Archives for posts with tag: bisexual

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This pointless reboot of the Cabin Fever franchise serves no purpose whatsoever apart from making a few cruddy shekels, as very little of value has changed since the original. Furthermore, most of the offbeat humor that was present in the first film is disappointingly missing from this comparatively straight-faced and innocuous remake. Most disappointingly, Deputy Winston, the inscrutable party guy played by Giuseppe Andrews in the 2002 version has been replaced by a scar-faced bisexual deputy played by Louise Linton. Curiously, like the first film, Cabin Fever ’16 also fails to exploit the comedic potential latent in the suggested premise of whether or not a character could survive a horror movie while only subsisting on beer. The leg-shaving scene is perhaps more horrific than in Eli Roth’s original; but, throw in a generic cast and some unappealing tattoos on one of the women, and what the viewer has is a passable but decidedly underachieving horror outing.

3 out of 5 stars. Ideological Content Analysis indicates that Cabin Fever is:

4. Luddite! One vacationer mistakes his video game experience for “years of training” for the handling of a firearm. Karen (Gage Golightly), preoccupied by her cell phone, has to be reminded to enjoy the outdoors.

3. Anti-gay, furnishing publicity for an abnormal lifestyle but presenting a comically grotesque example of a lesbian in law enforcement.

2. Anti-redneck (i.e., anti-white), offering the typically creepy depictions of backwoods European-Americans. The film fails to reference any other races’ parasitic roles in the world economy, but does refer to “hillbilly vampires”. One rustic local is dubbed “Deliverance”. A faded American flag visible at the rednecks’ dilapidated gas station would seem to connect white trash with the idea of America’s decline – possibly in connection with supposed wars for oil.

1. Anti-gun. Bert (Dustin Ingram), the least mature of the vacationers, brings an “assault rifle” and accidentally shoots a man.

Rainer Chlodwig von K.

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[For those who don’t know, icgayreviews LGBTQ ally Germanicus Fink was rousted out of his safe space at murderbymedia2 this week for allegedly failing to comply with heterofascist WordPress “terms of service”. His blog account was suspended after a few complaints, a little gunboat diplomacy, and some behind-the-scenes skullduggery from Vladimir Putin’s Ministry of Slavic Hate persuaded WordPress to rain on the pride parade. Stay tuned for future developments in the ongoing saga of this internet holocaust of all decency. In the meantime, enjoy Fink’s guest review of the Macaulay Culkin club kid classic Party Monster!]

Party Monster

This was a movie I’d have never been interested in seeing, but I was the victim of a ‘perfect storm’ that resulted in my watching it. I was having a bad day and talked to ICAreviews online. Culkin came up and I mentioned that in the recent pictures I saw of him he looked like a real mess, then he told me Macaulay had made this movie in an attempt to step back in the ole spotlight as an adult actor 12 years ago. Of course I’m not talking about an adult actor as in “adult films”, I meant as a grown up. You know, a big boy star.

I had free time so I decided to watch it out of curiosity. A couple of times I almost just turned it off, but then I figured I’d try to write something about it so I ‘manned up’ and decided to ‘take a hit for the team’, so to speak.

Of course I wondered why he chose a movie about homosexual party boys in New York as his grown up debut. I figured his motivation for picking this genre must be because maybe his voice never changed, or that it was a life style he was familiar with. I’ll have to leave it up to people who know something about him to answer that one. Possibly he made it hoping to cash in on a fad? When was that “club kids” trend big? The film came out in 2003.  I had the impression that that club kids buzz happened a bit before 2003, but I could be wrong.  Since the film focused on homosexuals and hard core drug abuse I guess those subjects will always have an appeal to both the morbidly curious and confused teenagers so I suppose it’s a moot point whether that craze lined up with the film’s release.

One thing any normal person will find immediately annoying about this film is how over the top gay most of the actors behave throughout it. I suppose there are some gays in real life who behave screaming, prancing around, Priscilla Queen of the Desert gay, but so many of them on the screen at the same time kind of gets on a guy’s nerves.

Culkin plays Michael Alig and Seth Green plays his best friend James St. James, two young New York homosexuals who liked to dress up in outrageous costumes, throw lots of wild parties and do all kinds of drugs all the time. My impression was that a lot of the film was just about broken people who just could not face reality, so they stubbornly clung to their fabulous degeneracy and did whatever it took to keep the party going. It was never a good time to quit so they just couldn’t stop and kept on going until either they imploded or crashed.

In one scene Michael abandons his mother after she shared in his television debut on a tabloid talk show about him and his “club kids” phenomenon. He hurriedly told her he couldn’t get her a ride back to the airport as he ran off with his dealer for more of the hair of the dog that bit him to fight his withdrawals. I think she summed up a lot of what this film was all about when she she said, “I came in a stretch limo, i’m not leaving in a bus”.

Of course this film will fulfill all your wildest expectations assuming your expectations are actually wild enough. Semitic Hollywood is always more than willing to promote a rainbow of antisocial behavior. Whether a film is for blacks, children or homosexuals it seems they are always encouraging people to act up, get out of control and destroy everything they can. If you can’t annihilate anything important you can at least lay waste to yourself and hopefully take a few friends with you.

Of course, misfits who are not independently wealthy and can’t face reality can only maintain their delusions with the help of duped normies. In this case they exploited a club owner with an eye patch who became a sort of surrogate father figure for Michael. By allowing him to host his well publicized parties at his club he funded Macaulay’s lavish, nonstop, party party all the f*cking time life style despite the fact he always complained that he himself barely broke even.

What’s the symbolism of the eye patch? I don’t know, maybe he didn’t examine this situation in depth or was just seeing it in two dimensions? Why did he sponsor all this degeneracy? Hard to say. I honestly can’t speak for his motivation here aside from his strange, paternal relationship with the Culkin character.

Maybe the patch just indicates that the man is missing something. He’s portrayed as very straight and normal so maybe we are to believe he was living vicariously through this flamboyant little peacock with his superficial philosophy and his high flown plans and unconventional dreams. Maybe the patch is meant to represent that he is deformed inside which is why he’s making all this madness possible. Maybe it was just to make him look ominous because he was the only straight, middle aged guy in the film and everyone else was young and marvelous. Or maybe he represents the self-Chosen who are the ones making all this current cultural decay possible and his eye was lost while struggling with narrow minded gentiles? You decide.

Since this film was obviously targeted at gays a lot of it had to do with “loss of innocence”. The first example of that is when he is talking about his childhood in a small town and how his male Sunday School teacher seduced him (this kind of stuff goes on ALL the time in small White communities goyim! Watch a few more of our movies and you’ll see!). The second instance is when Michael hooks up with a straight guy who he later seduces while they are hiding in a dumpster from a cabbie after they stiffed him on the fare. How’s that for symbolism? Of course all straight guys are totally gay just below the surface so they are easily seduced by any gay guy forward enough to try. Please make a note of that all you gay goyim!

They drag lots of innocent people with them into their self-destructive hell with drugs. Drugs seem to be EVERYWHERE in this film. This “loss of innocence” motif culminates in a depressing scene where Michael, his friends and his surrogate father are all getting pretty loaded in a swanky hotel room. The guy with the eye patch, who has never done drugs before and is married to a sensible, no nonsense conservative looking young woman is shown fried out of his mind on crack with a black and possibly a tranny prostitute. Also, there was a black drug dealer named “Angel” who nobody wanted around at first, but he seemed to become their main connection as the film progressed. Oddly, once this relationship had been established he always wore angel wings whenever he made deliveries to them. In the Hotel scene, as well as all the subsequent scenes he was always demanding his money. I guess he wasn’t really supposed to be an angel at all, but the devil come to visit them in hell to collect his dues.

In line with this theme of tricking people into doing unhealthy things there is a part where he tricks his friend James into drinking his urine when he christened their embarkation on this club gig with the eye patch guy. A pretty gross scene, but not the only scene involving the drinking of urine.

One of the more disturbing aspects of this movie is it encourages bisexuality, which in light of the AIDS epidemic strikes me as more than a little sinister. I suppose you can file that under seduction of the innocent. His girlfriend is some Midwest kid who caught him and his club kids on that afternoon talk show I mentioned earlier. She was star-struck by all the glitz and glamour of his superficial lifestyle so she got in touch with him and he invited her to come stay with him up in New York. There is a scene where they are both taking a bath together and he announces he had polluted the water, so of course she scoops some up, drinks it and sprays it on Michael. He then did the same and sprayed her. Since they are both now dependent on drugs, naturally they are encouraging each other’s debauchery. They are clearly not good for each other. Near the end of the film we hear she died of an overdose.

spit

Culkin gets pissy

Everybody in this film is out of control, that is, until the Culkan character gets in a spirited argument with his angelic, black drug dealer where he demands his money one too many times and we are led to believe he kills him in self-defense. Right after cutting up the body and dumping it in the river (after they used up all his drugs, of course) Mike decides to check himself into rehab. This is one of those films that starts near the end and loops around to the beginning and it began with Michael confessing to James that he killed his dealer as they shared some of the deceased’s stash. Seth then promptly OD’d and ended up in the ER.

I realize I may be giving way too much away about this film, but I had a bad day today and this is helping me take my mind off of my problems. Besides, be honest, how many of you were planning on seeing this turkey anyway?

So, as if “loss of innocence” weren’t bad enough, we are also treated to some rather base betrayal as well. In an effort to weasel out of a possible murder conviction for killing his connection, Micheal starts cooperating with the feds to bust his father figure for supposedly dealing drugs out of his club. Ironically he was the only person to express sincere concern about Michael’s drug habit. In fact he paid for the stint in drug rehab that Macaulay took advantage of after murdering his dealer.

I strongly dislike films like this, where people are out of control and doing stupid things. I was waiting the entire time for someone to get busted, and I wasn’t disappointed.

Michael’s constant friend throughout the film, Seth Green, wanted to be a writer but never actually wrote anything. It wasn’t all talk, he really wanted to write and did actually try from time to time, but he had a bad case of writer’s block. That is until he got so high one day that he hallucinated a giant talking rat who claims to have seen Michael’s struggle with his dealer. Michael got busted but he said he only acted in self defense, which was somewhat true, at least at first. While the black drug dealer was strangling Culkin some other druggie came out of his stupor and grabbed a hammer which was conveniently placed and hit the guy. Only he wasn’t quite dead yet. So Culkin beat him some more then tied him up and tortured him to death by injecting Drano into various parts of his body (use your imagination here you sick f*cks!).

The Seth Green character uses the information he got from his conversation with the giant rat to write a best selling novel, Disco Bloodbath, and then he takes this information to the police and has the star of the film arrested and put in prison. I didn’t know that the hearsay testimony of an imaginary, giant talking rat was admissible in court, but I guess in New York it is. That’s what happens when you live in a city that never sleeps I suppose.

I suppose here is where I do the content analysis. Party Monster was:

4. Anti-capitalist. Culkin is always letting people into the club for free, giving them free drink tickets and, of course, would rather murder his dealer than pay for his drugs.

3. Racist. Actually I guess it could be construed as being kind of racist since the only black character in the film gets beat unconscious and terribly tortured to death by Culkin.

2. Pro gay. This movie was so gay I felt that I needed an AIDS test after watching it!

1. Anti-drug. Despite showing people doing and enjoying drugs for nearly 2 hours they finally landed Michael in prison. So don’t do drugs, mmmkay?

I give it a 2. Maybe you’d give it a 3 or more if men screaming and swishing around all over the place for nearly two hours doesn’t give you a headache.

Germanicus Fink

[Who is Germanicus Fink? Read Aryan Skynet’s interview with him here.]

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Adam Sandler turns in a pleasantly understated performance as Max Simkin, a Lower East Side shoe repairman who discovers that an heirloom stitching machine has magical properties in Tom McCarthy’s film The Cobbler. Put on any customer’s two shoes and Max takes on that person’s appearance, allowing him to indulge such entertaining caprices as sneaking into a black thug’s gun-and-bling-filled apartment or walking into a beautiful stranger’s bathroom. Max eventually takes his place as a “guardian of souls” in addition to his work as a mender of soles.

While funny, The Cobbler is a film which, like Punch Drunk Love (2002), allows Sandler to show off his non-idiot side and is welcome as a change of pace. Steve Buscemi and Dustin Hoffman appear in supporting roles as, respectively, Max’s barber neighbor and mysteriously absent father. Viewers may see the surprise ending coming, but so much of The Cobbler is entertainingly unexpected that any conformity to audience expectations is handily offset.

4 out of 5 stars. Ideological Content Analysis indicates that The Cobbler is:

6. Obesity-tolerant. “I’m not fat. I’m big-boned.”

5. Pro-gay and pro-miscegenation. Simkin’s eventual love interest is peppery Carmen (Melonie Diaz). An Asian woman (Greta Lee) flirts with Simkin in a bar after he has unwittingly taken on the form of a bisexual man (Dan Stevens). “I think it’s hot,” she reassures him. Sandler also dons high heels to occasionally assume the appearance of a gauche Latin transvestite (Yul Vazquez).

4. Family-ambivalent. Simkin is deeply devoted to his mother (Lynn Cohen), who was abandoned by his father (Dustin Hoffman). The latter turns out to have responded to a higher calling. Asked if she ever wanted to be somebody else, Mrs. Simkin replies, “I’m your mother. That’s all I ever wanted to be.” Carmen seemingly discounts the necessity of fathers, however, when she says, “My dad split when I was 12. Life goes on.”

3. Localist and populist. Carmen works for the Lower East Side Action Committee, committed to halting the area’s gentrification, and attempts to get Simkin to support the cause. “I’m glad that you’re supporting a local business,” she tells him when she sees him with a box of pickles.

2. Racist! The Cobbler’s only important black character is a career criminal, a murderer and abuser of women, played by rapper Cliff “Method Man” Smith. “You Jewish?” this black bigot interrogates Simkin. “Lucky you.” He then insensitively asks if his recently deceased mother left him any money. In another scene, the fiend creates a Michael Brown-style ruckus in a convenience store.

1. Borderline anti-Semitic. Surprisingly, The Cobbler offers an unsavory portrait of a Hebraic slumlord and gangster in tough-as-nails “Jew from Queens” Elaine Greenawalt (Ellen Barkin). The film compensates for this cinematic blood libel by providing typical wailing violin movie portrayals of weak, long-suffering Jews like Simkin, who gives submissive shoeshines to arrogant blacks. Ratcheting up The Cobbler’s Jewish victimhood factor is Fritz Weaver from the 1978 Holocaust miniseries, who appears as Mr. Solomon, the helpless old man Greenawalt hopes to evict by any dastardly means necessary.

Rainer Chlodwig von Kook

24exposures

Prolific director Joe Swanberg, who had a supporting role as the philistine jerk brother in You’re Next, reunites with that film’s writer-director team of Simon Barrett and Adam Wingard in 24 Exposures, a low-budget postmodern murder mystery set in the world of fetish photography. Barrett plays Michael Bamfeaux, a depressed police detective investigating murders of models that mirror the gory photo shoots of artsy smut peddler Billy, effortlessly brought to life by Wingard.

Meanwhile, Billy’s bisexual live-in girlfriend Alex (photographer Caroline White) begins to be jealous of his professional interest in waitress Rebecca (Helen Rogers). Is Billy’s preoccupation with murder more than an aesthetic affinity? And what about Rebecca’s erratic and violently jealous nerd boyfriend? Could he be the fetishistic killer, or is it somebody else altogether?

24 Exposures is sexually explicit, with multiple topless photo shoots and even one girl-girl-guy interlude; but the approach to the exploitative content is so matter-of-fact as to drain most of the erotic potential from the images of degeneracy. Scenes such as Rebecca’s first lesbian experience are extremely easy on the eyes, however. Highlights or lowlights, depending upon the viewer’s taste, are a stylish opening credits series of images paying tribute to vintage pulp artwork; various actresses’ asses and breasts, sometimes pressing against each other; and also some pretty convincing gore makeup for the photo sessions.

Unfortunately, none of the characters are particularly sympathetic, with perhaps the mild exception of unusually uncharismatic cop Bamfeaux, whose appearance onscreen is sometimes accompanied by an inexplicably tough-sounding theme. Swanberg, in a cameo as aspiring memoirist Bamfeaux’s literary agent, gives him a disapproving critique that ironically touches upon some of the reasons why 24 Exposures is ultimately a bit of a disappointment if judged as a murder mystery. The resolution, if it can be called that, simply fails to deliver on the potential promised by such a dramatic and ominous buildup, leaving the viewer unsatisfied as the credits follow an unexpectedly abrupt ending. But, imperfections aside, 24 Exposures is worth seeing if only because it is never boring.

3.5 of 5 possible stars. Ideological Content Analysis indicates that 24 Exposures is:

5. Pro-drug. Billy and his bevy of bimbos smoke dope.

4. Pro-castration. Small-bearded, bracelet-wearing weenie Billy cooks breakfast for two women after he bangs them.

3. Pro-gay. Callie (Anna Kendrick lookalike Sophia Takal) tells the story of how her first-ever orgasm was with another girl. Alex is bisexual.

2. Pro-police. Bamfeaux, who at one point considers suicide, offers a pathetic example of what serving and protecting the public can do to a man. But he mans up and rises to the occasion when a (more or less) innocent damsel is in distress.

1. Pro-slut. There is something in 24 Exposures, thankfully not emphasized or made overly obnoxious, of the tired shtick about sexually conservative or conventional people being psychologically unhealthy or repressed, while the carefree, sexually adventurous types like Billy are better-adjusted. Fortunately for Detective Bamfeaux, hipster Billy is willing to take him under his wing and initiate him into the simple pleasures of smiling, relaxing once in a while, and bagging trashy, tattooed chicks who take off their clothes for money.

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