. Hobbes (Jim Caviezel), who boasts, “In here you have no control over any part of your life, except your breathing.” Of interest, too, is the deindividuated design of the brutal prison screws, who wear S.W.A.T.-flavored get-ups and charcoal-black masks with Caucasian features. Could this be a commentary on the reality of life under fake black president B.O., whose ballyhooed skin color masks exactly the same opportunism that motivated his predecessors in office?

Mud_PosterArt

Wholly original while also echoing Stand by Me in its coming-of-age adventure and Sling Blade in its rural milieu, Mud is the story of fourteen-year-old Arkansas boy Ellis (Tye Sheridan), who, along with buddy Neckbone (Jacob Lofland), discovers the titular fugitive (Matthew McConaughey) hiding out on a little island not very far downriver from his family’s houseboat. Mud is on the run after murdering a man who threatened his girlfriend (Reese Witherspoon), and Ellis and Neckbone, who are understandably fascinated by this highly unusual character, strike a deal to help him out by bringing him food and supplies.

Mud, like Luke Glanton in The Place Beyond the Pines, is a semi-mythical, romantic, rough-hewn, damaged but untamed figure whose face and tattoos tell his story. He is something out of America’s past, a sort of boy who never grew up, and locates a parallel spirit in Ellis. Matthew McConaughey, so memorable in the previous year’s Killer Joe, is perfect in this polar opposite role as the friendly and formidable but tragically naive Mud, and Tye Sheridan, too, is believably earnest in his central role as companion Ellis. Other faces enhancing the cast are Sheriff Pusser himself, Joe Don Baker, Premium Rush‘s Michael Shannon, The Right Stuff‘s Sam Shepard, and newcomer Bonnie Sturdivant as sultry teenage hussy May Pearl, Ellis’s inamorata.

5 stars. Highest recommendation. Ideological Content Analysis indicates that Mud is:

6. Anti-Christian. King (Joe Don Baker) represents Christians unflatteringly when he initiates a group prayer for Mud’s imminent demise. Mud makes at least one reference to God, but comes across as more of a pagan with his wild, natural ways.

5. Gun-ambivalent. Mud’s pistol gets him into trouble, but mentor and ex-Marine Tom (Sam Shepard) comes in handy in the end with his rifle and sniper skills.

4. Anti-slut. Mud’s love is wasted on floozy Juniper (Witherspoon).

3. Anti-marriage. Ellis’s parents are getting divorced. Women are undependable.

2. Anti-vigilante. Mud’s poorly considered vengeance has made him a hunted man. King, father of the abusive lowlife Mud murdered, arranges a posse to locate and liquidate the hero, but by doing so he only succeeds bringing more woe on himself.

1. Libertarian. The River Authority callously threatens to order the family out of their houseboat. Neckbone dismisses the legislation sanctioning such an action as “bullshit”. Ellis’s father (Ray McKinnon), meanwhile, voices strong propertarian views when his son is caught in a theft. The police are susceptible to corruption.

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