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Equalizer

Denzel Washington stars as the title character in The Equalizer – a superhuman bundle of Robin Hood, Barack Obama, Angus MacGyver, and Jason Voorhees rolled into a single American hero. Perhaps the most preposterous film in which Washington has yet appeared, The Equalizer concerns an ex-CIA spook who comes out of retirement to save filthy, greasy-lipped prostitute Chloe Moretz from the clutches of the oil-and-pimping syndicate run by ridiculously named Russian gangster “Vladimir Pushkin” (wink, wink), played by Vladimir Kulich.

Washington’s genius allows him to improvise endlessly inventive and cruel methods of dispatching his enemies, frequently by means of split-second calculus – cogitations conveyed cinematically by extreme close-ups of Washington’s all-seeing eyeball – and always directed at Caucasian men. The Equalizer is silly, offensive, inorganic, and way too long at a run time in excess of two hours, but those who suffer the full duration of its unending equality mandate will at least be treated to an awe-inspiring rap by Eminem.

3 out of 5 stars for the unintentional humor. Ideological Content Analysis indicates that The Equalizer is:

6. Pro-torture. Enhanced interrogation be da bomb.

5. Black supremacist, pro-immigration, and anti-white. The titular hero, living up to his name, disburses the villains’ ill-gotten gains among a group of Asian immigrants. Juxtaposed with the brilliant, polite, well-read, and fastidious Washington – an extraordinary specimen of Africanus cinematicus – white men appear as boorish ogres who mistreat women. Washington scolds a white co-worker for his foul language, and one scene even shows a white criminal in a hoodie robbing minorities at gunpoint. In still another scene, he literally uses a book to disable a Caucasian. “Change your world,” the Equalizer advises, a recommendation that screenwriter Richard Wenk seems to have taken to heart in depicting lifeforms on this planet.

4. Anti-police. Boston cops – white ones, of course – are on the take and extort protection money from minority businesses. In a lame reversal of the famous scene in Dirty Harry (1971), a black man points a gun at a white cop and calls him “punk”.

3. Anti-Russian and pro-war. As in all recent Hollywood output – The Heat (2013), Bullet to the Head (2012), and Pain and Gain (2013) being other examples – Slavic women are depicted as prostitutes. Moretz’s pimp, played by David Meunier, is even named “Slavi” so as to as to scream his ethnicity into the viewer’s ears in case the fact of his being a Russian was not already obvious.

Marton Csokas portrays Itchenko, the iciest and most bestial of the Russians – a character whose name suggests that he is subhuman (i.e., an “it”) as well as being a biological nuisance (an “itch”). Itchenko also has epaulette tattoos on his shoulders, a detail which implies that imperious militarism constitutes a physiologically inextricable aspect of the Russian subhuman’s being. Of “Pushkin”, it is said that “his money and political ties make him untouchable”, which can only suggest that he is somehow connected with Russian government officials – Putin himself, perhaps?

In one scene, an assembly of Russian mobsters refuses Washington’s offer of $9,000 in exchange for a hooker’s “freedom”. “You should have taken the money,” he taunts after murdering all of them. The significance of this confrontation, almost unrecognizably distorted in its filtering of geopolitical reality, is that Russia, by rejecting America’s globalist porno-economic order of capitalo-totalitarian usury, has invited its own extermination. At the film’s conclusion, Washington travels to Russia to assassinate “Pushkin” – and, like a proper slasher movie serial killer, confronts him while he is taking a shower.

2. Pro-N.W.O. CIA officials appear as tender and devoted nurturers. Clearly, the casting of Washington as the hero also carries an onomatological resonance.

1. Anti-Christian and Jewish supremacist. “I will have vengeance,” one hears muttered repeatedly during one of the songs featured on the Equalizer soundtrack. Indeed, it has been some time since this reviewer has seen a movie as viciously and mockingly anti-Christian as this one. Early on, The Equalizer associates and nearly equates Christianity with Russian brutality, with gangsters sporting crucifix tattoos and lounging around a bar with an Orthodox icon on the wall. When Washington intrudes and casually slaughters them, the icon is splattered with their blood.

An early scene that establishes Washington’s character and trajectory draws a parallel with the protagonist of Ernest Hemingway’s The Old Man and the Sea. On the surface, this refers to Washington’s being an older man of former achievement who rises from mediocrity to take on a massive challenge, or catch the big fish represented by “Vladimir Pushkin”. So blatant is The Equalizer’s hatred of Christianity, however, that the significance of the fish allegory is multiple. At the deeper level, Washington is the personification of Judaic vengeance, the golem, the butcher, and fisherman who has finally, triumphantly, reeled in Christendom. The script, at the moment of Washington’s summary of the novel, warrants quotation:

Old man tied the fish to the side of the boat, had to row back to shore. The fish bled in the water, sharks came, and ate the whole fish till there was nothing left. [. . .]  The old man met his greatest adversary when he thought that part of his life was over [. . .] Came to respect it the more it fought.

Asked why the fisherman refused to relinquish the fish, Washington replies that, “The old man’s gotta be the old man. Fish gotta be the fish.” The big fish is Christendom, its bleeding either the vivisection of Christ or the degradation and rot of the West by corrosive culture-disease. European man, in the allegory, is Jewry’s big trophy catch – and neither, if it is to be true to itself, can ever give up the struggle against the other’s all-or-nothing efforts.

In the climactic scene, the hissing and superficially civilized Itchenko is transfixed in a ritual sacrifice by Washington, whose sadistic choice of a nail gun to do the job is the key to understanding the movie’s subtext. Here, for America’s rooting enjoyment, is a thinly disguised Christ-snuff film framed as a thrilling adventure in which ZOG saves the world again from crypto-tsarist-fascist bigotry. For the cherry to top the cloying Jewishness of the whole tawdry abomination, in an earlier scene Washington even subjects Itchenko to psychoanalysis before committing a massive act of industrial terrorism to spite him.

Rainer Chlodwig von Kook

Dawn_of_the_Planet_of_the_Apes

Here is a worthy addition to the venerable Apes franchise. Like the original Heston classic, Dawn of the Planet of the Apes is by turns poignant, thought-provoking, and unintentionally humorous in telling the tragic story of what befalls humanity in the wake of its decimation by a simian flu and the resulting collapse of civilization.

What little remains of Bay Area humanity lives together in downtown San Francisco, led by capable ex-soldier Dreyfus (Gary Oldman). The civilizationally ascendant apes, led by intelligent chimpanzee Caesar (Andy Serkis), inhabit the forest surrounding the city, unaware that humans have survived the plague.

When a chance encounter and death bring the two mutually resentful species into conflict, members of both groups believe their continued existence is at risk. At stake in this exciting installment of the franchise is whether peace is possible or full-scale war between the two tribes is an inevitability.

4.5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that the symbolism or subtextual resonance of the ape/human relationship in Dawn is variable, changing in meaning from scene to scene, so that a single comprehensive interpretation is impossible. Anecdotal analysis follows, however, yielding the following diagnoses:

4. Multiculturalist. All races live together in harmony in progressive post-collapse San Francisco. The diverse makeup of the human element, including blacks, softens the association that racially insensitive viewers are likely to draw between apes and blacks. That parallel is exploited, however (see no. 3), and the abstract sense that the apes are akin to the teeming anthropoid scatology constituting the world outside the West – and, increasingly, the West itself – is also unavoidable. (cf. no. 1)

3. Anti-gun. With the planet essentially set back to zero, the original sin that disrupts this new potential Eden is not the eating of fruit, but the bearing of arms. Carver (Kirk Acevedo), a character who bears a suspicious resemblance to George Zimmerman and who, given his Anglo name, is presumably supposed to be some kind of “white Hispanic”, sets the plot in motion when he panics and shoots a (no doubt angelic) chimp in the forest. Apes, at first hopeful of peaceful relations, confiscate and destroy a few of the humans’ guns. Carver later disobeys Caesar’s terms of cooperation by sneaking a gun into ape territory, putting a baby chimp in danger and alerting emotionally susceptible moviegoers that the guns in their homes are a multitude of dead baby tragedies waiting to happen.

2. Green. It is man’s energy dependency which brings him into conflict – in this case, with apes – when Dreyfus determines to get a power plant operating again. No alternative energy is available, viewers are told, the implication being that, had America’s government, in its wisdom, been allowed to invest more of its tax booty in clean, green energy alternatives, the humans’ post-apocalyptic plight might have been avoided.

1. Crypto-Zionist. The misleading notion that the American energy appetite – lust for oil, for instance – is responsible for drawing the country into its conflicts abroad only serves to distract from the reality that it is the Israel lobby, not hootin’, hollerin’ Texas oil barons, who have exercised a Svengali-like influence on American foreign policy in recent decades.

More interestingly, the climactic sequence of Dawn of the Planet of the Apes invites an interpretation according to which the humans, led by Dreyfus, are Jews, and the apes are the primitive gentile hordes. As this interpretation would have it, the climax of the movie presents a kind of encrypted dialogue between two competing Zionisms. Some explanation may be necessary for the uninitiated in matters Judaic as to why goyim might be cast as apes. What too few gentiles understand is that Talmud-taught Jews hold non-Jews to be subhuman, their word for a gentile woman, shiksa, meaning an “unclean animal”. The Yiddish slur goyim, furthermore, is used synonymously with “cattle“.

The name of the human leader, Dreyfus, calls to mind the notorious Dreyfus Affair, which, as Jewish history would have it, constitutes one of the most rabid episodes of anti-Semitism in the history of Christendom (practically the entire history of Christianity being a mere buildup to the “Holocaust” if Jewish historian Raul Hilberg is to be believed). The name Dreyfus, then, suggests a Zionist martyr, as do his words and actions in this momentous sequence.

Toward the end of the film, the simian army has taken control of San Francisco, with bloodthirsty ape usurper Koba* (Toby Kebbell) and his followers occupying a downtown tower as headquarters. Dreyfus and his fellow human-Jews, unknown to the ape-gentiles, have planted explosive charges under the tower – a tactic clearly reminiscent of the Israeli Mossad‘s controlled demolition of the Twin Towers on 9/11.

Dreyfus, defending his decision to eradicate the ape-gentiles when fellow human Malcolm (Jason Clarke) expresses his horror and his hope that ape/human reconciliation is still possible, explains that he is detonating the tower in order to save the human race (i.e., Jews). His position, in other words, is that every ape-gentile must die so that Jew-humans might survive. He then proceeds to explode the tower, himself along with it, considering his act of mass murder a selfless martyrdom. The actual result of his action, however, is that full-scale conflict between ape-gentiles and Jew-humans is now a permanent feature of their inextricable histories. Ape-gentiles will always be hostile and on the defensive from now on because the vindictive Jew-humans can “never forget”.

The Jewish screenwriters of Dawn of the Planet of the Apes appear to intend for their film to function both as a symbolic cover-up for the Jews in subliminally excusing them from principal responsibility for America’s wars of intervention – and, for the tuned-in members of the audience, as a warning to the hardcore terrorist Zionist establishment represented by such figures as Adelson, Netanyahu, Silverstein, Chertoff, Zelikow, Kissinger, Zakheim, Krauthammer, Kristol, Perle, and the rest of the Talmudic rats responsible for the Jew World Order under which gentiles are currently dying and suffering unnecessarily. Push too hard, they caution, and you might just give away the game.

*”Koba”, whether coincidentally or not, was the nickname of supposedly anti-Semitic Joseph Stalin (responsible for the “black years” of Soviet Jewry).

 

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Shoah“It’s a gas!” – Reichsfuhrer-SS Heinrich Himmler

As of writing, your humble reviewer has waded his way through discs one and two of the Criterion Collection’s 6-disc DVD release of Claude Lanzmann’s 9.5-hour Shoah (1985), which purports to tell the true story of the “Holocaust” of six million Jews through the testimonies of survivors, eyewitnesses, and participants, all adding up to a “fiction of the real”, as Lanzmann himself put it.

Claude Lanzmann 2Lanzmann scheming

Lanzmann, a French Zionist, communist, and personal messenger for Mao Zedong who interviewed movie stars for French magazines in the 60s, had during the 50s been, with “with [mentor Jean-Paul] Sartre’s blessing – Beauvoir’s lover, ‘the only man with whom [feminist lowlife] Simone de Beauvoir lived a quasi-marital existence’.” According to Beauvoir in her memoir, Lanzmann’s “rancour with respect to the goys never went away.” Shoah, if nothing else, is certainly evidence of that. Beauvoir also says that the wayward, paranoid, and tantrum-prone Lanzmann would sometimes wake from nightmares screaming “You’re all Kapos!”

Claude LanzmannLanzmann in uniform

Shoah plays like this man’s smirking, smoldering, self-absorbed, joyous, and seemingly interminable slow-motion nightmare. To watch it is to experience intermittent boredom and fascination, as sluggishly panning shots of fields and roads intermingle with alternately colorful or mundane interviews.

SrebnikSimon Srebnik looking forlorn for the camera

The first pitiful Jew viewers are offered for adoration is shifty-eyed Simon Srebnik, who claims to have seen fire shooting from death camp chimneys into the sky. “I dreamed, too, that if I survived, I’d be the only one left in the whole world,” Srebnik (obviously enjoying the attention) remembers fantasizing.

Then there is the idiotically grinning Michael Podchlebnik, whose clear giddiness at being filmed for a movie prompts Lanzmann to ask why he is smiling. Fortunately for the sake of Shoah‘s credibility, Podchlebnik has found his motivation for the next segment in which he is featured and manages to work himself up into a pretty good cry. Other survivors follow, none of them particularly compelling. One claims to have seen a wall of rainbow-colored flame erupt on the occasion of the first mass incineration. Another says water gushed up from a pit to seize the bodies dumped into it.

PodchlebnikMichael Podchlebnik, movie star

The best parts of Shoah are Lanzmann’s interviews with common Poles who lived in the vicinity of railways, camps, and “gas van” operations. What is so refreshing about these people, who come across as lovable, Slavic rednecks, is their earthiness, their unstudied eccentricity, and the obvious fact that most neglect to take the “Holocaust” very seriously.

Poles

Polish “Holocaust” witnesses – possibly inebriated

“Above all, they were dishonest,” one Pole reports of his old Jewish neighbors. Laughing women recall that their men enjoyed chasing the beautiful, idle Jewesses, but another interviewee opines that the Jews were unattractive. Lanzmann, meanwhile, constantly prods them, trying to get anybody and everybody to admit that the Polish people do not really lament the extermination of the Jews and in fact benefited from it because they were then able to move into the houses of the deceased and so up the social ladder.

PoleJews smelled bad, says this Pole

Lanzmann’s anti-Christian agenda becomes overt in the portion of Shoah comprising disc two of the Criterion release. He arranges, for instance, to interrogate a gaggle of Chelmno Poles in front of a church in which Jews were once corralled, but chooses the day of a Catholic festival for his interview, so that reminiscences of Jewish internment and theft of valuables are juxtaposed and interrupted by a devout procession with icons.

HilbergRaul Hilberg doing his Raul Hilberg impression

Anti-gentile historian Raul Hilberg, author of The Destruction of the European Jews, is also interviewed and voices his view that the “Holocaust” is only the culmination of a festering anti-Semitism present in Europe and Christendom for a thousand years or more. It was “a logical progression” of Christianity toward “closure” of the Jewish question, Hilberg explains.

Hilberg, to his credit, acknowledges that no paper trail exists for a “Final Solution” as that term is generally interpreted by mainstream (i.e., corporate, Zionist-subsidized) historians and that “one cannot find a specific document, a specific plan, outline, or blueprint which states, now the Jews will be killed.” He goes on, “Everything is left to inference from general words. General wording [. . .] leaves something to the bureaucrat that he must infer.” Orders-by-inference would seem to be a novel, unorthodox, and unreliable protocol for an operation calling for military discipline, but Nazis, Hilberg gives the viewer to understand, work in mysterious ways.

Shoah coverEpic dullness in high-def

Lanzmann’s Shoah is the ultimate slog, with Pauline Kael rightly describing the documentary as one “long moan” in her assessment. Rewarding as time spent among the affable Polish villagers can be, much of the remainder (at least, based on this reviewer’s experience of the first two discs) is tedium defined. Typical of Lanzmann’s style are long panning shots over empty expanses, desolate fields and forests, ratty houses, lonely roads, snowdrifts, etc. One shot pointlessly follows a van on a road for about a minute, followed by a shot of the van boringly parking, after which the camera slowly zooms in on the stationary van – revealed to be the director’s high-tech detection Shoahmobile!

One wonders at times if the sinister intention of all this monotony is not to lull the unsuspecting viewer into a dulled, semi-conscious state of susceptibility to the Zionist propaganda. Only the contents of the next four (ugh) discs will tell.

[Read this reviewer’s further reflections on Claude Lanzmann’s Shoah here.]

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