Archives for posts with tag: anti-corporate

Redlands Poster

Vienna (Nicole Fox) is a Midwestern transplant to Southern California who dreams of immortalizing herself through art as a model. Allan (Clifford Morts) is the “fat pervert” and amateur Irving Klaw who entertains her vanity. The pair’s initial collaboration sets Redlands into deliberate motion.

An uneasy study of the creative process and of the artist-model relationship as an “energy transfer”, or a form of vampirism, John Brian King’s debut directorial effort is shot almost entirely in static master shots, a choice that screams “art house” (and low budget) and will automatically alienate the easily distracted. Potential viewers are warned that this is not a film for the faint of heart and that it contains one appalling scene of physical violence in addition to multiple instances of emotional cruelty.

Redlands, owing to a shared subject matter and sensibility, would make for a complementary double feature with Gut (2012) or 24 Exposures (2013) – not that most people would want to sit through two such films in a single sitting. Those sufficiently bold to be interested, however, can screen this gross and engrossing movie via Vimeo.

Ideological Content Analysis indicates that Redlands is:

9. Anti-miscegenation. A freakish, infatuated Asian sidler (Connie Shin) haunts a camera shop to be near its clerk (Leland Montgomery), but he wants nothing to do with her.

8. Anti-Christian. Vienna sports a kitschy “Have Faith” t-shirt as she rambles inanely about Falco.

7. Anti-vegan. Vegans are depicted as somewhat shallow. Hitler is more than once referenced as having been a vegetarian, presumably so as to discredit the lifestyle.

6. Populist, Luddite, anti-corporate, and protectionist. Allan becomes frustrated with a credit card company’s user-unfriendly robot phone system and finally snaps when he gets through to a human customer service representative, who turns out to be an African named Chiwamba. He calls her a “black bitch” after she informs him that her predatory bankster organization has lowered his credit limit without informing him and is charging him penalty fees for exceeding his newly decapitated limit. Allan’s anger is that of the disenfranchised white male and the American who has seen his countrymen’s jobs either shipped overseas or given to cheap wetbacks and other undesirables. In a fit of impotence, he smashes his phone.

5. Un-p.c. Characters use words like “bitch” and “retard”.

4. Anti-drug. Vienna’s father was an addict.

3. Anti-Semitic! Zack (Sam Brittan) is a parasitic Jew and quasi-pimp, an abusive easy rider who leeches off of his gentile girlfriend’s earnings. “Somebody’s gotta mind the store,” he says. “Might as well be me.”

2. Anti-porn. Parallel scenes of photography sessions evoke a powerful metaphor: pornography as a body of autopsy photos of western woman.

1. Anti-feminist/anti-slut. The misogynistic behavior of the men in Redlands is unpleasant to witness and not at all condoned in the tone of the film. What is impossible to deny, however, is that the unenviable treatment of the women in Redlands results from feminism and its destabilizing effect on the family and the moral fabric of society. The importance of the father as the central figure in a woman’s life comes across very clearly.

Assault-On-Wall-Street-Dominic-Purcell

Prolific writer-producer-director Uwe Boll, best known for notoriously reviled horror films like House of the Dead (2003) and Alone in the Dark (2005), now taps into understandable populist rage at the crony capitalist establishment with the depressing Assault on Wall Street. Powerfully built Dominic Purcell, something of a poor man’s Clive Owen, stars as down-on-his-luck security guard Jim Baxford, who, after losing his job and his wife (Erin Karpluk) following her protracted illness and financial anxiety suicide, decides to diversify his portfolio with a little vigilante vengeance directed at the seemingly untouchable high-rollers and bankster exploiters he holds collectively responsible for his personal tragedy.

Purcell is adequately tough and earnest, if not particularly interesting, in the lead; but it is in two key supporting roles that Assault on Wall Street shows true inspiration in casting. An aging John Heard is the perfect choice to play number one on Baxford’s hit list: selfish, nihilistic toxic investment CEO Jeremy Stancroft. Even greasier, however, in a role one wishes had been expanded, is uber-oily Eric Roberts as money-grubbing attorney Patterson. Roberts has aged, if not quite gracefully, then fascinatingly, with a uniquely silverfish-like screen presence that ideally lends itself to high villainy. Other familiar faces in the cast include Keith David, Edward Furlong, and Michael Pare as Baxford’s buddies Freddy, Sean, and Frank.

Assault on Wall Street is a decent rental, but may disappoint vigilante fans by spending too much time (nearly an hour) on the humiliating build-up and not enough on the retribution so temptingly advertised in the title. Consequently, it earns a modest 3.5 of 5 possible stars.

Ideological Content Analysis indicates that Assault on Wall Street is:

11. Pro-police. Cops are depicted as human types who share in the general plight and sympathize with Baxford’s mission.

10. Anti-slut. “I’m gonna get an STD from this sandwich,” Frank teases a waitress. Corporate bigwigs consort with whores.

9. Christ-ambivalent. While a preacher attempts consolation, mouthing, “God visits us with many mysteries in life,” Baxford rather takes to heart more militant Biblical passages such as, “He trains my hands for war” (cf. nos. 1 and 7)

8. Marriage-ambivalent. Baxford’s marriage is a devoted one and would, if not for her illness and his financial worries, be happy. Friend Frank’s wife, however, is a cheater.

7. Antiwar. Baxford is a veteran forgotten in his time of need by the country that used him. In reply to the idea that violence is not a solution, a caller to a radio program asks, “Isn’t violence the official solution in Iraq and Afghanistan?” (cf. nos. 1 and 9)

6. Postracial, with blacks and whites interacting as friends irrespective of racial differences. And to demonstrate that his is an equal opportunity beef, Baxford even liquidates a few blacks along with the many white guys in suits and ties.

5. Drug-ambivalent. Baxford smokes philosophically and his friends are enthusiastic drinkers. “Let’s go get some alcohol, make the pain go away.” Baxford, in the wake of his personal ruin, is invited to “watch the game and do some serious drinkin'” for therapeutic purposes. But a man is claimed in a news report to have died in a “drunken accident”.

4. Anti-state. The cronyist statist quo, or the “plutocratic capturing of American politics”, transcends Republican vs. Democrat squabbles, with Bill Clinton, George W. Bush, Chris Dodd, and Alan Greenspan getting name-dropped as culpable players. At a lower level of weaselliness, Assistant D.A. Marwood (Barclay Hope) insensitively brushes off Baxford’s concerns. That Baxford is able to purchase military wares from a black market gun dealer (Clint Howard) militates against the notion that government-mandated gun control is effective or enforceable. Betraying the movie’s mixed messages about the place of government, however, is the fact that deregulation is also blamed for the ’08 collapse.

3. Anti-corporate. “The real fuckin’ criminals –  they’re downtown [i.e., on Wall Street].” Goldman Sachs, MF Global, Cerberus Capital, JP Morgan, and Lehman Brothers are among the outfits that receive negative product placement.

2. Anti-capitalistic. “System’s rigged, motherfucker.” Told “Fuck you,” a banker calmly replies, “That’s a fair response, I suppose.” Free market talk conceals an “anything goes mentality”. “The rich still get richer and the poor get poorer.” Stancroft justifies his misdeeds with a social Darwinist outlook. “That’s the free trade system, my friend,” he says. “That’s capitalism.” “There’s not a person on this earth who’s worth over a hundred million dollars that came by that money honestly.” The film also evinces a naive sympathy for the homeless, juxtaposing their plight with the ease of the leisure class.

1. Pro-vigilante. Baxford is his own law, but also a people’s fury, and wears an Anonymous-reminiscent white mask for the final killing spree.

Macho girl Matt Damon stars as butch lesbian cyborg warrior Max Da Costa in one of this summer’s most notable movies, Neill Blomkamp’s science fiction adventure Elysium, which posits a future world in which only the teeming masses of the underprivileged are left to suffer through their miserable lives in the ruins of what once was the United States of America, while the super-rich, in the ultimate feat of white flight, have escaped to the veritable Heaven that is Elysium, basically a gigantic orbiting space station’s worth of Beverly Hills, where people are beautiful, lawns are green, and seemingly any sickness is instantly curable thanks to advanced technology. Max, a former career criminal dying from radiation poisoning, lends his services as a thief to a crew of Mexican gangsters for a shot at breaching the exclusive colony’s security system and saving not only his own life, but that of everybody on Earth.

Damon, always an unlikely star, is only tolerable in his heroic role as Max, as is Alice Braga as his attractive but uninteresting love interest. Jodie Foster, meanwhile, clearly has fun as the icy-hot Delacour, who heads Homeland Security for Elysium. Ironically, Delacour, who speaks French and was perhaps inspired by French nationalist politician Marine Le Pen, has as her job exactly the opposite of what occupies America’s Department of Homeland Security: namely, the preservation of a people, its ethnic integrity, economic well-being, and traditional way of life. And rounding out the cast is Wagner Moura, who (potentially unrecognizable to those who remember his gruff and brooding performance in the Brazilian fascist film Elite Squad) appears in a supporting role as colorful gangster, computer wizard, and space coyote service impresario Spider.

Easily the most charismatic character in Elysium, however, is the ruthless and erratic Boer mercenary Kruger, played with snarling, nasty manliness by Sharlto Copley (of Blomkamp’s District 9). The viewer can hardly help but cheer Kruger on as, after enthusiastically obliterating a target, he exults, “Thet’s wut om talkin abeut!” (Note to Hollywood: Make more movies about South African mercenaries!) Kruger’s return to the fray after what appears initially to be his demise is surely one of Elysium‘s most audience-friendly moments.

4.5 of 5 possible stars, with half a star deducted for the tasteless inclusion of hackneyed, ethereal new age moaning on the soundtrack. Ideological Content Analysis indicates that Elysium is:

11. Green. Pollution is cited as one of the causes of American decline.

10. Anti-drone. Max finds himself hunted by the pesky things.

9. Anti-drug. Max refuses the pills offered by a robotic parole officer (see no. 6). Menacing Mexican thugs smoke what is presumably marijuana.

8. Ostensibly Christian, promoting more Hollywood liberation theology. Max has been raised by nuns and sacrifices himself in Christlike fashion (see also no. 4).

7. Feminist/pro-slut/pro-bastard/anti-marriage/anti-family. Frey (Alice Braga) represents the single mother with pride as a capable professional with no need for a man in her life (cf. no. 4).

6. Anti-corporatist/anti-capitalistic. The government, probably in collusion with pharmaceutical manufacturers, makes free drugs readily available to the public as a means of pacification. Max’s Hispanic neighbors mock him for being dumb enough to work for a living, and they are validated when Max’s callous boss forces him either to endanger his life or be terminated, with the result that Max receives lethal exposure to radiation. The CEO (William Fichtner) of the company is actually such a snob that he obliges his underlings to cover their mouths when speaking to him so as not to expose him to their breath. He conspires with Delacour to arrange a coup d’etat on Elysium.

5. NWO-alarmist/anti-state. The space colony Elysium, with its circled starfish design, approximates a pentagram and so points to possible Illuminati orchestration. (see also no. 6)

4. Pro-miscegenation. “Always wanted a wof,” Kruger reflects as he leers at Mexican cutie Frey, who is also the object of Max’s affections. Note that marriage is only the aspiration of the vile Boer and not of the progressive, Spanish-speaking, self-loathingly tattooed Caucasian, Max, who sacrifices himself and his forebears’ and fellow whites’ culture and safety for the benefit of the dusky masses. Max thus fits the sacrificial honky archetype.

3. Pro-immigration. Steve Sailer, calling it “one of the funnier pranks played on the American culturati’s hive mind in recent decades”, has attempted to out Elysium as a crypto-conservative and race-realist film, but Gregory Hood has convincingly refuted him in an excellently written review at Counter-Currents. What both men (along with Ram Z. Paul) accurately point out, however, is that Elysium, whatever its intentions, does illustrate in depressing vividness the cultural cataclysm awaiting America as it willingly works to dissolve its border with Mexico. The dangerous, ugly, graffiti-smeared, beggar-and-thug-infested slums of futuristic Los Angeles as depicted in Elysium hardly justify the celebratory tone of the climactic moment in which, through a bit of clever computer hackery, every disgusting slob on the planet is instantaneously turned into a “citizen” of Elysium and thereby made eligible for the wonders of its exclusive health care coverage.

2. Egalitarian. Elysium, even as it illustrates the dystopian horror of the future Socialist States of America, advocates socialized medicine as a panacea. The film is able to do this because the advanced medical science of the future, like Obamanomics, is magic, and capable of infinite, Santa-style miracles that transcend cost.

1. Pro-gay. Damon, as Max, does for the dyke what Robert Carradine did for the dweeb in Revenge of the Nerds.

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