Archives for posts with tag: Christianity

Office Christmas Party

Jason Bateman plays straight man to a cast of corporate crazies in Office Hanukkah Party, Hollywood’s latest assault on every decent thing left in this maggoty world. The movie does manage to lampoon the self-negating neuroses bred by workplace compliance with inclusivity policies and political correctness, but ultimately embraces the same sort of idiocy, only spicing it up with vice and obscenity in order to make the New World Order seem somehow appealing. Viewed in isolation from any moral considerations or greater societal impact, Office Hanukkah Party is an admittedly fun film buoyed by a talented cast of comedic actors including Jennifer Aniston and T.J. Miller as feuding tech executive siblings Carol and Clay. Kate McKinnon insults Christians everywhere in the role of the rigid but flatulent “Mary”, while Vanessa Bayer and Randall Park reprise their interracial flirtation from the similarly depraved Trainwreck.

4.5 out of 5 stars – and, to be absolutely clear, this rating reflects not the film’s sociological value but its likely appeal to its intended audience of unredeemed degenerates. Ideological Content Analysis indicates that Office Hanukkah Party is:

9. Disingenuously anti-corporate, disapproving of impersonal business cultures, profit-prioritizing layoffs, and the like, but fully endorsing the atomized hedonism favored by the neoliberal establishment. (I find a pleasing irony in the fact that the film’s initials, O.C.P., are also those of Omni Consumer Products, the evil military-industrial megacorporation from RoboCop.)

8. Russophobic, with Russians depicted as gangsters. One of them, a thug named Alexei (Michael Tourek), gets nightsticked for calling a liberated American woman “bitch”.

7. Jewish supremacist. Indicating priorities in the opening moments of the movie, a menorah occupies the center of the frame in a shot of a holiday snack table. Aniston also demonstrates the superior merits of Krav Maga. In a possible insult to Arabs, a foreign-looking fellow is seen literally fucking a camel statue in the back of a truck.

6. Feminist. Carol, in addition to being able to hold her own in a fight against her brother, refers to God as “Her”. “Suck my dick,” a woman tells her male supervisor.

5. Anti-Christian. The entire movie constitutes a denigration of Christians’ celebration of the birth of Christ, as symbolized when Clay sleds down a staircase and demolishes a Nativity scene.

4. Anti-family. Learning that Allison (Bayer) is a single mother, Fred (Park) replies, “That’s great. I was raised by a single mom.” Children are bothers and fit primarily for corruption, as in the end credits image of two women who appear to be snorting cocaine in the presence of a minor. Asked what is most annoying about the internet, Jeremy (Rob Corddry) replies, “Pictures of people’s kids.” A youthful caroler thrusts his middle finger at the protagonist, while the inappropriately named Carol tells another child, “Fuck you” – continuing Hollywood’s use of foul language referencing sex acts with children (cf. Cooties).

3. Pro-gay. “I’m talkin’ ‘bout take your pee-pees out and put ‘em in some booties,” proclaims DJ Calvis (Sam Richardson). Clay, meanwhile, is “straight – except for that one time.” Viewers are also treated to a guy-guy dancefloor kiss and the sight of Jason Bateman simulating fellatio with an ice sculpture. Then, too, there is mention of a “Human Centipede situation in the men’s room.”

2. Pro-miscegenation. Josh (Bateman) finds himself attracted to icy Eurasian cutie Tracey (Munn). Allison, meanwhile, after being grossed out by Fred’s mommy fetish, winds up smooching with Indian nerd Nate (Karan Soni). There is also a briefly glimpsed interracial toilet stall orgy.

1. Pro-drug. Drug humor in Office Christmas Party runs the gamut of cocaine, booze, and the abuse of prescription medications. One employee remarks that it is “boring as shit” that no one gets inebriated before noon. It is only after a bag of cocaine is accidentally dropped into a snow machine that the party really comes alive. Straight-laced black executive Walter Davis (Courtney B. Vance, the indispensable negro sonar genius from The Hunt for Red October) gets particularly loose after taking a blast of powder in the face and later declares that this has been “the best night of my life” even after being hospitalized following a brutal fall. Clay, too, snorts a quantity of cocaine and gets into a wreck which serendipitously corrects a previous fracture.

Rainer Chlodwig von K.

Nomads

John McTiernan, director of Hollywood blockbusters Predator (1987), Die Hard (1988), and The Hunt for Red October (1990), began his movie career rather more humbly with the flawed and eccentric but nonetheless entertaining debut Nomads (1986). Notable as McTiernan’s only credit as a screenwriter, Nomads was eviscerated by the critics when first released, and still has only a 13% green splat at Rotten Tomatoes. “Was there any sense in it?” asks leading lady Lesley-Anne Down in an interview included on the Nomads Blu-ray. “I don’t think there was very much sense in it at all for anybody.” Is Down correct in dismissing the film as a shallowly offbeat curio – and were the critics who panned the movie motivated only by an objective assessment of its merits?

Nomads stars Pierce Brosnan as a French anthropologist, Jean Charles Pommier, who in the opening sequence dies in the care of Down’s character, Dr. Eileen Flax, in a Los

Down

Lesley-Anne Down freaks out in John McTiernan’s Nomads.

Angeles hospital. He appears in a beaten, bloodied, and seemingly insane state, and his enigmatic last words initiate what will be a strange paranormal ordeal for Flax, who over the course of the film will both investigate and experience what befell Pommier, with most of the story told in flashback. The anthropologist and his wife (Anna Maria Monticelli) had only recently moved to the U.S. and purchased a house that, as it turns out, has a horrible history attached to it. Soon after moving in, the Pommiers discover Mansonesque graffiti on the garage door and more graffiti inside: “Gutman’s a Hero”. The home, they learn, was the site of a horrific child murder, and a band of elusive antisocial misfits who live out of a van have adopted the house as a holy site.

Pommier, being an anthropologist, follows the titular “nomads” around Los Angeles with the intention of documenting and studying them in order to gain a better idea of the threat he faces and to understand “what kind of people could think of a murder as some sort of shrine.” He determines that none of them have employment and watches them from a distance as they laze at the beach, party, and generally terrorize people. The nomads become aware of Pommier’s surveillance after he witnesses them murder a man and put the body in a dumpster. After first being pursued by them and escaping, Pommier again works his way into proximity with the group – at which point they seem to accept his presence and stage an impromptu photo shoot, with one of them, Mary, played by Mary Woronov, doing an exotic dance. When Pommier develops the film, however, he finds that none of the nomads appear in the exposures, which invites a comparison with vampires – although the nomads, who have no problem frolicking in the daylight, are clearly not vampires at least as conventionally depicted.

These quasi-vampires – vampire lore comprising a traditional understanding of the eternal Jew – are nomads, or what Pommier, drawing on Eskimo legends, describes as an urban variety of Innuat. As related in the film, “It has to do with wandering the desert. […] It’s all the same. Nomads live in deserts, whether it’s a desert of ice or sand or whatever doesn’t make a difference. […] They were supposedly hostile spirits. According to the myth, they were capable of assuming a human form” and traveled from place to place, bringing ruin and madness with them wherever they went. As Pommier tells his wife:

None of this may mean anything. None of it at all. […] But I may have found people who are living outside – outside any structure. They do not participate. No exchange, no constraints. They resort to violence with no provocation and then get away with it. It is as if to the official world they did not exist.

All of this rootlessness, in combination with the confluence of ritual, child murder, the reverence for a killer with the Jewish name Gutman, as well as the general depravity and destructiveness, contributes to an accumulation of clues that the nomads may be the Jews. Curiously, composer Bill Conti mentions during his Blu-ray interview that the soundtrack includes what he describes as a “Middle Eastern sound” – though to this reviewer’s untrained ear such a flavoring is difficult to detect in the synth-and-guitars music cues.

Adam Ant Nomads

Adam Ant portrays the leader of the titular band of roving marauders.

“You must not try to fight them,” a sinister nun (Blue Velvet’s Frances Bay) tells Pommier. This encounter takes place in a dilapidated cathedral where, in a sequence of nightmarish phantasmagoria, a flock of satanic women in habits is seen running through the halls in masks, one of them flashing her bare breasts at Pommier – all of which points to a faith corrupted. Dancing Mary, the nomad portrayed by Mary Woronov, wears a cross that glints in the sun, and later, when she is seen at night, she wears an even larger crucifix so that the viewer can hardly help but notice it as she cavorts like a stripper. Are these Christian elements ironic and indicative of cultural subversion, or have these been added as fig leaves to hide the almost naked Jewishness of the menace? Woronov’s features, it must be noted, are rather evil and arguably Semitic-looking.

In a key moment toward the end of the film, Pommier says to his wife with an air of wistfulness as they survey the Los Angeles skyline from a rooftop, “We are so very far from home, you know. All of us.” He laments his “bourgeois” life in a “civilized” world – in short, bemoans his condition of rootless cosmopolitanism. Both he and his kindred spirit the doctor, another childless middle-aged professional in the process of moving into a new and foreign home, have agricultural surnames, Pommier (“apple tree”) and Flax, that betray their simple origins and relatedness to the earth – Flax also connoting blonde and distinctively northern European looks – that set them apart from the dark, mysterious wanderers who move in their midst. Pommier’s polyglot cosmopolitanism, peripatetic ways, and sophistication nevertheless present a thematic parallel with the lifestyle of the nomads, so that it comes as no surprise when Pommier finally succumbs to them. The horror of Nomads is loss of a sense of belonging to a place and one’s own native culture – the horror of an alienated world in which, for instance, Dr. Flax’s colleague Cassie Miller (Jeannie Elias) complains about the “meshuggenah lunatics” who people the city. Whatever the meaning of the film, it may be worth observing that it is set in the entertainment capital of the world and that the final nomad antagonist Dr. Flax encounters is unable to pursue her beyond the California state line.

Rainer Chlodwig von K.

road-to-the-well

Laurence Fuller plays a frustrated beta male desk jockey, Frank, who discovers that his girlfriend has been having an affair with his boss. Serendipitously, an old friend of his, handsome drifter Jack (Micah Parker), breezes into town and convinces his buddy to meet him for a few drinks at a night spot, where he also goads Frank to approach a woman (Rosalie McIntire) who catches his eye at the bar. From here, Frank’s life takes a left turn down a darker avenue than he ever knew existed, with Road to the Well developing into a fantastic, albeit eccentric, little thriller sustained by painful tensions and moments of unexpected strangeness. Only one superfluous scene broadly and condescendingly characterizing conservatives as “bigoted trash” taints what is otherwise a recommendable film, and writer-director Jon Cvack is to be commended. Barak Hardley is also worthy of mention for his portrayal of spoiled millennial man-child Chris, while Marshall Teague, glaring out of the screen from the other end of the masculinity spectrum, is also highly effective. For those interested, Road to the Well was recently released on DVD and VOD.

Four-and-a-half out of five stars. Ideological Content Analysis indicates that Road to the Well is:

8. Anti-capitalistic, with prostitution furnishing the film’s model of free enterprise. Undignified Frank continues to work for his company (in order to “build a cushion,” he says) even after learning his boss has cuckolded him. He despises his erstwhile friend Chris, however, as a “hoity-toity yuppie” – but it is possible also to read the envy hiding behind Frank’s feigned contempt for Chris’s material security. Jack is utterly dismissive of regular employment, and encourages Frank to call in sick. “I don’t work anymore,” he says.

7. Anti-war. An implicit parallelism emerges during a scene between a murderer and a military man. One character understands something about the other’s experience.

6. Judgmentally anti-slut. The wages of sin is death!

5. Pro-gay. A corny anecdote is told about a homosexual adolescent who shot himself after being bullied. A homophobic redneck landlord who makes light of his own son’s participation in the bullying is intended to represent the low standard of sophistication prevailing among opponents of sodomy. Frank’s exaggerated reaction to this insensitivity is, one assumes, meant to establish his character’s moral credentials.

4. Manospherean. Frank, over the course of the film, is taught by his experiences to man up and assert himself. “Everything is fine as long as you got some money and a nice piece of pussy” is Jack’s philosophy.

3. Anti-Christian. A chaplain (Teague) has lost his faith and become suicidal. “My faith? What the hell is that?”

2. Anti-marriage. “It’s like marriage is this weird construct we’ve made up for ourselves and handed down from generation to generation,” moans Chris, who is soon to be married. “It’s meaningless, right?” A committed relationship is “not exciting”.

1. Antinatalist. “It’s like they’re these tiny little animals and I’m responsible for ‘em,” Chris frets, imagining the prospect of fatherhood. “If I don’t change their diaper, then they just, what, sit in their shit all day? Or, like, if you touch their fontanelle, you’re like, touching their brain, and you got a dead baby. […] No thank you.”

Rainer Chlodwig von K.

bone-tomahawk

Bone Tomahawk is the real deal: a gritty, unapologetic – or, anyway, not overly apologetic – portrait of a time when western civilization’s future was secured with sacrifice and with blood and when subhuman savagery met with the requisite repercussions. Patrick Wilson, in a winning and physically demanding role, plays Arthur O’Dwyer, an injured cowboy whose broken leg is the last thing on his mind when wife Samantha (Lili Simmons) is abducted by “troglodytes” – a pack of cannibalistic cave-dwelling Indians straight out of a horror movie.

Joining O’Dwyer on the ride into savage territory to rescue Samantha are rock-solid Sheriff Hunt (Kurt Russell, more mature but just as badass as in Tombstone), gentleman Indian killer Mr. Brooder (Matthew Fox, who thankfully has a more dignified role than as the honky serial killer hunted by Madea in Alex Cross), and elderly, slow-witted backup deputy Chicory (Killing Them Softly’s Richard Jenkins, filling the Walter Brennan type sidekick role). Kurt Russell is Bone Tomahawk’s star power, but Jenkins practically steals the movie with his endearingly goofy interpretation of Chicory. Lili Simmons is perhaps never entirely convincing as a woman of the nineteenth century; but every member of the ensemble cast is entitled to ample applause.

Bone Tomahawk is as fine a contribution to the western genre as the present century has made; but viewers hoping for something as wholesome as Shane or even The Searchers are likely to find that Bone Tomahawk makes some fairly extreme demands on audience stomachs with its graphic and gory depictions of the troglodytes’ atrocities. This astounding outing was written and directed by S. Craig Zahler, a man whose slim résumé would hardly suggest that his first movie as a director would be such an undisputable masterpiece. “I believe those fleas are alive – and talented,” Chicory says in fond remembrance of a flea circus he once attended; and similar words could characterize this grumpy reviewer’s experience of watching Bone Tomahawk – which, if nothing else, demonstrates that the perverted parasites of the movie industry can from time to time still create a thing of actual beauty and earn the money they grab from the goyim.

5 stars. Ideological Content Analysis indicates that Bone Tomahawk is well worth seeing and:

4. Flat-Earther! The flatness of the terrain crossed by the posse causes Chicory to give voice to his doubt about the roundness of the planet.

3. Pro-marriage. Bone Tomahawk presents multiple touching examples of loving marriages. It is O’Dwyer’s devotion to his wife that drives him to drag himself to the end of his adventure.

2. Christian. Characters dismissive of faith are disproportionately the ones who meet with unpleasant ends. “You can always sell ‘em to some idiot,” doomed thief David Arquette says in defense of the Bible. The likable Chicory is a Christian, as is O’Dwyer, who calls on God for strength as he drags his tired body toward what threatens to be a suicidal raid on the troglodytes’ lair. “This is what I prayed my whole life for – for help right now.” He crosses himself on finding his wife still alive, his faith in God’s existence seeming to have been confirmed. Sid Haig’s bandit, who hypocritically demands that the Bible be treated with respect while he goes about cutting sleeping men’s throats and steals their possessions, does, however, illustrate that mere profession of Christianity is no definite indication of merit.

1. Racist! The only advantage the “four doomed men” of the posse have against the troglodytes, Sheriff Hunt announces, is that they are smarter than the subhumans. The cave-dwellers are grotesque, with animal bone piercings, and, in addition to being cannibals, blind and incapacitate their females, using them only for reproduction. This is implicitly contrasted with the comparatively high standing women have enjoyed in western civilization. The men of the frontier town of Bright Hope are respectful toward Mrs. O’Dwyer, who has even been able to study medicine and doctor the locals. Women of the twenty-first century, Bone Tomahawk would seem to suggest, would probably not be wise in welcoming white men’s eclipse in the world. Perhaps to mitigate the white-vs.-brown premise, the troglodytes appear smeared in a whitish clay pigment; while, in another ass-covering gesture, the movie includes a distinguished Indian character called “The Professor” (Fargo Season 2’s Zahn McClarnon) who explains that the troglodytes are inbred and “something else entirely” from typical Native Americans.

Brooder, who remains an arrogant but nonetheless likable character throughout the film, shoots two Mexicans who approach the posse’s camp, suspecting them of being the scouts for a raid. “Mr. Brooder just educated two Mexicans on the meaning of Manifest Destiny,” Chicory explains to O’Dwyer, who asks if they deserved it. “I don’t know,” Chicory answers with meaningful ambiguity. An ethnomasochist in the audience at a question-and-answer session with the cast and crew (included on the DVD as an extra) refers to Brooder as a psychopath; but nothing whatsoever in the film suggests this. Brooder is a good and ultimately selfless man in spite of what Chicory anachronistically characterizes as his “bigotry”. There is an awareness and an appreciation in Bone Tomahawk that in the construction of civilizations, unpleasant actions must sometimes be taken so that the greater good can be secured.

Rainer Chlodwig von K.

Paul Morrissey

Paul Morrissey

Mention Paul Morrissey and movies about transvestites, heroin addicts, and other varieties of lowlife are likely to come to mind; but the director of such films as Flesh (1968) and Heat (1972) holds very different views than one might assume from a first impression of these films and from his professional association with Andy Warhol. “Staunchly conservative, Morrissey still frowns upon the moral and artistic state of America today,” writes Steve Ryfle, who interviewed the filmmaker in 2000. Rather, Morrissey’s vintage films reflect his view that “modern American life was going down the toilet.”1 David Bahr of The New York Times writes:

Paul Morrissey disdains rock music, abhors recreational drugs and thinks even less of liberal politics. When asked his views on sex, he pauses for a moment, looks his inquisitor in the eye and says: “I’m Catholic. I’m with Rome 100 percent.”

Such sentiments may seem surprising coming from a director whose films luxuriate in the libertine lives of heroin users, masturbating transvestites and polymorphous-perverse male prostitutes. Yet Mr. Morrissey – who from 1966 to 1972 directed more than half a dozen movies produced by Andy Warhol, discovered the avant-garde rock band the Velvet Underground and once saw a court label his work “obscene, vulgar and profane” – believes he’s misunderstood, to say nothing of misrepresented.2

Morrissey situates his work outside the counterculture and characterizes it instead as his disapproving reaction to the general collapse of morality as it occurred around him:

There’s something I realized years later, after I had made all the films, although I probably realized it at the time even though I wasn’t conscious of it. At that time, there was this idea that was just coming in – the media was just getting hold of it, and the music world was just screaming its lungs out about how great it was – saying you could do whatever you want. That was really idiotic, and stupid and foolish and silly, unbelievably stupid.

People, by the late sixties, were doing whatever they felt like, and nobody gave a damn.

“I understood that these people were good story material, good subjects to show where life had gotten to, and how pathetic it was,” Morrissey explains.3 Blood for Dracula (1974), for instance, imagines a future-shocked traditionalist vampire (Udo Kier) who despairs of finding virgin blood to drink in the sexually free and easy 1970s, while Trash (1970) depicts the boredom of heroin dependency. “So much of the culture glamorized drugs at the time,” remarks frequent Morrissey leading man Joe Dallesandro. “Paul wanted to show the seedier side, where it all led to.”4 Women in Revolt (1972), which utilizes a cast of transvestites for satirical purposes, mocks the increasingly noisy and confrontational feminist movement of the day. “I thought it would be funny if they were playing women who were converted to lesbianism by the women’s lib movement,” Morrissey says. “The whole women’s thing was so ridiculous. ‘We don’t need men,’ and all that.”5

The director envisioned his Madame Wang’s (1981) as a satire of nonexistent American values and the decline of Western Civilization:

The huge Masonic Temple was a Greek temple, it represented past culture, and it was abandoned and lived in by derelict female impersonators. That was my take on Americans, especially Southern California Americans. They couldn’t care less about anything, except maybe getting up in drag or doing a punk rock show and screaming and throwing themselves on the floor. And the poor Russian agent comes from East Germany and says, “I’ve got to meet Jane Fonda, we’re taking over this country one day, and we have to have all of our operatives in place and I’m one of them.” And everyone says, “great, so what?”6

Morrissey gives the following explication of his comedy flop Spike of Bensonhurst (1988), in which his “pain in the ass” protagonist (Sasha Mitchell) “treats everybody like dirt, and does whatever he wants”:

The little switcheroo, which I thought was the point of the story, was that finally when someone disciplines him it turns out to be the best thing that happens to him. The idea that there are some standards and a sense of order in the world somewhere […]7

Like so many avowed conservatives in American politics, however, Morrissey’s work reveals his complicity in the projects of the culture destroyers even as he professes traditionalism. The mundane drugs-and-drag depravity of his classic oeuvre, while successfully illustrating the emptiness of the revolutions in sexuality and consciousness that had been engineered during the 1960s, also serves to normalize the ascendant dysfunction.

“Life is so second rate now,” Morrissey assesses.

And that idea that life has degenerated to a second rate position was part of the story to all those movies. I still don’t see that as a story element in any other movies – the obvious fact that life today is so much poorer than it was before. And I don’t think you can tell that story unless you’re aware that there’s a difference now. Most people don’t even know there’s a difference between today and before.8

Rainer Chlodwig von Kook

Endnotes

  1. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 18.
  2. Bahr, David. “Conservative Bard of the Demimonde”. The New York Times (February 27, 2000): http://www.nytimes.com/2000/02/27/movies/film-conservative-bard-of-the-demimonde.html?pagewanted=all
  3. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 18.
  4. Bahr, David. “Conservative Bard of the Demimonde”. The New York Times (February 27, 2000): http://www.nytimes.com/2000/02/27/movies/film-conservative-bard-of-the-demimonde.html?pagewanted=all
  5. Ryfle, Steve. “Life Is a Toilet: The Films of Director Paul Morrissey”. Shock Cinema 17 (Fall-Winter 2000), p. 20.
  6. Ibid., p. 21.
  7. Ibid.
  8. Ibid., p. 19.

Maggie

Arnold Schwarzenegger gets a rare opportunity to show his range as an actor in Maggie, which casts him as a Midwestern everyman who goes looking for his daughter (Abigail Breslin) after a zombie outbreak plunges the country into chaos. Unfortunately, when he finds her, she is already one of the afflicted. They have some time before the infection causes her to turn, however, and so he brings her home from the hospital for a few last days of vainly attempted normalcy, which naturally leads to painful tensions and scares as Maggie’s stepmother (Joely Richardson) begins to be frightened for her life. This is not Arnold the action lead, but Arnold the life-size yet heroic victim of circumstance whose situation dictates his reconciliation with reality. Those expecting a frenzied zombie apocalypse outing along the lines of 28 Weeks Later (2007) or World War Z (2013) will be disappointed, as Maggie offers little in the way of undead pandemonium. This unusual movie is best described as a somber family drama that also happens to have horror elements.

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

2. Anti-Christian. Arnie’s wife has resorted to prayer, but heard only silence in reply.

1. Anti-family and anti-white. It is difficult for this viewer to watch an intelligent zombie film without searching for its allegorical significance. In Maggie, the plague has spread from the cities across the rustic heartland, suggesting a cosmopolitan cultural rot has infected the unspoiled folk of the plains and particularly their young. Maggie presents itself as a movie about the importance of family ties, with a reassuringly positive and tender depiction of a father; but this is really a genocidal study of European man reconciling himself to a future of zero posterity. With unintentional comedy, the family’s wise old Jewish physician, Dr. Kaplan (Jodie Moore), advises Schwarzenegger to do the sensible thing and shoot his daughter before she goes cannibal on him. Devotion to kin, in the context of Maggie’s apocalyptic zombie plague, becomes a liability and a threat to public health and order.

Rainer Chlodwig von Kook

More Schwarzenegger movies at Ideological Content Analysis:

Escape Plan

Expendables 2

Expendables 3

The Last Stand

Terminator Genisys

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

Reagan Devil

Regular readers of icareviews are aware of this writer’s interest in shadow government and conspiracy lore. Here, then, if only for the benefit of a chuckle, is a theory that is admittedly rather loony, but nevertheless possessed of a certain poetic charm and appropriateness. It comes from attorney Richard J. Bisbee’s novel Capitalism Imperfectly Understood:

In 2000 I met my favorite client, a woman of about my age, Angela Churchill. True to her name, she was a “church lady,” a regular at the local Catholic Church. […] In 1973 as a young adult she was profoundly affected by the movie, The Exorcist. A few years later, she began hearing “spiritual voices.” She became convinced that she was “demon possessed.” […] Her psychiatrist concluded that she would only cooperate with him if exorcism was tried. He convinced the local Bishop to authorize an exorcism for “therapeutic purposes.” […] Amid much drama, no doubt inspired by the movie, the “demon” was drawn out and expelled, sent “back to Hell.” […]

By 1976 her life was back on track. […]

But Angela’s “vision” was not limited to the afterlife and world of spirits. During her “demonic possession,” she believed that she had been given a special insight into American politics. It all went back to the 1973 movie, The Exorcist. The book of the same name was based on a real life story, the alleged “possession” of a boy. In the movie, a girl named Regan who lives in Washington D.C., is possessed by a spirit that arises from an artifact dug up in Northern Iraq.

Angela’s special insight was that this movie was actually a “coded message” from “Hollywood insiders” regarding the “demonic possession of the American Presidency.” Regan is but a variation of Reagan. In the sixties, Ronald Reagan had been Governor of California, and by 1973 was already being touted as an eventual President. […]

Exorcist

Angela was convinced that Reagan was “demon possessed.” That dark, Satanic powers guided his every move. And that he worshiped Mammon, a pagan god from the Old Testament who was now a demon. Pagan gods were often relegated to demon status in Catholic mythology. Angela was convinced that Reagan, once President, would turn the country over to Mammon, the god of money and greed. […]

Years later when Reagan won election, she was not surprised. It was all coming true, just as she had foreseen. Reagan’s deregulation of the financial industry led directly to the Bank and Savings & Loan bailouts. Their association with mobsters and reliance on astrologers confirmed Angela’s conviction that the Reagans were not true Christians. And that they had given the country over to mobsters turned financiers. […] Even Reagan’s name presaged evil: Ronald Wilson Reagan, three names with six letters each, or “666.” […]

Her disapproval was not limited to the Reagans. Indeed, Angela believed that “the demon” or “demons” continued to “possess” subsequent Presidents and other politicians. The trend toward a “Wall Street government” continued under George H.W. Bush and Bill Clinton. Increasingly, speculators on Wall Street were gambling with the life savings of the people, both in America and worldwide. Usury laws were rescinded. Increasingly, the rich were allowed to prey at will upon the people. Greed was everywhere, corrupting the people with false values and “idols.”

Hmm …

Rainer Chlodwig von Kook

Endnotes

Bisbee, Richard J. Capitalism Imperfectly Understood. Bloomington, IN: AuthorHouse, 2011, pp. 251-254.

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Black Mass poster

A decidedly drab and unglamorous but still magnetic Johnny Depp appears as South Boston gangster James “Whitey” Bulger in Black Mass, a true crime film from Scott Cooper, the director of the excellent Out of the Furnace. As much as it constitutes a crime saga, however, Black Mass is also a cautionary study of ethnonationalism. The film’s handling of the material is mostly sober, but veers dangerously close to the glorification of violence in more than one sequence – with, for instance, dance floor booty intercut with the discovery of a body in the trunk of a car. Depp maintains a controlled burn throughout, and the other players – Joel Edgerton, Rory Cochrane, and Dakota Johnson among them – are also commendably strong. Definitely worthwhile for crime film fans.

4.5 out of 5 stars. Ideological Content Analysis indicates that Black Mass is:

6. Pro-miscegenation. Joel Edgerton enjoys a lewd dance with a black woman.

5. Anti-Christian, but not as vociferously so as one might be led to expect by the film’s title and the promotional trailer. Christian paraphernalia loses its meaning in the context of remorseless murderer Bulger’s participation in empty rituals.

4. Anti-drug. Aspirin doses debilitate Bulger’s son (Luke Ryan) with Reye’s Syndrome, which leaves him braindead. Bulger, while heartbroken by this, shows no concern for the neighborhood kids who buy his drugs. Learning that Bulger participated in government LSD experiments, the viewer is left to speculate that this might have exacerbated his madness and criminal inclinations.

3. Euthanasist. Bulger’s wife (Johnson) prefers to take their son off life support rather than see him continue as a vegetable. “He’s never gonna be our little boy again, ever. […] He’s braindead. He’s on life support. He can’t move, and I don’t want him like that. I can’t have my little boy be like that. I’ll pull the plug myself. I will.” Clashing with the mother’s reasonable assessment of the situation is Bulger’s irrational anger as he curses his wife, kicks over a chair, and knocks a table on its side, with the heavy irony here being that a gangster and murderer, of all people, has become the advocate for the sanctity of human life.

2. State-skeptical. Government is only as worthy as the men who fill the responsible posts. The Winter Hill Gang bribes “local street cops, feds, whatever” in exchange for the cooperation of authorities.

1. Anti-white. Black Mass opens with an interrogation conducted by a federal agent resembling Eric Holder. James “Whitey” Bulger’s nickname is highly significant, as well, as is brought to the fore in a brief scene in which a black man tells him, “This ain’t your neighborhood, Whitey,” and receives a brutal beating in reply. Bulger is an Irish nationalist determined to retake territory from Boston’s “oppressor” Italians, and he and his gang have nothing but contempt for an Irish-American “turncoat motherfucker” like Officer Flynn (David Conley), who works for the other side. Bulger, as his empire grows with the help of childhood acquaintance and FBI investigator John Connolly (Edgerton), who sees to it that the Bureau overlooks his activities, even assists the IRA with shipments of arms. “What is written on a piece of paper [i.e., law] is less important than blood,” Connolly excuses his actions.

“The only time he ever seemed happy was when he was talking about the IRA,” one of Bulger’s associates remembers – the implication being that European ethnic exclusiveness holds a special attraction for gloomy people with unsatisfying lives. The name of the boat, the “Valhalla”, used to transport the weapons, carries associations with Nordicism and Nazism, and that Black Mass should be largely concerned with discrediting ethnonationalism is hardly surprising when Hollywood Zionist sleazoid Brett Ratner’s name shows up in the end credits as an executive producer. Ethnic solidarity is framed as a hollow ideology providing protection for white crime and terrorism. Bulger’s “code of honor”, furthermore, does not prevent him from introducing drugs into his own neighborhood. A Jewish actor, Corey Stoll, plays the upstanding FBI investigator who finally brings “Whitey” Bulger to justice.

Rainer Chlodwig von Kook

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Between gigs as the smirkingly hip host of the “Weekend Update” on Saturday Night Live in the eighties and his present occupation as a soullessly carnage-enthused neocon radio maniac, Dennis Miller appeared in a handful of movies, one of which is the entertaining Tales from the Crypt Presents Bordello of Blood (1996), which followed Tales from the Crypt Presents Demon Knight (1995). Miller plays sleazy Jewish private dick Rafe Guttman, who is hired by prim Christian career woman Katherine Verdoux (Erika Eleniak) to find her brother Caleb (Corey Feldman), who has gone missing after visiting a whorehouse that doubles as a funeral home.

Bordello of Blood coverVampires, as this writer has discussed in further detail here and here, are symbolic stand-ins for the Jews; and Bordello of Blood, written by A.L. Katz and Gilbert Adler, who also directs, evinces a definite knowledge of this traditional understanding. Before being enticed into the vampires’ den of immortal vice, the mischievous Caleb is already doomed to a horrible fate. He does not share his sister’s Christian values, and wears a little Star of David patch on the back of his leather jacket. It seems to indicate that Caleb has been marked for death and foreshadows his later conversion into a happy-go-lucky parasite.

A further indication of the Jewishness of the vampire plague in Bordello of Blood is the choice of giving the name Lilith to the vampires’ queen (Angie Everhart). Lilith, in Hebrew mythology, is Adam’s rebellious first wife, the world’s earliest feminist, who told her husband, “I will not lie below” (i.e., with a man on top of her). In later elaborations of the Lilith myth, she has vampiric traits, and superstitious Jews feared her as a demon who preyed upon boys. In Bordello of Blood, a midget explorer (Phil Fondacaro) in the tradition of Indiana Jones restores Lilith to life, and hopes to keep her under control by means of a charm or “key” decorated with Stars of David. This prop, appropriately enough, is the key to understanding the film.

When Guttman goes to the whorehouse, posing as a horny customer so as to pick up some first-hand intelligence, he finds himself face to face with a vampire in dominatrix Tamara (Kiara Hunter), who of course intends to suck his blood. As Guttman begins to remove his shirt, she is horrified by what she at first mistakes for a crucifix, but is relieved to discover is only a Star of David pendant, to which vampires are clearly immune – another of the film’s indications of the affinity between Jews and vampires. Guttman, however, has no patience for Tamara’s sexual pushiness and succeeds in turning the tables on her and making his escape. During a later adventure, Guttman tracks the gore-gobblers to an abandoned factory, where he remarks, “I’m gettin’ some really bad juju off this place” – which is, of course, to say “Jew-Jew”.

Bordello of Blood key

The “key” to Bordello of Blood

Another interesting feature of Bordello of Blood is Lilith’s relationship with a sleazy televangelist, Reverend Current, played by Fright Night’s Chris Sarandon. (The casting of an actor most closely associated with a vampire role as a Christian minister is itself highly provocative and intentionally insulting to Christians.) “You know, I can’t decide what to do with you,” the bloodsucking super-Jewess tells him in words that seem to resonate with a broader relevance to Jewish attitudes toward Christianity. “Should I kill you or let you live, make you my dog?” – by which she presumably means turning him into a John Hagee type of groveling Christian Zionist Shabbos goy. Lilith settles on the latter. “I want this sanctimonious shit to watch what happens now that I’m free,” she declares, referring to the sadistic, vampiric pleasure her kind derives from watching Christians squirm under the onslaught of the cultural rot inflicted upon them by the very ethno-parasites they revere as “God’s Chosen People”.

i_109_K57Current, though a corrupted man, is reluctant to acquiesce to such evil, and decides to stage a last-ditch effort to stop the vampires in their lair. “I, uh, I know I can’t fight you all, so I’ve come to join you,” he says – but just as no Jew can trust a Christian, no matter his protestations of good will, the vampires see through him and so the battle of the bordello commences, with Current and Guttman dispatching the Judaic creatures with holy water. The preacher, after containing his anti-Semitism for so many years, seems to experience a cathartic thrill in setting the vampire sluts ablaze, consigning them to the flames of a veritable whore-Holocaust. This sequence, significantly, plays out to the tune of the Sweet’s glam rock song “Ballroom Blitz” – the word “blitz” carrying a strong association with a certain European anti-Semitic initiative.

During the final confrontation with Lilith, which takes place in the TV studio where Current does his Christian crusade program, Guttman uses a laser to scorch a cross into the vampire bitch’s back, after which Katherine impales the hag with a populist pitchfork. A rabbi (Robert Rozen) then “consecrates” Lilith’s remains – this mumbo jumbo, one assumes, is some sort of “good Jew-Jew” – after which Guttman and Katherine are free to commence interfaith miscegenation – one of Bordello of Blood’s obligatory concessions to cultural Marxist expectations. A further surprise awaits the viewer, but this writer does not intend to spoil it.

Rainer Chlodwig von Kook

Read more about Jewish movie vampires:

Monsters We Do Not Need

The Vampire Elite

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