Archives for posts with tag: animated

death

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:

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

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

3. Feminist. Strong, sarcastic, frowning women abound.

2. 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.

1.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.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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[Ideological Content Analysis is pleased to present a guest review of the psychoactive pseventies TV artifact The Point by Germanicus Fink.]

PointThe Point was the ABC movie of the week and aired on February 2nd, 1971. Since television was the most popular form of home entertainment at that time one can easily deduce that they wanted as many people as possible to see it. Also, since it was broadcast on a Tuesday evening rather than on a weekend, it’s also safe to assume they wanted young people to see it because, Tuesday being a school night they knew that most kids would be stuck at home.

This film was such an obvious instance of social engineering it’s actually kind of redundant that I’m even bothering to review its ideological content, but I think the fact most people have either long forgotten it or are too young to ever have seen it makes the endeavor somewhat worthwhile.

The movie was allegedly based on the Harry Nilsson album of the same name; but, considering the movie aired only a month after the album’s release, clearly the two projects were more closely intertwined than that.

PointNilssonNilsson, at least according to my facile research, was not himself Jewish, but Norm Lenzer who wrote the screenplay for the television movie, obviously is.

According to Nilsson, who was a pretty popular songwriter and musician in his day, the idea for this album was conceived when he was on acid and he had an epiphany where he said to himself, “Oh! Everything has a point, and if it doesn’t, then there’s a point to it.”. It must have been some weak acid if that was all he got out of it.

Actually, the acid story was likely a lie. It was very popular at the time to ascribe inspiration for well-known contemporary artistic works to drug experiences. The thinking was that these ideas were already out there, floating around in the zeitgeist, and that certain substances made you more sensitive to these ‘cosmic trends’. However, anybody with any idea of what’s actually going on knows this is nonsense and that really all these subversive concepts were deliberately injected into the mass consciousness by manipulative little Semitic trolls.

So, contrary to what your old, burned-out hippie aunt or art teacher tells you, things didn’t change all by themselves because the “time was right”. That kind of talk is all just empty-headed, new age baloney.

The feature is animated in that intentionally sloppy and scribbly style which was pretty common in the late 60s and early 70s. The songs were made to sound sedate and old-fashioned. There was a “nostalgia craze” around this time, an obvious reaction to all the new toxins our hostile elites were starting to force-feed us in ever increasing doses. Naturally, faced with all this new insanity most people pined away for simpler times when life actually made some sort of sense. Of course those Chosen hacks also cleaned up on exploiting that aspect of the madness they choreographed. They never miss an opportunity to turn a buck.

I’ve provided a link to this movie on Youtube. This version is narrated by Ringo Starr. They used Dustin Hoffman in the televised presentation, which I thought worked much better, but due to a contractual conflict they had to ditch him for the video release.

Anyway, on to the actual film:

PointOblioWe are shown a town where everything has a point, even the people. Everything and everyone has a point directed at the heavens until one day a child is born named Oblio, who has no point at all, just a round head. To compensate for his deformity, he wears a pointed cap while out in public.

Oblio is a happy, sociable, and well liked kid until one day, after being challenged to a game of “triangle toss” by the Count’s evil son, he soundly defeats him in front of a cheering crowd of their school mates. Triangle Toss is the official sport of the Pointed village and is played by catching a triangle on the point of one’s head. Since Oblio suffers an obvious handicap here, he is permitted to play assisted by his dog Arrow who has a long pointed snout.

Interesting side note here, keep in mind this was the early 70s so all these communist ideas had yet to take firm root in this country. Although all the pointed townsfolk are orange, the evil Count and his son are dark purple and the good guy, Oblio, is bright White. LOL!

The count is so outraged that Oblio defeated his son in front of all the young men in the town that he holds a tribunal and insists Oblio be banished from the town for “not having a point” which violates the letter of the law of the Pointed Village.

While this meeting is in session, we hear one of the women in the audience say to another woman who confessed to feeling sorry for Oblio, “Listen, neither one of us were born yesterday, and we both know that if we let one of Oblio’s kind stay, ugh, before long the whole village will be crawling with…”  I like how the opposition likes to quote things we may have said or thought back at us in a mocking way while always neglecting to explain exactly what is wrong or mistaken about such sentiments. This is a psychological trick they use. It’s enough to make us look or feel ridiculous. There is little need to give a cogent explanation of the facts of the matter after successfully having done that. Again, they always play directly on the emotions and entirely bypass rational thought.

Funny side note here: It seems that this movie is saying negroes are pointless.

In another scene soon after the above mentioned, some other woman was going on about what a polite kid Oblio was when a man interrupted her by saying, “Yeah, but would you want your daughter marrying one?”, and the woman responded by saying, “You are baiting me! You are deliberately baiting me!”, which, again, evades answering the question, “How would you feel about your offspring mixing your genes with a freak?” Concerns like these are not altogether as groundless as they would have you believe.

PointRingoThe tribunal decides, although reluctantly, to banish Oblio and his dog into the Pointed Forest which surrounds the village.

In the next scene we see the whole town gathered at the gate to see Oglio off. “Stay loose O!” we hear one person shout as he is leaving to the Pointed Forest and all the contrived adventures that await him.

Upon entering the Pointless Forest the first entity they encounter is a three-headed being called the Pointed Man who checks in with Oblio and his dog from time to time throughout the film. Evidently, even in the Pointless Forest one needs someone with a point to point things out to you, but according to this character himself, “To point in every direction is the same as having no point at all”. I really don’t know how people back then were able to even stomach this pretentious crap.

Later Oblio encounters a rock man who tells him, “Us stone folks are everywhere, just open your eyes and look around you. There’s a whole family of us rock folk”, and, “You don’t have to have a point to have a point”. I think by now we can all see where this is going and what the message is they are trying convey to the young people of 1971. It was only seven years since the Civil Rights Act, and six years after the Open Immigration Act so they were busily paving the way through the American mind toward that jewtopian, multicultural, gender-fluid Nirvana that was looming large on our collective horizon!

Then they discover a bottomless hole that throws a pie into their faces after singing them a song about loneliness. This one segment epitomizes the Semitic entertainment industry as a whole in my opinion.

After they venture deeper into the forest they meet an enterprising Jewish tree who claims to be in the leaf business and doesn’t want to let anyone step on his leaves claiming it costs him money because he turns “green leaves into greenbacks”. The Jewish tree then offers Oblio and Arrow what he assures them is a golden opportunity in the leaf business. However, when they inform him “they have no roots”, the Tree man retracts this offer.

PointCoverAfter this Oblio and his dog are abducted by a giant bird that deposits them on a giant egg. The huge egg then hatches, revealing an exceedingly small bird, whom Oglio tries to converse with. He interprets all his various squawks as questions and he strives to answer them all. This is the whole movie in a nutshell, answering questions nobody has bothered to ask in the first place.

The Pointed Man then shows up, and during the course of the mostly one-sided conversation he mockingly tells Oglio he’s “thinking”, and that “thinking is very destructive indeed! If a person does enough thinking, knowledge is sure to follow. The results, Sonny Boy, is a life of misery!”  That certainly would not result from this kind of ersatz thinking and questioning, which is more along the lines of a guided tour through a nursery. It avoids hard-hitting questions and, most importantly, does not question or interfere with the powers that be. Shoot a bit higher, however, and the results could be fatal! However, it’s perfectly safe to question your parents and religious leaders (unless you happen to be Jewish). Hell, you should question ALL authority! At least, that’s what they were telling us young folks back in the 1970s before these aliens completely commandeered the establishment.

After this corny exchange the Pointed Man again vanishes. Oblio wonders aloud where he always vanishes to and he pops back briefly to inform him, saying, “The Vanishing Point, naturally!”

Right after this he has to rescue Arrow, who has somehow slipped into this hidden dimension. (For some reason Jooz are obsessed with hidden dimensions and alternate realities. Something about their own deceptive natures possibly?) “That vanishing point. Hmpf! It only made it so I couldn’t see you, it didn’t make it so you really weren’t there!” Oblio muses to himself. Then he goes on to say, “I’m starting to think that the Pointless Man, as nice as he was, was the only pointless thing in the forest…I don’t think having a point on your head is so important after all. It’s what’s in your head that’s most important!”

After Oblio arrives at this disingenuous conclusion he heads back to the Pointless Village where he is accepted back with much boisterous fanfare and announces to the ecstatic citizens that everything has a point, exclusive of whether or not they display a physical point on their bodies.

All the while the Count frantically tries to shout everyone down like an overexcited, irrational hothead. Anybody who dares question the social conditioning is always portrayed as a frothing, senseless lunatic.

After Oblio presents his piece, the Count knocks off his pointed cap in a fit of anger, revealing that now Oblio actually has a point on his head! Then the points disappear from the heads of the evil Count and his son who immediately run and hide from humiliation and fear!

Inexplicably, after Oblio had grown his own point, all the people and buildings in the village lost theirs! This all makes even less sense than Oblio being welcomed back into the village after he was officially banished. This is never explained as it occurs at the tail end of the film, nor can I think of any rational reason for such an outrageous and unexpected turn of events!

The only explanation I can concoct to answer for this is that this film was an autobiographical effort about the Jews themselves and how they were exiled from various European countries and how they managed to turn everything upside down after they had managed to worm their ways back in the last time. Of course this was done through deception and trickery but don’t expect them to confess to that.

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

4. Pro-family. A father reads a story about a kid who lives at home with his mother and father to his own son.

3. Anti-drug. The film shows no drug use or drinking, which is pretty amazing since everyone in the entertainment business at the time was hopped up on something! [But the fact that Nilsson acknowledged LSD as an inspiration makes The Point, if not explicitly, then implicitly, an extrafilmically pro-drug effort. – Ed.]

2. Pro-pedophilia. The candy shop owner gives Oblio a candy bar as he leaves for the Pointed Forest, and on his return he shouts out to him,  “Come by the shop Oblio! I have some butterballs for you! Round! Completely round!”

1. Pro-Diversity. I don’t think I should have to explain why since that’s a no-brainer.

Germanicus Fink

[Read Germanicus Fink’s review of Party Monster here.]

Have shopping to do and want to support icareviews? Rainer Chlodwig von Kook receives a modest commission on Amazon purchases made through this link: http://amzn.to/2406T5h

snowflake

Realized through a mixture of live action and computer-generated animation, this Spanish-produced film follows the fortunes of Snowflake, the world’s only albino gorilla, who as a child is taken by force from her parents in Spain’s colony of Equatorial Guinea and sold to a zoologist, who gives Snowflake to his daughter Wendy (Claudia Abate) as a pet. Wendy and Snowflake become bosom companions, but Snowflake’s life is again upturned when Wendy’s father deems her too old and troublesome to be kept as a pet and sends her to live instead in a zoo with other gorillas.

Unfortunately for Snowflake, the papa gorilla is prejudiced, takes an immediate disliking to her, and would rather his two children, Petunia and Elvis, had no association with her. Snowflake is understandably ashamed at being different, and sets out with friendly red panda Jenga to find the Witch of the North (Elsa Pataky), who can turn Snowflake into a normal, black gorilla so she can fit in with her peers. Meanwhile, the evil and superstitious Dr. Archibald Pepper (Pere Ponce) has designs on Snowflake’s heart, not in the emotional sense, but as an ingredient in a potion he hopes will give him eternal life.

Children will enjoy this simple story, the innocent Snowflake being an impossible heroine to dislike. The animation ranges from tolerable to excellent, and the jokes, of the “monkeying around” variety of wordplay, are hit-and-miss; but the film is sufficiently fast-paced to keep both young and old from falling asleep. Voice-over actors in the English-dubbed version include Christopher Lloyd as the goofy Dr. Pepper, David Spade as zen-aspiring red panda Jenga, and Keith David as the father gorilla. Surprisingly, the English version even includes an allusion to David’s role in John Carpenter’s alien invasion classic They Live, when, aping (no pun intended) Roddy Piper’s character in that film, he says, “I do two things: eat bananas and kick butt. Looks like we’re almost out of bananas.”

Jenga sums up the movie’s lesson when he says, “At the end of the day, being yourself always means being a little different.” In addition to the prevailing messages of tolerance and self-esteem, young audiences are also reminded of stranger danger and of the value of family. Mildly gross humor includes nose-picking, with cartoonish violence fairly frequent. Potentially objectionable moments include Dr. Pepper chasing Snowflake with an axe and brandishing a machete as he threatens the beautiful Witch of the North, “You won’t be pretty when I’m done with you.” Mothers may also want to be aware of one borderline raunchy scene in which Jenga, understandably eyeing the Witch’s shapely rump, observes, “Ooh, you know I might be missing out on some stuff with all this purification.”

3 of 5 possible stars. Ideological Content Analysis indicates that Snowflake the White Gorilla is:

11. Class-conscious. Dr. Pepper, though wealthy, is a miserly tipper.

10. Media-critical. Media reliability is implicitly questioned when a news broadcast about Snowflake erroneously uses footage of Petunia instead.

9. Pro-police. Cops, after catching Pepper, flash peace signs.

8. Secularist/skeptical. Reason is more valuable than superstition or new age spiritual notions of karma and meditation, Jenga’s jargon stock-in-trade.

7. Animal rights militant. Hunters, ivory collectors, and other victimizers of animals are depicted negatively.

6. Anti-colonial. Just as progressivist wisdom dictates that the Third World must liberate itself from its western masters (even when, as in the case of Equatorial Guinea, this invariably results in terror, tyranny, and a degraded standard of living), it is part of Snowflake’s coming of age that she separates from her adoptive family of humans and self-actualizes among her own kind. (To the extent that the representative of the colonized country is an animal, the film is perhaps unintentionally racist.)

5. Multiculturalist/pro-wigger. Jenga, making the racial subtext of the film explicit, says, “She wants to be black, you moron. It’s actually not uncommon in teenagers.” Snowflake and friends, during the end festivities, do a negroid dance to kiddie hip-hop. Jenga sassily calls Snowflake “girlfriend”.

4. Mildly feminist. Snowflake is tough and adventurous. Wendy’s mother, though the typical homemaker of Franco’s traditionalist Spain, perhaps hints at the advantages of sexual equality and women in the workplace when she observes, “It’s not easy living off of one income.”

3. Arguably irreligious, specifically constituting a coded attack on Catholicism. Dr. Pepper derives his outmoded superstitions from an ancient Latin text full of arcane lore and prescriptions, and his devotions include the lighting of candles on an altar. His beliefs and his yearning for eternal life are psychologically unhealthy “childhood hangups”, the viewer is told. Jenga mocks him and possibly alludes to Jehovah’s Witnesses when he says, “Shouldn’t you be going door to door telling people about your weird obsession?” The Witch of the North, looking into Dr. Pepper’s favorite book and seeing what it has to say on the subject of white gorillas, objects, “Oh, my God, that must be a mistake.” Religion, Snowflake the White Gorilla teaches, must be bent to accord with social progress. Subversively, the Witch is the more likable character.

2. Pro-family. Families, though not perfect, are generally useful and loving units. Wendy, thinking she might die, reflects, “I should have been nicer to my parents.”

1. Pro-miscegenation and anti-racist (i.e., pro-yawn). The film ends with a white gorilla/black gorilla kiss. A red panda may also have the hots for a human.

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