Archives for posts with tag: Catholic school

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!

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TEN

love is strange cover and back cover

“Love has pitched his mansion in the place of excrement,” wrote poet William Butler Yeats, whose words have never been more true than in twenty-first century America. In a masterful stretch of acting muscles, Hollywood weenies John Lithgow and Alfred Molina play a couple of elderly turd-tappers who tie the knot only to find that this upsets Molina’s employers at Catholic school Saint Grace Academy. Temporarily deprived of an income, the lovebirds have to give up their apartment and find separate lodgings elsewhere. All of this is treated as a terrible tragedy, Love Is Strange coming across from start to finish as some ridiculous last gasp of the moribund West’s preoccupation with First World problems.

The ethnically disinterested (((Ira Sachs))) writes and directs this bold and beautiful cultural event. Writes Gerri Miller of this alien freak at Interfaith Family:

After being together for five years, he married his partner Boris Torres, who is not Jewish, “six months after it became legal in New York State and a week before we had twins. I say that we had a gay shotgun wedding,” Sachs says. They’d met several times through friends and online before they were at the right point for a relationship, “a point where we both liked ourselves.”

Faith has never come between them, and Torres is on board for the pair’s 2½-year-old twins to become b’nai mitzvah. (Their birth mother is Seventh Day Adventist.) “Right now we’re teaching them language and how to use the potty. But I am checking out synagogues,” says Sachs, who grew up attending synagogue and was president of his temple youth group in Memphis, Tennessee.

As an established member of the Jewish community there—his grandmother’s family arrived in the 1850s, and his father’s family came in the early 1900s—he “felt no vulnerability as a Jew.” But he did experience anti-Semitism at the “very traditional old Southern white prep school” he attended in the ’70s. “I was called ‘kike’ and had pennies thrown at me. The violence scared me but the anti-Semitism seemed ridiculous.”

Today, Sachs considers himself a secular Jew. “I know that that comes out of assimilation and I’m intellectually sad to not be more knowledgeable about Judaism,” he says, though he finds Judaism “less exclusionary” than some other religions, “a welcoming fold.”

3.5 out of 5 stars. Ideological Content Analysis indicates that Love Is Strange is:

5. Multiculturalist and pro-immigration. Molina remarks favorably on the multiethnic makeup of a school’s student body, Love Is Strange being set in the magical milieu of imaginary white liberals who intermix freely with blacks and immigrants. The film features more than one “Russian” transplant, one of them played by a fuzzy-headed Jew (Eric Tabach). One assumes they had to flee for their safety from Putin’s eternally clouded heterofascist Russian Reich.

4. Pro-police. The heroes have two gay cop friends. The reader must understand that, in the eyes of Love Is Strange’s target audience, this represents the most sterling endorsement of New York law enforcement.

3. New Age. Lithgow and Molina have some kind of non-Christian, new-agey “marriage” ceremony. Love Is Strange is peopled entirely by weirdos who go in for stuff like “chromotherapy” and medicinal energy-channeling.

2. Anti-Christian. If only the Catholic Church had not been so bigoted, the two gents might have lived out the remainder of their lives together in happy fulfilment. Even so, the movie makes an unconvincing attempt to present itself as conforming to Christian values. “I still believe in Jesus Christ as my savior,” says Molina.

1. Pro-AIDS. Those enticed by the prospect of seeing not particularly sexy actors Alfred Molina and John Lithgow squish faces are in luck, as Love Is Strange features more than one such moment. They are “an example to be followed,” proclaims Lithgow’s niece Marisa Tomei. The film is at pains to present them as perfectly normal individuals and – more disturbingly – to show that they are trustworthy if left alone with children. “It’s about as family friendly a movie as Miracle on 34th St,” Sachs claimed in a Reddit Ask Me Anything session. In Love Is Strange’s most ludicrous moment, Tomei scolds her son (Charlie Tahan) for talking about fertilizer at the dinner table. “Joey, your uncle’s still eating.” Like some guy whose idea of a sexual pleasure center is his anus is going to get all squeamish about poop talk.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1Y13eAn 

Zombinator

The filming of a fashion documentary furnishes the pretext for a film crew to follow a group of college students around Youngstown, Ohio, on what turns out to be night the city is hit by a zombie plague. Unfortunately, those lured by the inviting sight of the zombie cyborg featured on the cover of The Zombinator are bound to be a bit disappointed, as no such creature actually appears in the film.

The title character (Joseph Aviel) is an Afghanistan veteran trying to save Youngstown and the United States from a military-industrial undead plot being executed on the ground by “war hero” the Colonel (Patrick Kilpatrick) and his team of greedy mercenaries. The young people, meanwhile, spend most of the movie whimpering, cowering, running, and trying not to get bitten.

The film crew’s presence in the story suggests a postmodern self-awareness on the part of The Zombinator‘s makers, but it also presents some puzzling questions. They seem to be an unusually caddish lot, even for movie industry professionals, considering that they continue to shoot with apparent indifference as their associates are attacked, neither lifting a finger to help during combat nor even alerting a group of sleeping girls as the zombies sneak up on them.

The Zombinator achieves an adequate level of suspense, even if the zombies and story are nothing new or particularly special; and occasionally bathetic humor offers a welcome break from the scenes of horror and mediocre action with CGI blood and fake gunfire. Shame on The Zombinator, though, for baiting the audience with the tasty prospect of a zombie-Terminator hybrid and instead delivering a regular old hungry carcass flick.

3 out of 5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that The Zombinator is:

9. Anti-tobacco. A cigarette is a “cancer stick”.

8. Racist! A horny black dude stupidly opens a door for some zombie sluts. Paranoid and self-absorbed congoids are apt to assume that even the basement of a Catholic school might be a secret hideout for the KKK. End credits feature a vicious ghetto zombie in a hoodie.

7. Anti-family. Marcus (Justin Brown) was abused by his father.

6. Class-conscious. The 1% gets name-dropped, as does the gentrification neighborhoods of Youngstown are said to be experiencing. “It’s more like civilized murder now.”

5. Anti-Christian. The Zombinator is generally irreverent toward Christianity. A rotten-faced rock singer wears a clerical collar; one Youngstowner recalls seeing a bullet hole in a church bathroom; and priests (one of whom smokes) are ineffective at thwarting zombies. God, meanwhile, is “the one who’s got the biggest dividends.”

4. Anti-Y. Generation Y appears as a wimpy, idiotic, and superficial lot, the Colonel’s suggestion that they are truly “the greatest generation” coming across as masked sarcasm.

3. Anti-cronyism/anti-Obama. “But what about change?” cries a stupid liberal on learning that she and her friends are guinea pigs in a government bio-terror scheme. “What about what everybody voted for, against big corporations?”

2. Antiwar. America’s rulers preside over an empire, not a progressive wonderland, and ignorant young people’s mindless mouthing of patriotic admiration for soldiers rings unmistakably hollow. Afghanistan is a testing ground for biological agents, with soldiers used for deadly experiments.

1. Anti-state and N.W.O.-alarmist, promoting those darned conspiracy theories. “This is government shit, dude,” suspects one of the filmmakers. “If the world doesn’t see this, this is gonna happen everywhere else, too.” Later, the Zombinator explains that, “They have a cure, but they will not use it until it gets so big, after Youngstown is gone, and then they’ll present it on the market and make billions . . . billions and billions on your corpses.” So forget that crap in Contagion (2011) and World War Z (2013) about the valiant public servants over at the CDC and the WHO. This is the real deal.

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