Archives for posts with tag: censorship
Label

Kira Mathis and Mary Krasnoperova sulk in Jaschar Marktanner’s short “LABEL”

Jaschar L Marktanner’s 2014 short “LABEL” features a pair of German women (Kira Mathis and Mary Krasnoperova) giving voice to various seemingly petty grievances over cigarettes and coffee in a café – the caffeine, nicotine, and complaints constituting addictive and what might be considered quintessentially “First World problems”. Cigarettes never last long enough, the coffee cups are too small, and so forth. This man and that man, the women continuously gripe, are bastards and sons of bitches. Nothing, in short, is as they desire it. The viewer is left to speculate: what is the source of this ennui? What, furthermore, informs their apparent loathing of men?

Significantly, the film opens with a quotation from the Austrian author Heimito von Doderer, who for a time espoused National Socialism: “In a good conversation the pauses are as important as the talking itself.” The viewer, then, is invited to find the meaning in what is left unsaid between the two morose conversationalists. Germany, which since 1945 has not been a truly sovereign nation, today more than ever lives under a hostile occupation. The women allude, perhaps unconsciously, to the demographic disaster being perpetrated against their people in their ambiguous talk about “aliens”. A subservient German establishment, publicly represented by Zionist puppets like Chancellor Angela Merkel, has, in its complicity in the implementation of the Coudenhove-Kalergi plan for the dysgenic reconfiguration of Europe, reduced the continent’s once-proud men to powerless and effeminized cuckolds. “Did you just see that wanker?” Krasnoperova asks. “Waitressing is just a job for a true son of a bitch.” “Cigarettes are so crippled,” Mathis observes on the subject of this phallic insufficiency. Germany’s women, moreover, are mere shiksa livestock, a degradation symbolized by Krasnoperova’s nose ring (Jeff Lieberman’s classic short “The Ringer” comes to mind).

Two pictures hung on the wall behind them – a horse and butterfly – are images representative of the natural order, free and beautiful archetypes of masculine and feminine actualization that contrast with the morbid and sterile reality of the generic urban setting. “That’s how them up there want to keep things rolling,” Krasnoperova says with reference to an unnamed and remote elite. “Holding us pawns down.” “Just some real sons of a bitch,” agrees Mathis. “Yeah, and nobody’s doing anything about it,” Krasnoperova continues. “Something must be done about that,” the other declares. “Yeah, but there are only spazzes. What is there left to do?” At this point the two women indict the audience in its complaisance by breaking the fourth wall and glaring directly into the camera.

Label 2

The viewer is implicated.

Once the waiter approaches and asks if everything was alright, however, the women instantly change their tune, feigning smiles and reassuring him that “everything was great.” The pair finds themselves constrained by Europeans’ pathological sense of propriety – the self-destructive determination not to be the cause of offense. “What a freak,” Krasnoperova says of him after he goes away. “Just a typical victim of the society of sons of a bitch,” diagnoses Mathis. Notwithstanding their discontent and the impending death of their civilization, they cannot bring themselves to address problems openly. Like Marktanner himself, they find means of communicating under regimes of censorship. The status quo, however, if continued to fester and to dismantle their civilization, will start to present Europeans with fewer First World problems than quandaries of the Third World variety.

4 out of 5 stars.

Rainer Chlodwig von Kook

[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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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in [almost] 30 Days

DAY THIRTY

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A Brave Heart profiles the unusually malformed Lizzie Velasquez, a woman with a rare syndrome that prevents her from gaining any weight. Velasquez, whose mind is perfectly normal despite her irregular outward appearance, achieved an unwanted notoriety some years ago when a meanie uploaded a video of her to YouTube and titled it “The World’s Ugliest Woman”. Not one to be discouraged, Lizzie parlays her unique experience into a popular YouTube channel of her own and a career as a motivational speaker. She remains a sympathetic if not particularly interesting protagonist until she decides to become a Washington lobbyist. Shots of the inspired faces of women as they listen to Lizzie speak can only maintain the audience’s interest for so long. ICA’s advice, consequently, is to watch Braveheart again instead.

2 out of 5 stars. Ideological Content Analysis indicates that A Brave Heart is:

3. Liberal. A meet-and-greet with war-pig Hillary Clinton leaves Lizzie in giddy shivers. She goes to Washington to promote the Safe Schools Improvement Act, an Orwellian bill designed to implement a federally enforced system to track and record the slightest microaggressions of white males being processed through the government indoctrination complex. Though she never says so, one gets the impression that Lizzie and her fellow anti-bullying activists would prefer to censor the internet of all of its incarnations of “hate“.

2. Multiculturalist. A veritable cornucopia of the vibrant bounty that is the U.S. awaits the viewer of A Brave Heart: The Lizzie Velasquez Story.

1. Christian, i.e., Jew-cultish. Such victimology porn – the fascination with the diseased, the weak, and the ugly – expresses a current of Jewish thought dating back to antiquity and stretching into the present plague of cultural Marxism. As manifested in the story of the smaller, less powerful David’s triumph over the physically more impressive Goliath, the special attention devoted by androgynous Jesus to the poor, the blind, the lame, the leprous, etc., and the tyranny-tolerant notion that the meek will inherit the earth, with attendant contempt heaped upon the beautiful and the mighty of body, intellect, and nation, this constitutes a civilizational disorder with plainly disastrous consequences for the pathologically altruistic and cuckolded countries of the West. Velasquez, being a Jew-worshiping woman and a deformed Mexican one at that, is what the Tribe would like whites to see as the ideal American citizen of the future.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FOUR

Pussy Riot

Daryl Hannah ought to be tarred and feathered for agreeing to narrate this piece of shit, positively one of the worst, most hideously ugly and unappealing documentaries of the decade. Perhaps best viewed as an inadvertent comedy, complete with Jewish handwringing about corruption and the need to uphold the Russian constitution, its robust aroma is made the more pungent by slapdash subtitles, bad acting, and tiresome samples of Pussy Riot’s monotonous, wailing “music”. During the course of this particolored cavalcade of tedium, the saints of Pussy Riot are likened to Elvis Presley, Joan Baez, John Lennon, Joan of Arc, and even Michelangelo – and without the slightest indication of irony.

The “evil man” Putin, on the other hand, is compared to Joseph Stalin, Tsar Nicholas I, and Francisco Franco, and repeatedly depicted as a “fascist”. “This is a country where people die from dissent,” charges Masha Gessen. Performance artist Oleg Kulik has the most sidesplitting lines of this circus, funnier for being delivered with the utmost earnestness: “We are in the heart of a Satan and the heart is beating. Black blood is pumping like oil. The girls have poked the devil’s eye and the devil screamed ‘I am God!’ And the girls say, ‘No, you’re not God. You’re the devil,’ so it’s an argument between them. Is he a devil, or is he a God? It is an existential argument.”

Another chuckle comes from the sight of young women in rainbow-colored terrorist ski masks accompanied by the assertion that a rising generation of young Russians has a “desire to live in a normal country.” “Thank you, Madonna! Thank you, Red Hot Chili Peppers!” the girls exclaim for the solidarity shown them by the American entertainment establishment. The group needs all the help it can get when faced with a dictator like Comrade Putin. One of the silliest statements in the film is the weepy telling of how the members of Pussy Riot “were arrested in a dark street in Moscow.” Imagine the shame of the thing! Arresting these world-famous artistes in a street that was not even properly lighted!

Pussy Riot: The Movement earns a star and a half for its unintentional humor. Ideological Content Analysis, meanwhile, indicates that this pile of Jew dookie is:

4. Pro-AIDS. Jewish faggot Masha Gessen, who has admitted that her advocacy of “gay marriage” has the purpose of destroying the institution of matrimony, is one of the wholesome voices of anti-authoritarian courage featured in the documentary. The Pussy Riot girls are also shown cavorting and howling about homosexual “rights”.

3. Anti-Christian. “Sexism, persecution, and torture” follow from church involvement in state affairs. The Russian Orthodox hierarchy is portrayed as corrupt, oppressive, and avaricious. The entire film celebrates the Pussy Riot sluts for their desecration of Christ the Savior Cathedral, which, one of the interviewees suggests, may come to be known to history as Pussy Riot Cathedral. Francis Carr Begbie of The Occidental Observer adds:

Pussy Riot is also supported — in a circuitous route — by the Soros-funded National Endowment for Democracy. Could it also be that support of groups like Pussy Riot is part of a parallel Jewish strategy of debasement and corruption of Christian morality? As Professor Nathan Abrams wrote, the very prominent Jewish involvement in porn was a result of the “atavistic hatred of Christian authority” and a desire to “weaken the dominant Christian culture.”  Is it so much of a stretch to view Jewish support of these groups as part of the same agenda?

2. Feminist/pro-slut, with Russia depicted as some sort of hell hole of sharia-style patriarchal totalitarianism where women are obligated to cover their heads in shame. “It’s an act of love among dead nature to show that there is at least something living in this country,” Kulik says of a public orgy in which one of the Pussy Rioters participated.

1. Zionist, smearing Putin and Russia in accordance with neoconservative aims. Pro-Israel Jew Senator Benjamin Cardin is spotlighted for his work in raising awareness about the gentile evil being perpetrated in Russia. The narration even tosses in a jab at Iran for alleged corruption. Interviewees, in addition to the disease-exuding Gessen, include Pussy Riot’s Jewish lawyer, Mark Feygin, and gallery owner Marat Guelman, who whimpers piteously: “Because now what we have, Stalin come back.” There is, too, an echo of “Holocaust” propaganda in Pussy Riot: The Movement’s characterization of Russian prisons as concentration camps where women are (so the story goes) fed stale bread and rotten potatoes, made to stand naked outside in the cold, and prevented from using a toilet. Jewish billionaire oligarch Mikhail Khodorkovsky is presented as a rival of Putin – perhaps the only politician who could lead Russia to freedom! – but those susceptible to such rubbish are advised to read what Ronald L. Ray of American Free Press has written about this parasite:

It is Russia’s President Vladimir Vladimirovich Putin, a former communist, who stands in the breach, while bankers and internationalists promote the likes of Mikhail Borisovich Khodorkovsky, a Russian Jewish oligarch with billions of dollars to use for the re-enslavement of the former Soviet Union. […]

Although convicted of tax evasion and moneylaundering—a conviction upheld by the European Court of Human Rights—Khodorkovsky has been portrayed by Western media and politicians as a “political prisoner” because he opposed Putin. He is the poster boy for the plutocratic fight against Russian nationalism and economic independence.

But according to a January 3 report in Germany’s National-Zeitung, even defenders of the 50-year-old multi-billionaire are forced to admit that his wealth is ill-gotten. In just 15 years, the young communist son of modest engineer parents amassed many billions of dollars under the aegis of former Russian President Boris Nikolayevich Yeltsin. He was one of a handful of Jews who were given free rein by Yeltsin to enrich themselves by gaining control of much of Russia’s wealth and politics […]

As Yeltsin’s energy minister, Khodorkovsky used his now-bankrupt privately-owned Bank Menatep, for shady real estate dealings and to purchase a controlling interest in the defunct Yukos Oil Company at a fraction of its value. The Yukos production division in Russia sold the oil at minimal profit to the distribution division, located in a foreign tax haven, which then sold the oil to American and Jewish interests at market rates. Khodorkovsky and his partners profited immensely and paid little or no taxes. When a local Russian mayor spoke out about Yukos’s refusal to pay taxes, a Khodorkovsky partner was implicated in the contract murder of the official.

Khodorkovsky was accused of stealing 200 million metric tons of oil from Russia—half the Yukos production—via his business practices. Thus, it was natural that, under Putin’s efforts to break the international bankster grip on Russia and regain control of natural resources, Khodorkovsky would be investigated for selling those resources out of the country.

Not surprisingly, Pussy Riot: The Movement executive producer Marianna Yarovskaya – clearly a principled crusader for truth – is a former employee of Zio-globalist operations Greenpeace and Voice of America. She was also the head researcher for global warming scare film An Inconvenient Truth. Unsurprisingly, too, given the group’s Jewish and globalist NGO connections, Pussy Riot has most recently thrown the weight of its tawdry celebrity wholly behind the “refugee” invasion of Europe.

Rainer Chlodwig von Kook

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Vice poster

Sometimes nothing quite hits the spot like a bleak futuristic movie. Combining elements of Westworld (1973) and Blade Runner (1982) and updating these themes with apprehensions of twenty-first century cultural rot and a rising police state, Vice is a worthy entry in the dystopian thriller genre. Appropriately, generic actress Ambyr Childers stars as a synthetic human plaything at Vice, an indoor resort complex for perverts and sadists. Thomas Jane is cool as the dedicated but tired cop who attempts to find Childers after she escapes into the outside world, and Bruce Willis oozes the sleaze of authority as Vice’s untouchable proprietor. Fast-paced and relevant, Vice is solid. Those hoping for outrageous depictions of high-tech debauchery, however, will be disappointed, as most of the sex is merely teased.

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

5. Arguably Christian. A church provides at least momentary refuge. One line of dialogue suggests that those wrapped up in illusions avoid such places. Christians are falsely blamed as likely terrorist suspects.

4. Misandrist. Vice, unfortunately, is full of today’s hysteria about a ridiculous “rape culture”. The film depicts a nightmare America not unlike that from the Purge franchise, in which white males would delight in nothing more than to pay for the privilege of beating up, raping, and murdering women.

3. Anti-state and anti-corporate. Vice reflects the darkening reality of a world governed by a sexually permissive but totalitarian state guided by materialistic corporate interests. Elements of the police are in Willis’s pocket and work to cover up his crimes. The Vice resort fronts for defense sector research, the “artificials” being tested for military applications. The film can also be read as a skewering of the official 9/11 story.

2. Luddite. Technology threatens human liberty. Characters hope to escape to the “tech-free zone” of St. Helena.

1. Pro-censorship. Surprisingly for a Hollywood movie, Vice contains a thinly veiled argument for censorship. Describing the pleasure palace in words that might just as easily refer to the multiplex and its desensitizing effect on viewers, Thomas Jane’s cop holds forth as follows:

You know, people go in there and they get their freak on and they do whatever they do, and then they keep goin’ in there, and then they keep goin’ in there, and then they bring that shit out in the real world, it feels normal to them. [. . .] I used to be a cop. I’m not a cop anymore. I’m a fuckin’ garbage collector since that fuckin’ place opened up. It needs to be shut down.

Later, in a confrontation with villain Willis, he adds:

This is the only place I know that any scumbag in the world can get into paradise [. . .] You would think that if you created a place where people could come and they could commit any crime they could think of, just any fucked-up thing that comes into their head, they could get it out of their system and they’d become better citizens, you know. But you know it turns out, the exact opposite is true. These people get a taste and they just can’t get enough.

Rainer Chlodwig von Kook

Human Highway

Human Highway (1982) ****

Co-scripted and directed by eccentric rocker Neil Young (using the pseudonym Bernard Shakey), Human Highway is the weirdo sort of movie destined from its inception to become an item of cult interest. Young stars as lamebrained mechanic Lionel, who dreams of rock stardom while making a mess of his duties at Dean Stockwell’s roadside gas station and diner, where coworkers include Sally Kirkland, Russ Tamblyn, and Dennis Hopper. The diner is situated near a nuclear power plant where the boys from Devo work and are exposed to so much radiation that they actually glow with red light. Stockwell, who has inherited the diner from his father and finds it in financial disarray, gets the idea to torch his unprofitable business and be rid of it; but will he be able to hatch his plot before toxic waste, radiation poisoning, or a full-blown nuclear holocaust throws a monkey wrench into his plans?

More of a gratuitously bizarre curiosity than a genuinely admirable film, Human Highway remains a valuable document of the prevailing new wave musical sensibility of the day as applied to cinema, and also conveys the anxieties of the eighties about the possibility of nuclear holocaust and the threat to man and the environment posed by toxic waste. This black comedy’s script, unfortunately, too often aims for the random and leaves most of the ideas and characters underdeveloped, while the production values are on the order of a typical episode of Pee-wee’s Playhouse – which, depending upon the viewer’s individual taste, could be a blessing or a curse. The film really starts to fall apart from a narrative standpoint during the second half, with (for some reason) a montage of Native Americans dancing around a bonfire of wooden Indians and Lionel dreaming after being knocked unconscious of rock-and-roll stardom and excess, and letting a groupie suck milk off of him with a straw. The high point of Human Highway is an extended bout of down-and-dirty, feedback-fried riffing and jamming between Neil Young and Devo, with the team totally freaking out and looking like a bunch of psychos.

4 out of 5 glass parking lots.

Incident at Channel Q

Incident at Channel Q (1986) *****

Al Corley headlines this trash heap treasure as Rick Van Ryan, a smug, sarcastic, rebel-rousing VJ at regional television station Q 23. The teenagers love him, but stick-in-the-mud suburbanite parents and Christian conservatives are all in a tizzy and picketing Rick’s unwholesome influence, demanding that his program, Heavy Metal Heaven, be taken off the air in order to save young people’s souls. Corporate sponsors are getting nervous, the old guard at Q 23 hates his guts, and the Tipper Gore ticket is getting unruly, with two right-wing brutes ambushing Rick in an alley and beating him up, after which the young radical moves to bring the cultural crisis to a head, barricading himself inside the TV station and calling on his followers to lend him support. 

What passes for a story line in Incident at Channel Q is primarily a pretext for exhibiting a series of then-recent music videos in their entirety, these videos – ranging from Rush to Rainbow, KISS, Iron Maiden, and all points in between – taking up half or more of the movie and simulating the experience of watching 80 minutes or so of MTV on a typical day in the 1980s. The music, for the most part, is fantastic stuff for 80s rock buffs, with a trio of videos – Lita Ford’s “Gotta Let Go”, the Scorpions’ “Rock You Like a Hurricane”, and Motley Crue’s vicious “Looks That Kill”  – constituting some of the greatest, most outlandishly photogenic material ever committed to film. Poofy hair, horror lighting, whore makeup, chintzy sets, studded leather wristbands, tight pants, and other depravity abound, with KISS’s “All Hell’s Breakin’ Loose” being another fun and action-packed video, while others – Rush’s “Body Electric” and Deep Purple’s “Knocking at Your Back Door” – showcase the post-apocalyptic imagery that was popular in those years.

5 pentagrams for the rock and the morally righteous camp value. VHS copies of Incident at Channel Q are inexpensive, so readers who see one languishing on a used bookstore shelf or in a moldy box in a basement are advised to redeem it or suffer the vengeful disfavor of Satan. 

 

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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!