Archives for posts with tag: anti-fascist

Black Sea

Directed by documentarian Kevin MacDonald – no, not that Kevin MacDonald – Black Sea is a taut, gritty undersea suspense feature, a fine addition to the venerable submarine subgenre that manages to be original while also echoing The Treasure of the Sierra Madre (1948) in its story of treachery motivated by lust for gold. Jude Law, never one of this writer’s favorite actors, turns in a surprisingly masculine turn as an unemployed submariner who signs on with a ragtag, half-British, half-Russian team of dead-enders to swipe a sunken cache of Nazi gold and spite his previous employers by beating them to the punch. Black Sea also packs a major plot twist that ratchets the tension nicely. Definitely recommended.

4.5 out of 5 stars. Ideological Content Analysis indicates that Black Sea is:

4. Anti-tobacco. Peters (David Threlfall) has emphysema, reminding audiences of the dangers of smoking.

3. Anti-fascist. The backstory on the treasure is that Hitler, with Nazi Germany’s economy on the verge of collapse in 1941, extorted an exorbitant “loan” from Stalin’s “neutral” U.S.S.R. with a threat of invasion if the demanded sum was not received. The implication would seem to be that, while the communists enjoyed an ebullient economy, Hitler’s Third Reich was an inefficient basket case that could generate prosperity only through intimidation and violence. Nazis in a sunken sub are also revealed to have engaged in cannibalism.

2. Anti-corporate, anti-bankster. Financial elites inspire loathing and corporate players cannot be trusted.

1. Egalitarian. Robinson (Jude Law) dictates that every man in the crew is to receive an equal share of the booty regardless of his specific responsibilities or national origin. The submarine therefore functions as a microcosm of an experimental socialist society – one that sinks or floats on the strength of collective cooperation. Fraser (Ben Mendelsohn, reunited with Killing Them Softly costar Scoot McNairy, who plays corporate weasel Daniels) is the unredeemable teabagger type in the group, who thinks his ethnic cohort deserves a bigger share of the loot and refuses to share with the Russians. It is Fraser, with his combination of individualistic greed and jingoism, who will more than once put the crew in serious peril. Robinson, through his climactic demonstration of heroism, proves to be motivated more by a sense of justice and vengeance against a hostile elite than by greed or personal pettiness.

Rainer Chlodwig von Kook

The_Grand_Budapest_Hotel_Poster

Not since Nicolas Refn’s Only God Forgives has this reviewer seen such a shameless triumph of style over substance. Overrated Rushmore auteur Wes Anderson, the most artificial of all filmmakers, delivers in Grand Budapest Hotel a work that is less a movie than a succession of fetishistic explorations of elegant line and symmetry and fastidiously composed tableaux of actors making eccentric faces and striking unnatural poses. Anderson’s admirers will probably enjoy this nonlinear, tonally anachronistic account of the various characters – several big name actors in small parts among them – whose lives revolve around the titular luxury accommodation. Others are, however, advised to seek their lodgings elsewhere.

3.5 of 5 possible stars. Ideological Content Analysis indicates that The Grand Budapest Hotel is:

8. Anti-gun. An absurd and needlessly destructive gunfight erupts in the middle of the hotel.

7. Anti-slut. It is Agatha’s (Saoirse Ronan – worst name ever?) purity that makes her attractive.

6. Anti-Christian. Lobby boy Zero Moustafa (Tony Revolori) pushes over a piece of religious statuary, breaking it into pieces.

5. Anti-fascist (i.e., pro-yawn). “I find these black uniforms very drab.”

4. Pro-gay. Gustave H. (Ralph Fiennes) is a stylish and comfortable bisexual, prompting bigoted bad guy Dmitri (Adrien Brody) to call him a “fruit” and a “faggot”.

3. Anti-white. The hotel’s clientele is described as “rich, old, insecure, vain, superficial, blonde, needy.” “Why blonde?” “Because they all were.”

2. Pro-immigration and pro-miscegenation. “You can’t arrest him simply because he’s a bloody immigrant. He hasn’t done anything wrong.” Agatha’s marriage to immigrant Zero endorses the dissolution of national identities and, in view of her Mexico-shaped birthmark, advertises its relevance to the present Mestizo settler colonization of the United States.

1. Zionist. The Grand Budapest Hotel evinces a very Jewish sensibility, racking up a few extra shabbos goy points for the director, and The Jewish Daily Forward‘s review of the film is actually titled “How Wes Anderson Became a Jewish Emigre Director“. In a ridiculous reversal of the real world, Jeff Goldblum plays a Jewish attorney as an exemplar of moral rectitude who is mutilated and murdered by vampiric gentile Willem Dafoe. Alluding obliquely to the “Holocaust”, the film notes that Agatha dies of a “Prussian” disease. “Today, we treat it in a single week, but in those days, many millions died.”

Baseball’s black deity, Jackie Robinson, gets the big screen treatment again in 42; and, with the exception of some suspensefully staged ball-playing sequences, it is a thoroughly pedestrian, by-the-numbers portrait of an uninteresting but inspirational figure who is less a living, breathing human being than the inspirational embodiment of an inspirational ideal.  For the most part, this inspirational film is a repetitive series of inspirational scenes in which whites express schock, hostility, and ultimately admiration as the inspirational Robinson (Chadwick Boseman) encounters and inspirationally overcomes racist adversity; provides inspiration to fellow blacks; or inspirationally embraces his wife (Nicole Beharie) and tells her he loves her – all as the mandatory inspirational strings and brass inspirationally swell and soar at appropriately inspirational moments.

Chadwick Boseman, who resembles a young Wesley Snipes, is adequate but less than revelatory in the role of Jackie Robinson; although, to be fair, such lackluster material would probably challenge and stump any actor to make something interesting of it.  The same goes for Nicole Beharie as his wife and Andre Holland as sportswriter Wendell Smith.  Geriatric, bespectacled Harrison Ford affects (?) a raspy grumble as color-blind Branch Rickey, the lovable old voice of morality at the heart of the film, and is probably 42‘s most notable asset.

Unfortunately, writer-director Brian Helgeland has some things to learn about crafting crowd-pleasing narratives of racial emancipation in these post-Django times.  For instance, in a locker room scene, Robinson confides to fellow Dodger Ralph Branca (Hamish Linklater) that he waits and showers after his teammates rather than joining them because he wants to avoid making any of them uncomfortable.  Inexplicably and inexcusably omitted is what ought, again in this post-Django age, to be the obligatory reference to why Robinson defers in the matter of showers.  The truth, of course, as every intelligent viewer of 42 must know, is that the wise and humble Robinson fears frightening the scurrying whites by unparking his jurassic prick – and yet, when Branca eventually persuades Robinson to shower with them, nothing so much as a bug-eyed reaction shot or a double-take is inserted to indicate the inspirational monstrousness of our hero’s penis.

In simpler, happier, less degraded times, Helgeland penned one of this reviewer’s favorite horror films, 1988’s 976-Evil.  One can only assume that his fee for that script was an infinitesimal fraction of the price he commands as a screenwriter today in the Hollywood major leagues; and yet, to have fallen from those satanic teen horror heights of the 1980s to churning out boring p.c. fluff to indoctrinate the masses demands serious consideration of one implacably flame-engulfed question: is the money really worth it? – for what shall it profit a screenwriter if he gain Hollywood and lose his individuality in the process?

2.5 of 5 possible stars.  Ideological Content Analysis indicates that 42 is:

9. Anti-Catholic.  A Catholic youth group’s sanctimonious meddling loses adulterous Leo Durocher (Christopher Meloni) his job.

8. Pro-marriage/pro-family.  Them was differnt times, y’understand.

7. Anti-science.  Study of human biodiversity is made the stuff of mockery when one pressman laughs at another for suggesting that blacks’ longer heel bones give them an unfair physical advantage in baseball.

6. Capitalist – albeit probably inadvertently.  42 presents a sympathetic portrait of businessman Branch Rickey, president and general manager of the Brooklyn Dodgers.  While Rickey’s motive for integrating baseball is, as he explains, motivated by his desire to right a moral wrong, he is also taking the risk to satisfy the niche market of black baseball fans.  More importantly, 42 demonstrates the ability of the market to regulate civility and race relations without the interference of government agencies.  When Robinson’s old team the Kansas City Monarchs stops at a filling station and the attendant forbids him to use the whites-only restroom facilities, Robinson threatens on behalf of the club to take their business elsewhere – so that the attendant, fearful of losing the money these black customers represent, relents and allows Robinson to relieve himself.  Viewers are thus reminded that before affirmative action and the Civil Rights Act of 1964 there were healthy competition, choice, and consequently stronger private property rights.

5. Multiculturalist/pro-wigger.  In an inspirational turn, more and more whites respond positively to Robinson’s inspirational trailblazing.  Rickey relates to Robinson an anecdote about how he saw a young white boy at play and pretending he was Robinson – a white boy wanting to be like a black man!  How . . . inspirational.

4. Anti-South/anti-white.  Florida hicks threaten to attack a house where Robinson is staying.  Throughout 42, the southerner’s drawl might as well be the mark of the Beast, and there is actually a character listed in the credits as “Cracker”.

3. Black supremacist.  A previously skeptical racist, after seeing him play, concedes that Robinson might after all be a “superman”.  A reporter speculates that blacks will run whites right out of the game.  A little black boy (Dusan Brown) who shows up occasionally for cutesie points, always starry-eyed over Jackie Robinson, demonstrates blacks’ superior vocabulary by saying “discombobulated”.

2. Christian.  Rickey invokes the Bible more than once and compares the necessities of Robinson’s task to the prescriptions of Jesus Christ.  “Life Is a Ball Game”, the gospel song that plays as the credits roll, informs viewers that Jesus is waiting for Robinson at the home plate.

1. Anti-racist/anti-fascist/progressive (i.e., pro-yawn).  A trite narration opens the film, perpetuating the myth of the “greatest generation”, celebrating America’s “victory” over fascism in WW2, and explaining to the audience how blacks, despite being especially responsible for this “victory”, returned home only to face the atrocities of Jim Crow era segregation.  Rickey later equates the war against the Nazis with the civil rights struggle at home, the implication being that racist southerners and other internal opponents of integration are just like the Nazis – an enemy to be destroyed.  A group of racist teammates creates a petition objecting to Robinson’s presence in their game, dubbing this document the “Brooklyn Dodger Declaration of Independence” and in this way associating the country’s slave-owning founders with a heritage of racism shared by the KKK and the Nazis.  “A Jew probably wrote that,” racist Phillies manager Ben Chapman (Alan Tudyk) scoffs when confronted with an editorial scolding him for his shameful baiting of Robinson – a reminder that blacks and Jews are in it together when it comes to combating and exorcising the pale racist specter that haunts America.

Nazis at the Center

From They Saved Hitler’s Brain and The Frozen Dead to The Boys from Brazil and, more recently, the gotterdammerung-awful Iron Sky, B-movies have gotten a lot of mileage out of the notion of the Fourth Reich – a return to power by fugitive Nazis who, during the decades intervening since their defeat in World War 2, are supposed to have been plotting and building their organization in some secret hiding place.  Just so that the movie industry can reassure itself that all of the possible bases of Nazi resurgence are covered, Nazis at the Center of the Earth opts for the opposite approach from its cohort Iron Sky, positing that the inevitable Nazi invasion will come not from outside the Earth’s atmosphere, but from within, under Antarctica’s frozen surface.  As in The Boys from Brazil, the infamous Dr. Josef Mengele (Christopher Karl Johnson) is the mastermind behind it all.

Nazis at the Center of the Earth, unfortunately, fares little better than Iron Sky; whereas that one groped for laughs with zany, unhumorous humor, Nazis at the Center of the Earth feels like a comedy with all of the jokes removed.  What funniness there is to be had from it derives from the premise, situations, and visuals: graphic but comfortingly absurd gore scenes and even a cyborg Adolf Hitler (James Maxwell Young), or at least the Fuhrer’s sneering head encased in a terrarium planted on top of a CGI robot body.  With the exception of Jake Busey’s singular turn as Antarctic bacteriological researcher Dr. Reistad, however, most of the actors play the material straight, with the result that the film has an uneven tone, ranging from the ridiculous to the incongruously serious.

Jake Busey, both physically and in his screen presence, is very much a chip off the famous old block, and one wishes he had more to do here than standing around looking odd, as Busey is easily Nazis at the Center of the Earth‘s greatest asset.  Basically competent technically, the film still comes up lacking in the entertainment department.  The gore effects are good, but not sufficiently plentiful to carry the day for horror fans; and whatever suspense is generated during the first half hour is dissipated once it becomes clear the story is going nowhere novel or fun.  The wax flake snow, the pedestrian score, the boring moralizing, and chintzy effects all might be forgiven if only this cheap exploitation effort had acknowledged its roots and gone for the throat with the gore or included some sexy material – or, better yet, some humor in the form of one-liners or comedic characters instead of a generalized, intermittent, and anticlimactic absurdism.

2 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that Nazis at the Center of the Earth is:

7. Conspiracy theory-friendly.  All those kooks who wrote those books about Nazi flying saucer experiments were right!

6. Euthanasist.  The unfortunate Dr. Maynard (Adam Burch) is kindly put out of his misery by one of his colleagues after being discovered with all of his skin removed.

5. Pro-life/anti-slut.  Dr. Reistad, learning from his girlfriend that she is pregnant, knocks her out and extracts the embryo for its stem cells, which are used to revive the Fuhrer’s head.

4. Zionist.  Dr. Blechman (Andre Tenerelli), captured by the Nazis and identified by Mengele as a Jew, denies this, saying, “No, I’m not religious.”  He is vaporized anyway, having failed to understand that the Nazis and probably WASPs and other gentiles generally hate Jews not because they practice Judaism, but because they are Semites and a biological abomination.  Implicit in Blechman’s punishment is a validation of militant Jewish vigilance.

3. Pro-marriage.  Dr. Morgan (Dominique Swain) accepts when Dr. Moss (Joshua Michael Allen) proposes to her.

2. Anti-Christian.  Hitler seems to be the most religious person in Nazis at the Center of the Earth.  “The Lord of the Universe has been so generous to us in recent years that we bow in gratitude before a Providence that has permitted us to be members of such a great nation,” he proclaims after coming back to life.

1. Anti-racist/anti-fascist/anti-eugenics, etc. (i.e., pro-yawn).  “Bomb every non-Aryan country!” Hitler commands, intending to wipe out the untermensch with flesh-eating bacteriological warheads.  “We are about to start a New World Order where only the strong will survive,” Dr. Mengele explains.

Iron Sky – which, for the purposes of this review, shall go by the more appropriate moniker MSNBC: The Movie – is a Finnish-German-Australian co-production pretending to satirize American political life by way of an invasion of outer space Nazis.  Refugees of the Third Reich, MSNBC: The Movie would have viewers believe, sought shelter on the dark side of the moon in 1945 and since then have occupied themselves building an armada of spacecraft to reconquer Earth.

The Nazis’ plan is enacted ahead of schedule after American astronauts land on the moon.  Among the unlucky voyagers is James Washington (Christopher Kirby), actually just a model being used to promote a cynical “Black to the Moon?  Yes We Can!” promotion in support of the reelection campaign for an idiotic treadmill-stomping Sarah Palin lookalike President of the United States (Stephanie Paul).  After beating Washington and forcing him to listen to Hitler speeches, the Nazis turn him into an “Aryan” by dyeing his skin, teach him to sieg-heil, and take him with them on a reconnaissance mission in advance of their invasion of Earth.  Tagging along is Renate (the permanently stained Julia Dietze), fiancee of expedition leader and future fuhrer Klaus (Gotz Otto).  Naturally, Renate, meeting her first black man, is immediately enamored and wants to be his special friend.

Klaus and Renate are a big hit at the (presumably Republican) White House, where Madame President hires them as her speechwriters, their Nazi rhetoric sounding perfect coming out of her own mouth and attracting an interested following of ignorant white vidiot flag-wavers.  Meanwhile, Renate begins to learn the truth about the historical nature of National Socialism while on Earth when, for instance, she runs into a gaggle of the sorts of sexist skinheads who can be found loitering on any typical American street corner.  Is Madame President disappointed when the Nazis finally invade the planet?  To the contrary, “It’s wonderful!” she enthuses, observing that all presidents who start wars in their first terms get reelected.

Soon America’s outer space military might, spearheaded by the USS George W. Bush, flies into unilateral action along with some unwelcome help from the rest of the world.  Will democracy survive?  Will Washington’s color be restored?  Will Renate ditch the goosestepper for the fly black guy?  Will the identical specters of white pride and fascism never vanish from the face of the Earth?  Only MSNBC knows.

Apart from relatively high production values, there is really nothing good to say about MSNBC: The Movie, which, true to its title, is at no point amusing, insightful, or entertaining.  Euro-slime stalwart Udo Kier, who used to appear in recommendable movies, here collects a paycheck for frowning while wearing a Nazi uniform for a few minutes of screentime, but makes the viewer’s experience no more endurable.  For those, however, who find immense hilarity in the idea of a Nazi from outer space seeing a dirty magazine for the first time in his life and saying, “Pictures of this kind turn me on,” there may be something of value in it.  On the subject of pornography, only something as pungent, truthful, and relatively wholesome as that is likely to wash the taste of MSNBC: The Movie from this reviewer’s unsmiling mouth.

A star and a half.

[WARNING: POTENTIAL SPOILERS – as if this hunk of cinematic carrion could spoil!]

Ideological Content Analysis indicates that MSNBC: The Movie is indefensible garbage and:

9. Anti-Christian.  Quoth the Nazis: “We are the gift of both God and science.”  “Get me a miracle!” the president stupidly commands a campaign consultant.  A fire-and-brimstone sermon for some reason accompanies footage of outer space warfare.

8. Anti-science.  As in Django Unchained, rational understanding of human biodiversity is transformed into racialist pseudoscience.

7. Anti-gun.  A redneck bitch with a gun fires without warning as soon as she sees people on her land: “Get the hell outta my property!”  Black thugs produce guns in another scene, contributing to an image of America as a benighted hellhole of mass murder potential.

6. Diversity-skeptical.  Notwithstandng its anti-racist message, MSNBC: The Movie emerges as a portrait of a country and a planet with no hope of racial or cultural reconciliation.  “You’ll be sorry you did that, white boy!” Washington says when the Nazis beat him.  Then, when Washington, unaware that his skin has been whitened, approaches a group of urban blacks in a friendly way, they immediately draw their weapons on him.  To the extent that Republicans cater to blacks, such as by promoting the likes of Colin Powell and James Washington, it is strictly for dishonest political purposes.

5. Liberal.  MSNBC: The Movie perpetuates the tiresome leftist delusion that Republicans are somehow akin to the Nazis and that all are fascists in their hearts.  If evil conservatives had their way, they would fiendishly censor and whittle The Great Dictator down to a single scene so as to make Charlie Chaplin appear to endorse Hitler.  A magazine cover showing the president has the caption “New World Order”.

4. Anti-white male.  White men are represented in MSNBC: The Movie by Nazis or other unscrupulous politicians and are mostly stupid, angry, loud, violent, and generally worthless.  A Nazi spacecraft is described as a “fat phallus”.  “I’ve come to discuss our legal union,” Klaus says to fiancee Renate, demonstrating the maximum romance that Teutonic homo sapiens can muster.  “Science demands us to unite . . .”

3. Pro-miscegenation/pro-slut.  Unlike the violent Klaus, James Washingon is a good kisser, and after his naturally sexy poop complexion has been restored, Renate throws caution to the winds of change by planting a long, squishy, disgusting French kiss on him – ensuring that, when the moon invaders really do flash-mob the planet Earth, they will be mulattoes instead of Nazis.

2. Antiwar.  Madame President welcomes the invasion as a boost to her reelection campaign.  A Middle Eastern delegate to a body like the United Nations questions whether America’s claim for the necessity of war is not motivated by lust after natural resources.  In the end, this turns out to be the case, as a vast store of potential energy is discovered on the moon, prompting the governments of Earth, lately victorious against the Nazis, to launch into mutual nuclear annihilation out of greed.

1. Anti-fascist/anti-racist (i.e., pro-yawn on both counts).  When will white people learn?

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

A Vote Will Never Negate Nature...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!