Archives for posts with tag: anti-Semitism

Prodigy

The popular creepy kid genre can be traced all the way back to The Bad Seed (1956), but really took off in the years that witnessed the introduction of the birth control pill and the legalization of abortion in conjunction with overpopulation propaganda, with Rosemary’s Baby (1968), The Exorcist (1973), It’s Alive (1974), The Stranger Within (1974), Devil Times Five (1974), I Don’t Want to Be Born (1975), The Omen (1976), and The Brood (1979) being notable examples. The purpose of such movies, when it is not simply to make a quick, exploitative buck, has frequently been to instill in deracinated women associations of anxiety and disgust with their own biological imperative, and The Prodigy (2019) is an especially noteworthy development of this tradition. I found it to be genuinely scary – even as I smirked inwardly at its gross subtextual purpose.

[WARNING: SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that The Prodigy is:

3./4. Anti-gun and pro-choice in one fell swoop. You have to watch out for those meddlesome old white men with their guns trying to save children from being murdered by their mothers. BELIEVE WOMEN when they determine that their sons deserve to die.

2. Antinatalist. The Prodigy might as well have been titled Abort the Alt-Right: The Movie.

1.Anti-white. New parents John (Peter Mooney) and Sarah (Taylor Schilling) – who have the surname Blume but do not appear to be Jewish – seem to have the perfect suburban life until their unhealthily pale son Miles (Jackson Robert Scott) starts to manifest precocious intelligence while lagging behind in emotional development and social skills. He also has different-colored eyes like Nazi LARPer David Bowie, who is name-dropped in the screenplay. These are the film’s first clues that what devil-child Miles really represents are Jewish and globalist anxieties about the remaining potential for a resurgence of nationalism and fascism among peskily still-reproducing white people. One of the semi-autistic child’s first demonstrations of intolerance is when as a schoolboy he becomes jealous at the sight of a Mexican-looking boy working on a project with a white girl. Miles wants to be paired with the girl instead and attacks the other boy in deplorably savage fashion with a wrench. A not-so-insignificant establishing shot shows him attending Buchanan Elementary School – because everybody knows the antisocial influence that Patrick J.’s tutelage exercises over the kids these days.

A Jewish parapsychologist, Dr. Arthur Jacobson (Colm Feore), finally determines that Miles, who speaks in Hungarian while he sleeps, is the reincarnation of a misogynistic serial killer, Edward Scarka (Paul Fauteux), whose family had relocated from Orban Land to Ohio. Scarka, as seen in The Prodigy’s prologue, disrespectfully chopped off womyn’s hands and murdered them in his supervillainous hillbilly house of horrors. He was probably a Republican, too – the viewer just senses it. Hungary, in Jewish consciousness, is inseparable from its twentieth-century history of anti-Semitism and the “Holocaust”, and Scarka personifies the threat of retro central-European bad-optics nationalism’s reincarnation in Rust Belt populism and toxic masculinity. After Dr. Jacobson tries hypnotizing Miles in order to learn more about the malevolent Hungarian soul occupying his body, Miles threatens to accuse him of sexually molesting him – because, of course, that is what incorrigible young white men are doing these days – falsely accusing Jewish men of being pedophiles. Who needs the bother, amirite, sisters? Just #RESIST pregnancy and have an abortion.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

can you ever

Melissa McCarthy, in what must be her least repugnant role to date, plays the hard-drinking, foul-mouthed misanthrope and literary forger Lee Israel in this amusing movie for booklovers. After publishing biographies of Tallulah Bankhead, Dorothy Kilgallen, and Estée Lauder, Israel fell on hard times and, in order to make ends meet and keep her cat alive, took to forging and selling letters that purported to have been written by the likes of Dorothy Parker and Noel Coward. McCarthy, who is fatter but still way more attractive than the actual Lee Israel, manages to make an almost lovable character out of “a 51-year-old woman who likes cats better than people.” Suspenseful, involving, and often funny, Can You Ever Forgive Me? is forgivably watchable if you don’t have to pay for it.

4 out of 5 stars. Ideological Content Analysis indicates that Can You Ever Forgive Me? is:

4. Pro-gay. Israel is a lonely lesbian and her partner in crime is a charming British homosexual, Jack Hock (Richard E. Grant), who tragically comes down with a case of the AIDS at the end of the movie after “fucking [his] way through Manhattan.” Hock appears with a bloody face in one scene as a reminder of the perils of being a fruity fop in a cold and insensitive world. Israel’s forging of letters by Noel Coward, too, furnishes a pretext for a history lesson about how, during the benighted first half of the twentieth century, gays still had to hide their orientations and carry out their forbidden amours in secret.

3. Anti-drug. Israel’s drinking is a barrier to healthy relationships. Cocaine, meanwhile, is associated with homosexual excess and irresponsibility. After going away and leaving Hock alone to look after her apartment and cat, Israel returns to find that her friend went on a coke-and-sodomy spree and that the cat has died. It is unclear, however, whether the cat has actually died because of neglect or simply succumbed to old age, considering that it was already sickly. In any case, Hock’s life of doping and diddling eventually leads to his demise.

2. Anti-family. “Maybe she didn’t die,” Hock reflects, trying to recall what became of a mutual acquaintance. “Maybe she just moved back to the suburbs. I always confuse those two. No, that’s right. She got married and had twins.” “Better to have died,” quips Israel, who has no interest in family life.

1.Philo-Semitic and anti-white. Can You Ever Forgive Me? takes place in a New York of the imagination in which plucky underdog Jews struggle to make it in a WASP-dominated world. “Did you hear,” bookseller Anna (Dolly Wells) asks, “that Tom Clancy is getting paid $3,000,000 to write more right-wing macho bullshit?” “Are you kidding me?” Israel objects. “That blowhard’s gettin’ $3,000,000? Oh, to be a white male that doesn’t even know he’s full of crap, right?” To her credit, Israel’s literary agent Marjorie (Jane Curtin) advises her to become “a nicer person” because “you can’t be such a bitch” and make it in the publishing world. Israel, however, accuses Marjorie of benefiting from (an implicitly WASPish) privilege and wealth. (Deleted scenes include a vignette in which Israel takes a job as an assistant to a rich blonde lady with the nakedly symbolic surname Whitman. The viewer, of course, is encouraged to find Israel more likable, cleverer, and more deserving of comfort and success in life than the prim and tedious Whitman.) Probably to counter the bad-optics spectacle of a slovenly character named Israel engaging in theft and fraud and generally being antisocial, screenwriters Nicole Holofcener and Jeff Whitty throw in references to Adolf Hitler and “terrible old fart the tyranny addict Joe Kennedy” to remind viewers of Jewish suffering during the Second World War. In truth, however, Can You Ever Forgive Me? is, all things considered, a celebration of balls-out chutzpah and Jewish talent at snookering the gullible goyim.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

public

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

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

5. Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

4. Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

3. Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

2. Communist. “To each, according to his needs” is very much the moral of the film.

1.Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knockout game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

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!

Dragged Across Concrete

S. Craig Zahler (Bone Tomahawk) is back with a solid and satisfyingly rough follow-up to the jaw-dropping Brawl in Cell Block 99, reuniting with Vince Vaughn and teaming him up with Mel Gibson in a literally gut-ripping, downbeat buddy cop brutalizer. Seasoned detective Brett Ridgeman (Gibson) and partner Anthony Lurasetti (Vaughn) are caught on video using excessive force in the apprehension of a Hispanic drug dealer, creating a scandal for their police department, and get suspended without pay by their superior (Don Johnson). Both men need money – Lurasetti because he plans to propose marriage to his girlfriend, and Ridgeman because his daughter is no longer safe in their ghettoized neighborhood and the family needs to get out. At the extent of his tether, Ridgeman hatches a half-baked plan to rip off a heroin dealer that winds up with him and his partner pitted against a gang of formidable paramilitary bank heisters. A career highlight for Gibson equal to his over-the-hill hero roles in Edge of Darkness and Blood Father, and yet another impressive entry in Vaughn’s growing résumé of scary tough guy characters after True Detective and Brawl in Cell Block 99.

4.5 out of 5 stars. Ideological Content Analysis indicates that Dragged Across Concrete is:

8. Anti-drug. Tory Kittles plays ex-con Henry Johns, whose stint in prison illustrates a very possible outcome for a dealer. His mother, a heroin addict, has turned to prostitution. It is also mentioned that the dealer Ridgeman mistreats has been selling drugs to children, undermining any potential audience sympathy for the criminal.

7. Ableist! Lurasetti compares a hearing-impaired woman’s speech to a dolphin’s.

6. Anti-Semitic! Writer-director Zahler, as Soiled Sinema’s Ty E. puts it, is an artist who seems to have “transcended his Jewishness”, which may account for the brief and harmless but stereotype-oozing portrayal of the friendly jeweler Feinbaum, who says his wife has two brothers who are therapists and three sisters who are lawyers.

feinbaum

5. Homophobic! Henry dismisses his “cocksuckin’ father” as “a yesterday who ain’t worth words.” Disapprovingly, Ridgeman fails to see “much of a difference these days” between men and women, and also mocks Lurasetti’s “gay hair shit” disguise.

4. Media-critical. Chief Lieutenant Calvert (Johnson) derides the anti-police bias of “the entertainment industry formally known as ‘the news’”, which “needs villains” and fabricates them if necessary.

3. Natalist, i.e., sexist! Unexpectedly, the movie features a tender (albeit offbeat) portrait of a new mother, Kelly Summer (Jennifer Carpenter), desperately trying to avoid going back to work after using up her maternity leave. The necessity of keeping a job seems cruel and absurd now that she has a baby. Her proper place, she realizes, is at home with her child, and her boss, Mr. Edmington (Fred Melamed) describes her as a “radiant vision of maternity”. The section of Dragged Across Concrete that follows Kelly is even more affecting on a second viewing.

2. Class-conscious. “My job [in a bank] is so stupid,” Kelly laments. “I go there and I sell chunks of my life for a paycheck so that rich people I’ve never even met can put money in places I’ve never even seen.” Henry’s little brother Ethan, meanwhile, sees big game hunting as “rich white people shit”. There is also the suggestion that those with wealth have the means to elude the law, as Ridgeman at some point in the past allowed the son of businessman Friedrich (Udo Kier) to escape punishment for an unnamed crime in exchange for a future favor from the well-connected father. Ridgeman no longer believes in a meritocratic American dream. “I don’t politick and I don’t change with the times and turns that that shit’s more important than good, honest work,” he tells his partner, determining: “We have the skills and the right to acquire proper compensation” for thankless years of public service.

1.Race-realist – with exceptions. “They’re so cute before they get big,” says Ridgeman’s daughter Sara (Jordyn Ashley Olson) – ostensibly with reference to lion cubs, but subtextually referring to the black boys who harass her when she walks home from school. “This fucking neighborhood, it just keeps getting worse and worse,” frets Mrs. Ridgeman (Laurie Holden). “You know I never thought I was a racist before living in this area. I’m about as liberal as any ex-cop could ever be, but now,” she demands, “we really need to move” or else, “someday, you and me,” she tells her husband, “we are in a hospital room with our daughter talking to a rape counselor.”

Ridgeman and his partner are both depicted as casual racists. “I’m not racist,” Lurasetti jokes: “Every Martin Luther King Day I order a cup of dark roast.” In a twenty-first century world in which “digital eyes are everywhere”, however, old-school law-and-order enforcers like Ridgeman and Lurasetti are living on borrowed time. “Like cell phones, and just as annoying, politics are everywhere,” Calvert observes. “Being branded a racist in today’s public forum is like being accused of communism in the fifties. Whether it’s a possibly offensive remark made in a private phone call or the indelicate treatment of a minority who sells drugs to children […] It’s bullshit – but it’s reality.”

Softening Dragged Across Concrete’s racial edge is the presence of Henry, the conspicuous specimen of Africanus cinematicus played by Tory Kittles. This ghetto thug with the soul of a poet is given to saying things like, “Before I consider that kind of vocation, I need to get myself acclimated” and is at all times depicted as being more astute than those around him. His little brother Ethan, too, is portrayed as an underprivileged but bright lad of great potential. The case can be made that Dragged Across Concrete makes examples of its most prominent bigots by punishing them while rewarding Henry in the end. Ridgeman, who has refused to change with the times, is taught the important lesson that he “should have trusted a nigger.”

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!

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!

Wonder Wheel

I have mixed feelings about Allan Konigsberg. Revelations about his sexual proclivities as well as my own awakening to the director’s participation in a massive tribal project of hostile culture distortion make it impossible for me to like “Woody Allen” the way I did when I was younger; but it would be dishonest of me to pretend that his body of work did not influence my intellectual development. Coming from a blue-collar Midwestern background, Konigsberg’s stories of New York sophisticates were exotic and illuminating. His movies made me want to become a literate person so that I could be witty and impress complicated women. And – as much as I dislike to concede it – he has continued to produce worthwhile entertainment well into his decrepit years.

Wonder Wheel is no exception, and offers exactly what those familiar with the writer-director’s filmography have come to expect. Its tawdry tale of two shiksas – older, married woman Kate Winslet and naïve stepdaughter Juno Temple – who both fall for sophisticated and handsome Jewish aspiring playwright Justin Timberlake contains a great deal of Hebraic wish-fulfillment, particularly with Jim Belushi portraying the boorish and slovenly goy alternative. Set in the bustling Coney Island of the 1950s, Wonder Wheel is both a rather painful melodrama and a comfortable nostalgia piece, evoking fondness both for America’s past and for Konigsberg’s, so that the whole experience seems like old times.

4.5 out of 5 stars. Ideological Content Analysis indicates that Wonder Wheel is worth seeing if viewers can do so without putting any money into the filmmaker’s probably candy-filled pockets. Also:

4. Anti-drug. Looming over Ginny (Winslet) and Humpty (Belushi) throughout is the specter of alcoholism which threatens to reassert itself over their wills in times of stress. Ginny embarrasses herself in a drunken state at the end of the film.

3. Borderline pedophiliac. Juno Temple, like previous Konigsberg muses Mariel Hemingway and Christina Ricci, evinces a childlike presence despite her experience. The word “Toys” is visible in a shop window in a scene in which Mickey (Timberlake) picks up Carolina (Temple) to give her a ride, slyly emphasizing her youth.

2. Anti-family, anti-marriage. “Don’t ever have kids,” Ginny advises. Marriage, too, is “scary”. Ginny is only “going through the motions of lovemaking” while she has “so much to give” to a smart and beautiful Jewish boy. Ginny also insinuates that Humpty has incestuous inclinations toward his daughter when she accuses him, “You treat her like a girlfriend.”

1.Anti-white. Carolina rejects the “dull, colorless, boring [i.e., WASPish] guys” her father would have preferred she marry. Instead, she falls in love with a tribesman. There is a sort of malicious glee in Konigsberg’s decision to name the head of the household “Humpty”, presenting the American father of yesteryear as a gruff and abusive but fragile figure destined to fall and never to be restored to his previous station. Humpty distrusts the influence of movies and radio – i.e., the Jewish-dominated mass media – on his family, calls psychology a “phony head doctor” racket, and is probably therefore suspect in Konigsberg’s imagination as a potential anti-Semite. Ginny’s son (Jack Gore), meanwhile, is a little pyromaniac – symbolic of the potential of every goy boy to grow up to perpetrate the world’s next Holocaust. Sadly, waitress Carolina must endure the indignity of serving “redneck clowns” in her clam house – representing the ever-present threat posed by rustic deplorables infiltrating and crudely stinking up the nice, respectable, kosher stronghold of New York City.

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!

Lady Bird

Greta Gerwig, an actress for many years, reveals herself to be a talented writer and director with Lady Bird, a standout coming-of-age story starring the excellent Saoirse Ronan as a mischievous, unappreciative Catholic schoolgirl with a “performative streak”. Lady Bird is the rare teen film that will be just as enjoyable, if not more so, to parents as to younger viewers, and the film’s development of its protagonist’s relationship and interactions with her parents, her sweet and vulnerable father (playwright Tracy Letts) and especially her stern but big-hearted mother (Roseanne’s Laurie Metcalf), is finely textured and affecting. Occasional grossness fails to ruin an overwhelmingly touching and funny film experience.

Five stars. Ideological Content Analysis indicates that Lady Bird is:

6. Pro-gay. Lady Bird, at first disgusted to discover that her boyfriend (Lucas Hedges) is gay, ultimately feels sympathy for his situation.

5. Populist. Lady Bird, at first ashamed of living in Sacramento, comes to accept her attachment to “the Midwest of California”. Gerwig set the film in 2002 and 2003, she says during her commentary, to mark the period she identifies as a key moment in “the erosion of the middle class”, with 9/11 and the Iraq War referenced as contributors to middle America’s decline. “Is this a joke?” the protagonist asks on seeing a picture of Ronald Reagan hanging in the home of a more well-to-do family. In a refreshing break from typical suburbs-bashing fare like Todd Solondz’s Happiness, Gerwig concedes that American suburbia is “in my bones”, and this affection communicates itself through the tempered and never obnoxious sentimentalism on display in Lady Bird.

4. Drug-ambivalent. Students share a rumor that their teacher Father Leviatch (Stephen Henderson) had a son who died of a drug overdose, but the overall tone of Lady Bird toward recreational substances is more permissive. “Her mom clearly knows that they’re high,” Gerwig observes of one scene in which Lady Bird’s mother encounters her daughter with a group of her friends. “She’s not gonna do it [i.e., reprimand them]. She’s gonna just leave,” Gerwig approves. Lady Bird’s grandmother, on the other hand, is said to have been an “abusive alcoholic”.

3. Race-ambivalent. Catholicism appears in Lady Bird as a successful model for peaceful coexistence of races, but the existence of sub-rosa racial tensions is also acknowledged, as when Lady Bird suggests that her adopted mestizo brother Miguel (Jordan Rodrigues) got accepted by a competitive university primarily because of his ethnicity and he in turn accuses her of racism. It is interesting to note that Miguel and fellow non-white adoptee Shelly (Marielle Scott) are usually framed separately, so that they never seem to be fully integrated members of the McPherson family. Mild moments of anti-white bias occur in Lady Bird when the protagonist is shown copying answers from an Asian girl during a test and when comparatively well-behaved Miguel and Shelly have to scold unruly white girls for wrinkling the magazines in a grocery store, where Lady Bird is also shown shoplifting. Her Asian boss at the coffee shop where she later gets a job also has to reprimand her for flirting on the clock – a second juxtaposition of oriental seriousness and work ethic as opposed to white American frivolousness.

2. Anti-Semitic! Lady Bird vomits after drunkenly kissing an atheistic New York Jew named David at a party. “We don’t have to constantly be entertaining ourselves, do we?” Lady Bird’s mother objects at her daughter’s fiddling with the car radio. Who but a hate-filled anti-Semite would object to a non-stop saturation diet of popular culture?

1.Christianish. Writer-director Gerwig had a Catholic upbringing and brings both an affectionate familiarity and an irreverence to her depiction of a Catholic high school, acknowledging Catholicism’s “theatricality” and making light of the superstitions associated with transubstantiated wafers and such. At the end of the film, however, the protagonist abandons her concocted identity as “Lady Bird” and embraces her given name of Christine, a marker of her identity as a Christian. In addition, after moving from Sacramento to New York, she feels herself drawn to the comforting beauty of a cathedral service with its choir. She returns, says Gerwig, to “the place that is home to her”.

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!

Wild Card

Revenge for a raped prostitute might sound like less-than-thrilling motivation for an action hero, but it works nevertheless to propel this uncharacteristically character-driven Jason Statham vehicle. The Expendables star here plays Nick Wild, a skid row Las Vegas “security consultant” in Simon West’s quality realization of a thirty-year-old William Goldman screenplay. A British special forces veteran who can take care of himself, Nick is also a self-destructive compulsive gambler and drinker who has to grapple with his own shortcomings as well as the gangsters who want him dead. Something of an odd couple dynamic comes into play when Nick is befriended by a nerdy software millionaire (Michael Angarano) looking to be initiated into the world of danger and excitement. Some of the exchanges between these two have a rather phony and forced cleverness; but the script, on the whole, is highly engaging and full of fun and surprises. The cast of familiar faces includes Stanley Tucci, Hope Davis, Anne Heche, and Jason Alexander in minor roles.

4 out of 5 stars. Ideological Content Analysis indicates that Wild Card is:

6. Misandrist. An abused woman (Dominik Garcia-Lorido) threatens to sever the penis of a cocky misogynist (Milo Ventimiglia).

5. Corporate. A big-titted Latina (Sofia Vergara) squeezes in a quality plug for the junk food complex when she orders a Diet Pepsi. Putting in a good word for the usury industry, Statham’s credit card comes in handy when he uses it put a gash on a bad guy’s head. He also mentions eating Wheaties as a source of energy.

4. Anti-Christian. Set against the tacky blinking backdrop of one of America’s sleaziest, most Judaically resonant metropolises, Christmas is a hollow observance with no meaning. Simon West, in his commentary, relates that “the Christmas theme in the movie meant that I wanted to get some actual Vegas at Christmas footage, but […] unfortunately Vegas doesn’t seem to celebrate Christmas that much.”

3. Anti-Semitic! “You’re not supposed to like Vegas,” Nick explains of the city that Bugsy Siegel built. “It’s just this creeping virus people catch sometimes.”

2. Anti-gun. Nick rejects firearms, demonstrating instead how simple objects like silverware and ashtrays can be used to debilitate armed assailants.

1. Pro-miscegenation and anti-white. Most appallingly, Wild Card contains a scene of flirtation between Nick and an unappealing black hotel maid (Davenia McFadden). “Too bad you got all that British blood in you,” she teases him. “If you was black, I’d bed you good and fast.” “You can make believe,” Nick encourages her. “Nah,” she replies. “Don’t think this is racial or anything, but I never feel like you people are clean. This is a housekeeper you’re talking to, remember? I can tell if a Brit’s been in a room [snaps] just like that.” This dialogue suggesting that Brits are unclean makes little sense until one listens to Simon West’s commentary. “In the original script, the [Nick] character was actually Hispanic,” he reveals, “so we had to change the racial stereotyping.” Mexicans can no longer conscionably be depicted as dirtbags, but Englishmen are apparently still fair game. Three decades ago, when the screenplay was written, the occasional spot of political incorrectness was still permissible at the multiplex; but, fortunately for public morals, Wild Card was filmed in the current year, so to speak.

Rainer Chlodwig von Kook

As Above So Below

Perdita Weeks appears as a female Indiana Jones, an obsessive scholar and archaeologist of the history of alchemy in As Above, So Below. Convinced she has learned the whereabouts of the legendary Philosopher’s Stone, she convinces academic colleague Ben Feldman to accompany her into the labyrinth of catacombs beneath Paris. Unfortunately, as they descend, they find that the tunnels they take are mysteriously closing behind them, compelling the expedition into ever deeper recesses of this subterranean world. Even worse, they are not alone. Directed by John Erick Dowdle, who co-scripted with brother Drew Dowdle, As Above, So Below is a first-person footage film in the long line of Blair Witch imitators and is fine by the standards of that genre; but the tale tends to lose its mystique to the degree that the Dowdles insist on depicting their rather mundane vision of Hell onscreen.

4 out of 5 stars. Ideological Content Analysis indicates that As Above, So Below is:

Pro-miscegenation. Weeks and Feldman, the film suggests, are perfect for each other.

Relativist. “As I believe the world to be, so it is.”

Feminist. Weeks is intrepid and unafraid to the point obsessive insanity. Hinting at the Jewishness of the feminist plague, her character is revealed to be an expert in the Israeli “self-defense” techniques of Krav Maga.

Pro-immigration. Non-white Parisians are depicted as fully assimilated citizens. If anything, it is Africans who are at risk of attack from strange Frenchwomen.

Neoconservative. As Above, So Below is full of Judaic resonances that are never articulated. The film reinforces the engineered impression that Jews and Middle Eastern mythology hold mysterious keys to understanding the universe. Weeks ostensibly makes the decision to bring Feldman along because he knows the ancient Jewish language Aramaic. The remains of six million corpses, the viewer learns, reside in the catacombs, with the number six million triggering audiences’ associations with the “Holocaust” and the history of alleged Christian persecution of Jews. The characters’ subsequent descent into Hell, then, may be understood in this context. The film’s title finds a visual expression in a variation on the Magen David that appears on a wall next to a door on the path to the underworld. The underground realm in which the characters move is revealed to be physically inverted, so that those determined to attach an allegorical meaning to the journey might consider the possibility that, in order to atone and to come to grips with their criminal history of “anti-Semitism”, the goyim must endure the ordeal of having their world turned upside down. Gratuitously endorsing the neocons’ Jewish foreign policy, Feldman berates Weeks as “a crazy lunatic” for traveling to Iran.

As Above So Below Star of David

“As I believe the world to be, so it is.”

Rainer Chlodwig von Kook

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

Farawaysick for a High Trust Society...

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!