Archives for posts with tag: democracy

Chernobyl-Diaries-poster

Carefree young Americans on a European holiday disport through various photo opportunities during the opening minutes of Chernobyl Diaries. Their frivolity, however, is, as one might expect in a horror movie (or any movie set in the Ukraine, for that matter), short-lived. Impulsive Paul (Jonathan Sadowski) convinces his brother and other friends to go in for a bit of “extreme tourism” by visiting the abandoned town of Pripyat, once home to the workers of the Chernobyl nuclear complex – and, in a scenario reminiscent of The Hills Have Eyes, the group discovers that they are not alone. The menace’s true nature is wisely withheld from the audience during the film’s first half, and shot with minimal revelation when it finally does appear, so that it never loses mystique and generates high levels of tension. Consequently, prospective trekkers on this journey into fright may prefer to watch it with all of the lights safely on.

4.5 stars. Ideological Content Analysis indicates that Chernobyl Diaries is:

5. Mildly feminist. Paul is saved by one of the girls.

4. Moderately anti-family. Paul comes from a dysfunctional family. The brothers’ connection is a mutual liability.

3. Anti-state. Chernobyl is a relic of statist failure. Secretive authorities maintain a cover-up of present conditions in Pripyat.

2. Green. “Nature has reclaimed its rightful home.” The savagery experienced by the protagonists can be interpreted as an environmental revenge directed at man for his arrogant scientific meddling in fields of taboo knowledge. Vegetation and rot have overtaken Pripyat, with weeds having sprouted up in a gym and other interiors.

1. Anti-Slav. Tour guide Uri (Dimitri Diatchenko) is a decent, if somewhat dishonest, man, while other representative Ukrainians include rude, sexually aggressive young Kievans and the unfriendly checkpoint sentries outside the forbidden zone. More fundamentally, the nocturnal, radioactive threat in Chernobyl Diaries hints at Hollywood’s paranoia that, somewhere under Eastern Europe’s tenuous veneer of post-Soviet reform and democratic openness, there seethes something brutal, subhuman, and probably innately anti-Semitic.

Rainer Chlodwig von Kook

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Lone_Survivor_poster

Zio-harpy Debbie Schlussel, who has charged that Hollywood Jews are moldering in a “pan-Islamic slumber“, and badgered Jason Alexander about what she alleged were his Islamo-Nazi terrorist connections, was understandably irate with director Peter Berg when he made The Kingdom (2007), a film which, while reinforcing aspects of the War on Terror, made an effort to humanize the typical Saudi citizen.

Half-Jewish Berg, perhaps stung by this questioning of his Zionist bona fides, went on to direct Battleship (2012), an unabashed advertisement for American military recruitment on behalf of the Jew World Order. So as to be absolutely clear as to where he stands geopolitically, Berg even gave an interview to an Israeli journalist to promote Battleship, during which he referred to the possibility of an Iran with nuclear weapons as the most pressing crisis presently facing the planet and called his interviewer a draft dodger for not joining the IDF.

Berg’s most recent contribution to post-9/11 cinema is Lone Survivor, an Afghanistan war horror hailed by Fox News as “a great service to this nation” in its celebration of the goy cannon fodder who put their lives on the line to, as Berg words it, “protect you, to protect me” against “legitimate evil”. The “evil” in the film is jihadist Ahmad Shah (Yousuf Azami), whom Lone Survivor explicitly dubs the “bad guy” for the benefit of the cognitively impaired in the audience. Operation Red Wings deploys Marcus Luttrell (Mark Wahlberg) and his crack team of hardcore Navy SEALs to assassinate Shah, coddle the still-toddling Afghan “democracy”, and so secure the CIA’s investment in Afghanistan’s booming opium crop – though Lone Survivor, naturally, neglects to mention this last point.

Horribly boring exposition introduces viewers to a group of indistinguishable, unshaven, and dull-eyed muscleheads who lounge around and act like boastful frat boys between forays behind enemy lines. Israel’s errand boys, unfortunately, get into a kosher pickle when sent to execute Operation Red Wings. Shah’s Taliban army learns of the SEALs’ location, and when their Raytheon-enriching communications equipment goes on the blink, Marcus and crew are outnumbered and stranded, pinned to a hellish position on the side of a goat-infested mountain.

From this point on, Lone Survivor is almost entirely action, most of it unimaginatively realized, with shaky cam, speed-up/slow-down gimmickry, and first-person shooter POV shots with zombie-like Muslims in the cross-hairs. The characters are unlikable, their “fuck”-sprinkled dialogue doing little to humanize them, and their mission is frankly an unsupportable tyranny, so that one almost longs for the Taliban to win and kill off the American invaders. The film becomes more engrossing once Luttrell is left the last man of his team to continue to make his way to safety, as at this point Lone Survivor shifts from being a war adventure to a more archetypal struggle of one man to survive against hostile odds.

3 out of 5 possible stars. ICA’s advice: watch Rescue Dawn (2006) instead.

Rescue_Dawn_poster

Ideological Content Analysis indicates that Lone Survivor is:

8. Pseudo-Christian. Navy SEAL Mike (Battleship‘s Taylor Kitsch) wears a cross tattoo on one of the arms he uses to kill on command.

7. Pro-miscegenation. End credits feature footage of a white soldier kissing his Asian bride.

6. Cronyist, putting in a good word for more military-industrial pork. “Limited resources, chief. There ain’t enough Apaches.”

5. Pro-drug. Several beers are mentioned as code names for nodes in Operation Red Wings. See, too, remark on opium above. Keep those cattle sappy and happy.

4. Anti-Muslim. Decapitation-happy “Tally” and mascara-wearing “bad guy” Ahmad Shah represents the Muslim menace ably.

3. Pro-military. An opening credits montage of Navy SEALs being trained, which is to say, tortured, to become thoughtless murder machines, essentially serves as a J.W.O. mercenary recruitment commercial. As with Berg’s toy-to-movie adaptation Battleship, the writer-director delights in the idea of plastic American soldiers for Jews to hold under their magnifying lens, watching them melt under foreign suns. A wimpy cover of David Bowie’s song “Heroes” stinks up the end credits photo montage of the men portrayed in the film.

2. Imperialist. The Taliban is a threat to world security, Lone Survivor would have viewers believe, because it promotes fundamentalist Islam, chops off a few heads, and forces its women not to dress like whores. The truth, however, is that many of these are just men trying to keep their country from going the way of the Jewnited States of Slum-merica, with whiny minorities running the show, social engineers and feminist riffraff ripping families apart, and Marxists undermining the cultural pillars supporting traditional ways of life. The neoconservative program, however, calls for Afghanistan to embrace diversity, drugs, pornography, sex reassignment surgery, Sarah Silverman, managerial government, and the drone-patrolled surveillance state – in short, Jewish World Imperium.

1. Zionist/anti-human. Disturbingly, Berg acknowledges that the strength of the book on which Lone Survivor is based is its divorcing of the Afghanistan war from politics, and its celebration of the alleged heroism of the band-of-brothers mentality that sustains its combatants. Lone Survivor, in other words, promotes the utmost nihilism, proposing that viewers should not concern themselves so much with why Taliban fighters must be killed, or why Afghanistan continues to be occupied, but rather with the relentless, Israel-licking devotion with which goy cattle “heroes” commit the mass murder. “You are never out of the fight,” Luttrell says at the end of the film, instilling in the audience the suggestion that America’s crusade against the evildoers, wherever they may dwell, will continue indefinitely.

 

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Eli Roth, in his influential 2005 horror downer Hostel, made what appears to have been a bid for consideration as a serious artist by inserting one or two references to Franz Kafka.  Twenty-five references to Kafka would not, however, have changed the fact that Hostel was simply torture porn – a film trading not in suspense but rather in fetishistic sadism and fascination with the meat potential of human bodies.  Now comes first-time director Taylor Sheridan’s Vile, 897th bastard son of Hostel, which, like its pappy, has a pun for a title and, again like its pappy, makes reference to a serious thinker by featuring a Gandhi quotation as an epigraph: “The root of violence is science without humanity.”  A better motto for Vile would be, “The root of tedium is filmmaking without humanity”, as that, ultimately, is why Vile is so irritating and so disposable.

After a group of dirty, unsavory twenty-or-thirtysomethings is fumigated and kidnapped by an Avon lady in a gas mask, they awaken to find themselves sealed into a house with strangers.  An ugly woman on a monitor (who identifies the house as hers) informs them that they will be unable to leave until the tubes connected to their brains have been filled with chemicals that can be made into drugs.  These chemicals, unfortunately, are produced only under extreme duress.  “Pain will be your only way out of this house,” she says.  It is then up to the group to decide how they will go about dividing the torture amongst themselves before their time has run out.  What follows is more than an hour of people arguing, moaning, screaming, beating, and mutilating each other as shaky cameras record it all in gruesome and uninteresting detail.  Dimly lit and painted with a sickly, bilious palette, Vile is a difficult film to watch and an impossible one to enjoy for anyone not a certifiable sadist.

1.5 of 5 possible stars.

[WARNING: SPOILERS]

Ideological Content Analysis indicates that Vile is:

10. Anti-redneck.  From the moment the group stops at a rural gas station with an out-of-order pump and country music playing, the viewer is aware that the protagonists  have left the comforts of civilization behind and have taken the Highway to the Danger Zone.  A banjo is heard later in the film, having apparently been deemed the appropriate musical accompaniment to the subject matter.

9. Feminist/anti-family.  The setting is an apparently ordinary house, with the appurtenances of conventional domesticity – an iron, a fork, a grater, and a pot of boiling water – becoming in this context the instruments of torture.

8. Egalitarian.  Suffering is to be shared equally.  The man who says, “I am not splitting shit with any of you” is the first to die.

7. Anti-business/anti-capitalist.  Vile‘s representative entrepreneurs are drug dealers willing to maim and murder to manufacture their product.  Promotion of products  with free samples, as of perfume, is a ruse to lure people to certain doom.

6. Un-p.c./diversity-skeptical.  The group seems eager to attack the black guy before anyone else.  Asian bitch Kelly (Stefanie Barboza) is dubbed “Pineapple”.  “Shouldn’t you men take a little extra responsibility?” one woman asks.  The black guy, Greg (Rob Kirkland) objects to such “feminist crap.”  Salt conspicuously labeled “kosher” is rubbed into an open wound during the opening credits.

5. Pro-slut/pro-miscegenation.  Vile opens with a group of tattooed, sloppy, probably Obama-backing Occupy-type wastrels filthily lounging in grass like a pack of smelly dogs.  Pregnant bimbo Tayler (April Matson) says, “I’m gonna get tatted up all over.  It’s gonna be sexy.”

4. Multiculturalist.  Tayler wants a tattoo of Japanese waves.  Sam (Greg Cipes) has a tattoo in Hindi.

3. Anti-democratic.  The democratic process takes the form of incessant arguing with accompanying emergence of interest groups.  The character who suggests that the group’s strategy should be determined by equal votes is, as it turns out, a psychopath and in league with the drug farmers.

2. Anti-drug.  Users and dealers in drugs (and other products, presumably) are often unaware of the human suffering resulting from the satisfaction of their demand.  “People will pay anything.  They don’t care where it comes from.”  “I just sold the stuff,” says Greg, who claims not to have known how the drugs were made.  Whites thus turn blacks into criminals and unwitting murderers through the drug trade.  Greg also takes painkillers after his torture, indicating that blacks turn to narcotics only to relieve the distress and abuse they receive at the hands of oppressive whites.  Pills, however, only lengthen the ordeal of one of the victims in the film.

1. Nihilist/anti-human.  Sadism = survival.

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