Archives for posts with tag: Detroit

Thanksgiving

So some guy named Shapiro made a Thanksgiving movie that serves as a showcase for drunkenness, interracial sex, projectile female ejaculatory fluid, and transgenderism? Imagine my shock. I would actually be surprised if there has ever been a worse cinematic Turkey Day offering than Best Thanksgiving Ever, which from the beginning feels more like a failed cable sitcom pilot than an actual movie. Jay Seals stars as Kevin, a sad sack who learns his girlfriend is cheating on him, and David Paulus plays his buddy Brad who tries to cheer him up by taking him out to drink and see strippers. Astoundingly, Eric Roberts and Ed O’Ross got talked into appearing in cameos in this kitchen fire.

A star and a half. Ideological Content Analysis indicates that Best Thanksgiving Ever is:

5. Anti-white, throwing in a gratuitous reference to how Europeans “stole” America from the Indians.

4. Anti-Christian. Sexually insatiable madwoman Margaret (Tate Hanyok) says grace before doing cocaine in Brad’s bathroom, getting drunk on wine, and later putting on a sexual exhibition for Brad and Kevin. Jesus himself puts in a mocking appearance in a singles bar, looking like an over-the-hill, burned-out hippie. Thanksgiving, judging from this movie, is just a day when friends gather to eat turkey and watch the big sportsball game.

3. Pro-miscegenation, including the de rigueur publicity for African penis size in comparison with that of whites, and with one black character nicknamed “The Hammer” in reference to his endowment. Margaret also mentions having a black ex-boyfriend named Nehisi.

2. Pro-gay. Guests at Brad’s Thanksgiving dinner include romantically committed homos Bruce (Jayden Lund) and Marc (Jordan Feldman), who perpetuate the gays-are-a-girl’s-best-friend meme and also come across as comparatively normal in juxtaposition with the wacky Margaret and her boyfriend (Jason Whisman). Two other comic relief gays appear in a sequence set in a grocery store. Best Thanksgiving Ever also works to normalize transgenderism by featuring a post-op “woman” who is of course portrayed by an attractive female actress (Ashley Platz) instead of a man. Even Jesus appears to be tickled when Brad, unaware that the tranny is an old schoolmate with whom he used to play basketball, is tricked into leaving with it and is nearly seduced. Though refusing the mutilated individual’s advances, Brad is careful to proclaim his acceptance of transgender orientation.

1.Anti-family. No children are in evidence among the households of the thirty-and-forty-something cast of characters, and non-procreative forms of sex – oral, anal, manual, and involving trannies – seem to be of primary interest to screenwriter Paulus. Mom, meanwhile, is just some obnoxious person who calls you when you’re trying to concentrate on interracial porn.

Rainer Chlodwig von K.

Rainer is the author of the recently banned books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SIXTEEN

Red Army

Red Army tells the intriguing story of the Soviet hockey system – the players, the bureaucrats, and the sport’s utilization for patriotic propaganda purposes under Brezhnev. Star performers like Viacheslav Fetisov, whose reminiscences form the core of this exceptional documentary, contributed to the development of an intricate, distinctively cooperative hockey style as contrasted with the rougher, more individualistic Canadian-American model. While loved and idolized by their people, Soviet athletes, as Red Army makes painfully clear, did not enjoy the freedom and the celebrity lifestyle associated with sports in the United States.

A participant in the celebrated Miracle on Ice of 1980, Fetisov and his teammates went on to win the Soviet Union its sixth and seventh gold medals at the 1984 and 1988 Winter Olympics. Fetisov was beaten and harassed by authorities before finally being able to emigrate to the U.S., where he at first had difficulty adjusting to an unappreciative American system. In 1995 he was traded by the New Jersey Devils to the Detroit Red Wings, whom he helped to Stanley Cup victories in 1997 and 1998, largely through a recreation of the successful five-man formation, the “Russian Five” or “Russian symphony”, that had worked so well for the Soviet team.

One criticism of Red Army is that it treats the propagandistic agenda of Soviet sports culture as if this was somehow unique to the communist experience – as if sports in United States, for instance, do not convey the official myths of this decaying society. The U.S. distinguishes itself with the cultural Marxist flavor of its spectator sports, with team members of all different races, sexual orientations, and national origins coming together for a single purpose and teaching not pride in one nation or race, but multicultural meritocracy and allegiance to uniforms. “Spectator sports today is used as a perfume to hide the aroma of our decaying society,” writes Harrison Elings at The Occidental Observer. “It has ushered in an age of sports ritualization. It is used as an escape mechanism for a lost identity, an identity which now accepts and believes in the entrance and mixture of all races into all Western societies. It is Exhibit A for successful multiculturalism and interracial harmony and cooperation.”

5 stars. Ideological Content Analysis indicates that Red Army is:

3. Anti-materialistic. To its credit, Red Army does not stoop to glorifying the gaudy, gangsterish switch to capitalism in the 1990s. “Different mentality. Different culture,” Fetisov says in reflecting on his return to his formerly communist homeland. “We kind of forget about the patriotism. We [are] kind of ashamed [of] what we was before.” Furthermore, he confesses, “We lost something. We lost our pride. We lost our soul.” What Red Army neglects to tell the viewer, however, is just how Jewish the criminal Russian nineties were.

2. Zionist. Directed by a very self-consciously Jewish immigrant’s son, Gabe Polsky, Red Army is comparatively well-behaved in its cautious treatment of Vladimir Putin’s Russia, but the choice to include one particular clip from journalist Vladimir Pozner is very telling. “Much of the problems” – that is, in the Russia of today – “are still anchored in that [totalitarian] past,” he says, leaving to viewers’ imaginations what “problems” Russia has. This is something of a throwaway statement in the context of the full-length documentary, but crucial in the marketing of the film to the public, as millions of Americans have heard this remark about Russia’s alleged Soviet-Putin continuity “problems” in the widely seen Red Army trailer included on many 2014 Sony Pictures Classics releases. Asked by an audience member at a Toronto Film Festival Q & A why no Russian filmmaker had previously made a film about the Soviet hockey system, Polsky responded, “maybe because [of] some of the politics in the country, they might just – it’s not possible.” The insinuation of this vague reply is that Putinist Russia is some oppressive bastion of censorship preventing the production of intellectually satisfying hockey documentaries.

1. Pro-immigration, reinforcing the notion that immigrants have valid reasons for moving to the United States and attempting to find a better life. Fetisov, because of his high achievements and non-threatening genetics, presents an unusually appealing immigrant narrative. Some NHL personnel were wary of the sudden influx of Russian players after the collapse of the Soviet Union, and Red Army includes a sound bite from one such nativist who suggests the imports are stealing American jobs. This, however, the film implies, was just a form of bigotry that had to be won over. “They’re playing for us and they’re good,” one hockey fan exults after Fetisov and his countrymen hit their stride with the Detroit Red Wings.

Rainer Chlodwig von Kook

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Tyler Perry, wearing men’s clothes for a change, plays the titular Detroit police detective in this adequate serial killer thriller.  Cross, along with partner Tommy Kane (Edward Burns), comes up against a worthy adversary in a sadistic assassin (Matthew Fox) dubbed “Picasso” for his eccentricity of leaving charcoal drawings as signature clues.  The leads are serviceable, with Fox turning in an intense performance, but the script is uninteresting.  Neither woefully dull nor particularly memorable, Alex Cross is a passable evening’s diversion, but hardly essential action viewing.  It earns 3 out of 5 possible stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that Alex Cross is:

12. Anti-corporate/philanthropy-skeptical.  European magnate Monsieur Mercier (Jean Reno), who poses as the industrial savior of Detroit, is actually just a criminal and murderer.

11. Anti-drug.  Mercier’s assistant is a drug addict.

10. State-skeptical/ambivalent.  The police chief (John McGinley) is running for mayor and so speaks in platitudes and thinks only of what will benefit him politically rather than what will protect the citizens.  The federal government, however, receives an endorsement when Cross and Tommy decide to apply for gigs with the FBI.

9. Anti-military/anti-torture.  Cross, going by the killer’s refinement of torture techniques, guesses that Picasso is ex-military.  “Inflicting pain is a crucial part of my true calling,” the killer says later, seeming to validate Cross’s hypothesis.

8. Feminist.  When Tommy surmises from a victim’s lavish lifestyle that the woman must have had a rich man in her life, his tough girlfriend/colleague Monica (Rachel Nichols) objects, “Is that your only idea for how a woman could get money?”  “It was very sexy to be saved by a beautiful woman,” one of the Germans (Werner Daehn) flirts.

7. Pro-police.  With the exception of top brass, policemen are honest and hardworking.

6. Pro-vigilante.  Notwithstanding the above, Cross and Tommy find it necessary to throw out the rulebook and do things their own way, breaking into a station at night and stealing evidence.  Cross understandably has personally motivated vengeance in mind after his wife is killed.

5. Christian.  Cross’s name suggests the special relationship of blacks with God and Christian suffering, and the character is an appropriately spiritual man, retreating to a chapel for meditation after the death of his wife.  Blacks enjoy singing a hymn at a funeral (“I sing because I’m free” – from slavery, presumably, in black-run Detroit).

4. Multiculturalist.  Alex Cross celebrates the contributions to law enforcement of blacks, other minorities, women, and even whites.  The friendship the protagonist shares with partner Tommy Kane handily demonstrates the multiculturalist ideal of color-blind brotherhood.  (Together they eat at McDonald’s, probably worthy of their patronage and of mention in the film because of its progressive 365Black promotion.)  Detroit appears as a mostly orderly and suprisingly Caucasian multicultural city.  Mrs. Cross (Carmen Ejogo) even puts in an endorsement for the city’s post-apocalyptic public schools when she voices reluctance to move because it would mean taking her children out of Detroit’s public institutions of learning.  “I have no idea what the public school system is like in D.C.,” she worries.  (Could it be worse?)  Glimpses of the actual Detroit occur, however, in a few ruined buildings and abandoned theaters like the Michigan Palace, once home to rock bands like Iggy and the Stooges, but now just a picturesque parking garage.  Also, an indication of the city’s real crime problem is given when Tommy says, “Witnesses?  This is Detroit.  Nobody’s sayin’ anything.”

3. Anti-white male.  Apart from Tommy, white men are either dishonest, incompetent, cowardly, rude, or psychotic.  The white male as usual furnishes the profile of America’s typical terrorist threat.  Picasso’s close haircut also reminds viewers to be aware of the undying skinhead menace.  A group of German security guards illustrates the tight-assed, “Ja wohl”-spitting constipation of personality to which whites are prone when left to themselves on whole continents for centuries (and also the inferiority of private security contractors to public authorities like Cross).

2. Pro-family/pro-marriage.  Cross is a model husband and father.

1. Black supremacist.  Alex Cross is the sort of character one only encounters in the movies: the hyper-intelligent, cultured, spiritual, upstanding black citizen, family man, badass, invaluable public servant, and super-sleuth who could probably catch Sherlock Holmes napping on the job.  Alex Cross is the paragon Shaft only dreams of emulating, a character who exists not in any recognizable reality, but solely for the purpose of salving blacks’ insecurities as to what they like to imagine is their superiority in every category of human or animal endeavor.  He inhabits a fantasy world in which black people practice at the piano, play chess, eat in fancy restaurants, and respectfully say, “Yes, Ma’am” to their elders.  Also possessed of Lecter-like superhuman senses that enable him, through faint odors or minute stains, to divine everything his wife has eaten or what errands she has run during her day, Cross is uniquely suited to perfectly, almost psychically, reconstruct crime scenes.  “It’s like working with sixth-graders with you two,” he tells colleagues.  One assumes that his penis is also quite large when he makes a condescending reference to Tommy’s “little chip”.  An establishing shot of a sculpture of the Madonna creates a parallel between Cross’s murdered pregnant wife and the mother of Jesus, hinting that the hero, if not for the evil meddling of his white antagonist, might have fathered a new messiah, which in turn would suggest that Cross, the son-sacrificing black man, is, as Jeremiah Wright would aver, the manifestation of God on Earth.

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