Archives for posts with tag: devil

Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SEVENTEEN

Maleficent

After decades of speculation about her actual physical form, Angelina Jolie appears without makeup or airbrushing software in Oy Gevalt Disney’s Maleficent. For years her horns and razor-sharp cheekbones have remained hidden, digitally erased through the wonders of CGI; but now the moviegoing public can finally see for themselves what a witch Brad Pitt pledged to fuck on a regular basis in exchange for worldly celebrity in a Luciferian pact with the Globalist Nazi Illuminati Council on Foreign Relations.

[WARNING: SPOILERS]

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

5. Globalist. Rival realms are united after the death of a king (Sharlto Copley). War will be obviated by the erasure of national borders.

4. Multiculturalist. Disney managed to dig up a few medieval European blacks for extras.

3. Pro-gay. Only “true love’s kiss” can awaken Aurora (Elle Fanning) from her slumber. Of course, Maleficent’s creepy lip-squish does the trick. “I’m going to live here in the moors with you,” Aurora has said earlier. “Then we can look after each other.” Maleficent teaches little girls that men, and especially white men, are not to be trusted unless weak and dim-witted. “Fairies” are the good characters, whereas men are evil.

2. Misandrist. The only positively depicted males are an apparently lobotomized prince (Brenton Thwaites) and a shapeshifting furry omega (Sam Riley). In a kid-safe evocation of “rape culture”, Maleficent is drugged on a date of sorts and has her wings clipped while she sleeps. Armies of senselessly violent (and mostly white) males rampage over the countryside, hell-bent on oppressing women and diverse magical creature populations.

1. Cultural-Marxist. Up is down and down is up. A hideous monster in the fantasy world of this movie is “classically handsome”. Maleficent, described as “both hero and villain”, purports to be “strongest of the fairies”, but anybody with a preschool education knows a being with horns growing out of its head is called a devil. This is one of myriad movies in which the traditional symbols of evil, as in Little Nicky and Dracula Untold, have been transformed into sympathetic characters – a process discussed at greater length here.

Rainer Chlodwig von Kook

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GR Spirit of Vengeance

An impudently silly film, this fast-paced 2011 installment in the spooky Marvel Comics franchise is less fun than its predecessor, but never boring as it bowls from one preposterous action set piece into another and more or less captures the feel of a comic book, if not necessarily the grim Ghost Rider comics this reviewer remembers reading in childhood. (Did the hero really ever urinate like a flamethrower in the original stories, for instance?) Johnny Blaze, who shares his body with the titular demon, is a reluctant, tragic monster in the tradition of The Wolf Man; but Spirit of Vengeance makes clear from the outset that nobody involved in this project took it the least bit seriously.

Primarily, this film is a slick, snarling vehicle for a lot of unexceptional CGI, with an absurdly intense Nicolas Cage going bonkers in a sidecar. Cage, particularly during the comical transformation sequences, is at his manic, twitching, grimacing, growling best here, and his anguished delivery of “Scrapin’ at the door! Scrapin’ at the door!” simply has to be seen to be disbelieved. Violently beautiful Violante Placido contributes more than her share of production value as Nadya, “the devil’s baby mama”, mother to Danny (Fergus Riordan), who is being sought by devilish avatar Roarke (Ciaran Hinds) and also by a fanatical religious order led by the sinisterly tattooed Methodius (Christopher Lambert). The gimmicky, ADHD-afflicted visuals and Blade-style speed-up/slow-down action sequences get old quick, but the script contains a few laughs and the pace allows for little slack. Furthermore, Cage’s madcap performance makes this mandatory for his fans.

3 out of 5 stars. Ideological Content Analysis indicates that Ghost Rider: Spirit of Vengeance is:

11. Anti-green. A hippie van hypocritically expels billowing black exhaust, as does Ghost Rider’s motorcycle.

10. Gun-ambivalent. Firearms are deployed for evil, but also utilized by the heroes.  Gunrunning is mentioned as a seedy line of business (see also no. 1).

9. State-skeptical. Politicians are acolytes of the unholy.

8. Pro-drug. Johnny Blaze guzzles painkillers like jelly beans and requests morphine in a hospital. Secondary hero Moreau (Idris Elba) drinks heavily, but suffers no impairment of his combat-readiness.

7. Racist and anti-Semitic! Moreau embodies not only the magical Negro stereotype, what with his inside information on the supernatural goings-on, but also the venerable old sacrificial Negro. “The church of my masters is an ancient one,” says Moreau – but what would a modern emancipated black man be doing with “masters”? Also, Jew Jerry Springer is pictured as an incarnation of the devil. When are race-reactionary films like this one and Little Nicky going to see the light and stop stomping for the next Holocaust?

6. Antiwar. A montage evocative of the idea of corruption intercuts hundred-dollar bills with shots of soldiers, explosions, and street violence (cf. no. 3).

5. Family-ambivalent. The film’s celebration of Nadya’s choices constitutes an attack on the traditional family, with the father in this case being depicted literally as the devil. Blaze is dedicated to his father, however, and only contracted his curse to try to save the old man’s life.

4. Xenophobic. As in Cat Run (2011) and A Good Day to Die Hard (2013), Eastern Europe is home to mystery, intrigue, mercenaries, and violence. A chaotic, layered satanic “firewall” incantation more than once includes sounds that resemble “Allah”.

3. Anti-capitalistic. The devil, who dresses like a conservative businessman, wields his greatest power through “the deal”. A sleazy businessman abortively propositions Nadya, assuming that because she is a gypsy she must also be a prostitute. She and her son work as pickpockets, feeling no shame or remorse because their need, they feel, is greater and more important than that of the more affluent people they victimize. “Everyone’s robbing me. It makes my balls hurt,” says one representative of the business community in a line which suggests that, for the affluent, money substitutes for manhood. Villains include mercenaries and gunrunners.

2. Pro-slut/pro-bastard. Spirit of Vengeance presents a heroic image of the valiant single mother in Nadya, who refers to her bastard child as “the one good thing I ever did.” Murderous Methodius judgmentally slut-shames her, however.

1. Christ-ambivalent. Spirit of Vengeance, true to its title, takes place on a battlefield of spiritual warfare. Satan (as the Louvin Brothers proclaimed) is real! – and so, therefore, are angels. Moreau “would be dead if not for the intervention of God” and wears a cross as a sign of his faith, but the film’s attitude toward organized religion is critical. “Guns and wine. Naughty priests.” The religious order’s abortive execution of Danny is vaguely pedophilic and circle-jerky. Other irreverent items of interest are the line, “Merry Christmas, you asshole!” and the fact that Blaze, taking part in an informal communion, reports that the body of Christ tastes stale.

Apropos of no. 4, note how even a superficially cute Super Bowl candy commercial can be mobilized to assist in conditioning Americans to view Slavs and Russians specifically as their enemy.

 

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AHauntedHouse

To make a comedy that will satisfy its target black audience, experience shows that it helps immensely for certain crucial elements to be firmly in place. Does A Haunted House fulfill these requirements? Serious students of cinema art are encouraged to consult the following checklist of quality standards, not only in judging the movie under consideration, but in all future encounters with the African-American comedy form.

1. Stupid honkies? Check.

2. Honkies with insatiable lust for blacks? Check.

3. Industrial-strength-funk toilet humor? Triple check.

4. Jewish names credited as producers? Check and double check.

Clearly, in renting or (preferably) purchasing the remarkable Michael Tiddes joint/cinematic celebration A Haunted House, the viewer has in hand what promises to be remembered as a timeless classic to rank alongside The Ladies Man and (yes, even) Who’s Your Caddy?.

The flimsy pretense of a plot concerns the haunting of live-in lovers Malcolm (Marlon Wayans) and Kisha (Essence Atkins) and serves to set in motion an unremitting cavalcade of hit-and-miss sight gags and surplus dirty jokes. In its defense, A Haunted House does contain a few genuinely amusing cheap laughs at flatulence, bad breath, body hair, the sight of Marlon Wayans sweatily humping multiple stuffed animals, shitting on his own carpet, and so forth, but the film is only recommended to non-whites or the most contemptible and unsalvageable of white ethnomasochists.

3 stars for the full, screeching, monkey-like intensity of Marlon Wayans’s physiological investment in his part, and Cedric the Entertainer’s earthy turn in a disappointingly small supporting role as a ghetto priest. ICA’s advice: for a funnier, less disgusting movie about spooked blacks bugging their eyes out and acting like utter buffoons, see Mantan Moreland in Lucky Ghost instead.

Lucky Ghost

Ideological Content Analysis indicates that A Haunted House is:

10. Pro-life. “But good thing that clinic was closed,” Kisha’s mother (Robin Thede) says, remembering how she almost aborted her daughter. “Hoo, God is good.”

9. Sexist! Kisha once made a deal with the Devil for a pair of designer shoes.

8. Pro-gay. The ghost has anal sex with Malcolm, and psychic Chip (Nick Swardson) slobbers over the chocolate comic stud and gropes him in every scene in which the two appear together. Kisha experimented with lesbianism in college.

7. Pro-drug. Malcolm and Kisha get high with the ghost (see also no. 4).

6. Anti-gun. Malcolm promises Kisha that no harm will come to her “unless a nigger got a gun – and then you on your own.”

5. Anti-marriage/anti-family. Each couple in the film illustrates the new, childless norm of the West. Dan (David Koechner) becomes hysterical as he remembers how he caught his wife having sex with a mail carrier.

4. Anti-Christian. Father Williams (Cedric the Entertainer) keeps weed in his Bible and cocaine in his crucifix. While possessed, Kisha masturbates with a cross.

3. Racist!/anti-immigration. Mexican housekeeper Rosa (Marlene Forte) is irascible and duplicitous, pretending not to know English when in actuality she speaks it fluently. Kisha, displaying the typical touchiness and quickness to anger of the entitled American negro, suspects Rosa of seducing Malcolm and boils over with rage when Rosa uses the word “negra” (black), with Kisha mistaking it for “nigger”. Further tarnishing the reputation of Hispanics are the revelations that Rosa is running a cocaine ring out of Malcolm’s house and that she is also a murderess and nymphomaniac who has sex on the kitchen table while her employers are away. (Contrarily, if the intention is to portray Mexican women as sexy, sexually available, and proficient in English, then A Haunted House could be interpreted as favoring immigration – at least from the male standpoint – which, considering that one of the screenwriters is named Alvarez, is arguably more probable.)

2. Anti-white. The Caucasians in A Haunted House are awkward, neurotic apes obsessed with stereotypes of blacks. Chip, for instance, assumes that Malcolm plays basketball, while Dan the Security Man (David Koechner) has hardly set foot on the property before he starts blabbing about fried chicken, ribs, hot wings, cornbread, and watermelon. For some reason, he also begs Malcolm for permission to use the word “nigger”. “You can call me a cracker .  . . Let me say it.” Dan’s partner Bob (Dov Zakheim lookalike Dave Sheridan) is brain-damaged, illiterate, and, like Dan, a racist. When the pair first meets Malcolm, Dan asks if the owner is home. “You’re talkin’ to him,” Malcolm answers. “Yeah, right,” Bob objects, clearly disinclined to believe that a black man could be the legitimate owner of such a nice suburban home.

1. Pro-miscegenation (i.e., pro-AIDS). Not only are whites in A Haunted House as dumb as dung; they are also racially suicidal and bent on miscegenation at the cost of every dignity. Sickening prostitutes Alanna Ubach and Andrew Daly play the protagonists’ white friends Jenny and Steve, swingers who constantly try to get Malcolm and Kisha to swap partners. Hoping to entice them, Jenny flashes her breasts and snaps her teeth like an alligator, while enthusiastic cuckold Steve proposes to “double-stuff the Oreo a little bit, huh? Dirty up the white snow . . . black poles, white holes . . .” Finally, the couple settles instead for a “Mandingo party” or black-on-white gangbang with Malcolm’s primitive cousin Ray-Ray (Affion Crockett) and other subhumans assembled to do the job. This scene, which graphically visualizes a bare-bottomed ogre in the process of turd-rodding ecstatically grinning Jenny, is easily the most depressing thing this battle-hardened reviewer has witnessed in some time.

To see that Universal Studios, a brand once known for genre classics like Frankenstein and Jaws, has sunk to distributing biohazardous sludge like this is to realize how close to death this civilization really is. Ubach’s IMDb profile claims that this indeterminate slimewad is “Half Mexican and half Puerto Rican”, but she is no doubt supposed to be portraying a representative Caucasian human female. In any case, this person deserves the scorn of white moviegoers everywhere, who would be entirely justified in boycotting any future productions in which she, Daly, or other perpetrators of this hideous scene participate. Of all of the values, ideals, or lifestyles that Hollywood might spend its time, vast resources, and influence promoting – bravery, devotion, tradition, forbearance, intellect, or self-reliance – screenwriters Marlon Wayans and Rick Alvarez and their backers instead expect audiences to be entertained by the sight of a white woman rapturous in self-immolation and racial death as congoids line up to use her twat for a toilet. Aesthetic considerations aside, one might think that a basic human concern for the public’s health would prevent these lowlifes from promoting promiscuous sex with blacks, one of the most frequent sources of AIDS. But sex hygiene is so boring and unprogressive, right?

Rock DJ Heidi Hawthorne (Sheri Moon Zombie) launches upon a series of strange and frightening experiences after mysteriously receiving a goth record credited to “The Lords”. But are her ordeals real or just hallucinations? And is the elusive tenant down the hall in apartment 5 just another figment of her imagination? Meanwhile, museum curator Francis Matthias (Bruce Davison) investigates what he believes may be a link between the Lords’ surprising new hit song and the local heritage of sorcery and witch burnings. Could the eccentric old ladies living in Heidi’s building be the remnants of Salem’s seventeenth century coven, and, if so, do they have plans for their young friend?

Rob Zombie’s latest horror opus, The Lords of Salem, is impressive in a number of ways. Ambitious, consistently atmospheric, and occasionally quite unsettling, the film is filled with images that will remain with those who view it. Cinematographer Brandon Trost deserves much of the credit for the veneer, somewhat tenuous, of something approximating class, which keeps the show afloat over the stinking morass of its unsavory obsessions. The special effects and art departments are equally commendable, as are the contributions of musicians Griffin Boice and John 5.

The Lords of Salem does, however, begin to overstay its welcome as it becomes increasingly apparent that the film has little or no purpose apart from cramming as much blasphemous shock value onto the screen as possible while maintaining a stylish pretension to some kind of seriousness. Still, horror fans should find much to enjoy, and may detect and appreciate the writer-director’s indebtedness to genre classics including Black Sunday, Rosemary’s BabyThe Wicker Man, and The Fly. These same fans, unfortunately, may be disappointed to learn that familiar performers like Michael Berryman, Meg Foster, Richard Lynch, Andrew Prine, and Sid Haig are squandered in worthless, unrecognizable cameos.

Ideological Content Analysis indicates that The Lords of Salem is:

9. Media-critical. Pop culture carries the potential for mass hypnosis. Rock in this case is literally “the Devil’s music”.

8. New age. Wicca is “a positive, earth-centered religion”.

7. Multiculturalist/pro-wigger. Heidi sports ratty dreadlocks and gets along swimmingly with her non-white coworkers.

6. Pro-miscegenation. Herman “Whitey” Salvador (Jeff Daniel Phillips) – a white Hispanic, presumably – is something like Heidi’s occasional guyfriend. Matthias is married to a Latina (Maria Conchita Alonso).

5. Anti-family. Matthias, appalled at the thought of changing diapers, has never wanted children. An attendee at a drug rehabilitation support group recalls that his mother was also an addict and responsible for his own drug problem. (see also no. 3)

4. Drug-ambivalent. Hard drugs are a problem from which Heidi is still recovering, but cigarettes and liquor receive a free pass. Mrs. Matthias smokes marijuana.

3. Pro-choice. “Children are a bit of a waste.” Childbirth is more than once depicted horrifically. First a witch licks a newborn infant and spits on it, disgusted by the taste. Later scenes depict a human mother giving birth to inhuman invertebrate offspring. (see also no. 5)

2. Feminist/pro-slut/pro-castration. In the opening scene, a coven of seventeenth century Femen disrobe and disport without shame. “That felt good,” Sonny (Dee Wallace) says after braining Whitey with a pot, thus repurposing traditional women’s domestic wares into the means of gender retribution. Heidi, Zombie’s feminine ideal, is a tattooed eyesore who sleeps bare-bottomed and experiences sexual self-actualization with a goat. Her guyfriend Whitey, a sensitive nurturer, does a weenie dance to the Velvet Underground’s masochistic paean “Venus in Furs”.

1. Anti-Christian. The Lords of Salem is a veritable cavalcade of blasphemous celebration. Images likely to offend religious viewers include monstrous, masturbating clergymen, Christian objects juxtaposed with liquor, and a priest (Julian Acosta) forcing Heidi to give him a blowjob. Church is “slavery”. The Bible is “the Book of Lies”. “Our philosophy,” says rock musician Count Gorgann (Torsten Voges), who no doubt speaks for Zombie himself, “is to expose the lies of the Christian whores and Jesus the true bringer of death.” “God must die. God is the unholy pig,” he adds for those in need of further clarification on his views.

Those attracted by top-billed Danny Trejo, who plays a priest named Father Connely [sic], will be disappointed to learn that the haggard actor dies in the opening scene of this oddball Christian horror film. Likewise, Eric Roberts, the other celebrity name in the cast, has only a smallish role as the sinister Father Tollman. Whether or not The Cloth offers any other inducements will be a matter mainly of the individual viewer’s interest in religion, exorcism, and copious low-grade CGI.

Following the deaths of his parents and his disillusionment at the acquittal of a murderous drunk driver, young Jason (Kyler Willett) would be content to spend his life in hedonistic abandon, clubbing, drinking, and bagging chicks; but Father Diekman (Lassiter Holmes) has other plans for the lad. Diekman belongs to a secret order of special ops clergy, The Cloth, that wages Hellboyish war on the unholy through exorcism and spiritualized gunplay. Jason, though reluctant to join at first, becomes a convert when confronted with demons firsthand. Soon, with the salutary example of sexy but modest Laurel (Perla Rodriguez) and gunsmith Helix (Cameron White) to guide him, Jason is utilizing a silly array of Christian weaponry like holy water grenades, armor forged from materials in the Ark of the Covenant, and corny CGI firepower to dispatch the Devil’s minions.

Kyler Willett is handsome and likable enough as smart aleck hero Jason, but Lassiter Holmes, true to his name, tends rather too much toward lassitude as the boring Father Diekman, an uninspiring mentor to say the least. Rodriguez gets a lot of mileage from coyly brushing the hair from her eyes, and White lends just the right mix of class and kitsch with his English accent and tacky Christian t-shirts that say things like, “Exorcise regularly.” The dialogue does sometimes leave these actors in the lurch, however, and never rises above the mildly amusing level of, “That’s holy water – bitch.”

More damaging than any shortcomings of casting, however, are the filmmakers’ insistence on bringing to the screen effects-reliant phantasmagorias that are simply beyond the means of such a limited budget. The action sequences, too, are sometimes overly abrupt and insufficiently covered. The Cloth, consequently, is about as scary as the cover of the Louvin Brothers’ album Satan Is Real. Those interested in studying or actualizing the cavernous blackness of the Catholic imagination would do better to turn to the philosophical horrors of William Peter Blatty, The Ninth Configuration and Exorcist III, which rely on depth of atmosphere and the weight of ideas rather than special effects to keep audiences alert and entertained.

Ideological Content Analysis indicates that The Cloth is:

11. Anti-state. As an unjust court decision demonstrates, justice is to be had not through secular law, but through the arms of a militant Church.

10. Anti-capitalistic. A priest taking diabolical bribes is unwilling to assist a poor parishioner whose contribution is understandably small. This venal villain is repaid handsomely when coins pour from his mouth in a torrent.

9. Pro-life. Jason’s father, Diekman relates, resisted the counsel to “terminate” Laurel’s life when she was possessed and instead chose to see the potential for good in her.

8. Anti-drug. Drinking and driving means accidents. Jason, a drinker at the beginning of the film, later fills his hip flask with holy water. The Devil’s possessed snort lines of cocaine.

7. Multiculturalist. Anglos and Hispanics work together more than once. “The very basis of our beliefs stems from the arrival of the Apostles from such places as Jerusalem, Africa, and even Asia.” (cf. no. 3)

6. Pro-gun. One gun owner standing in the way of the Cloth’s mission brandishes his weapon threateningly, but firearms are for the most part represented positively as indispensable implements of the Lord’s work.

5. Miscegenation-ambivalent. Jason and white-enough Hispanic cutie Laurel walk away hand-in-hand at the end, but interracial pairings of spicier stuff are strictly the province of the Devil.

4. Anti-slut/anti-gay. Good girl Laurel represents sexual modesty charmingly. Laurel, initially rejecting Jason’s advances, tells him, “My beliefs come before my own personal desires.” Fornicators are more than once destroyed by demonic power or disfigured. Cohabitation is also discouraged, as Jason’s devilish ex-girlfriend leaves an odor of sulfur in his apartment. The Devil’s hos, naturally, are promiscuous lesbos. The Cloth would also appear to frown on tattoos.

3. Racist! Clearly self-loathing black writer-director Justin Price casts himself as the demon Kasdeyah, Satan’s emissary on Earth. Minorities are disproportionately represented among the possessed (cf. no. 7).

2. Traditionalist/pro-family. Jason, though he has long resented and misunderstood his father, comes to follow in his footsteps both professionally and spiritually.

1. Christian and specifically Catholic. Latin mumbo jumbo works! Laurel, explaining away the occasional bad apple in the clergy, claims, “There’s no such thing as corruption in the Church, Jason. The only Church that has ever existed lies within.”

Part V of The Filthy Films of Adam Sandler in Ideological Content Analysis: A Cranko-Politico-Critical Retrospective of the ICA Institute for Advanced Sandler Studies

AdamSandler

Unfairly trashed by the consensus critical apparatus on release, this ambitious outing from Adam Sandler goes where few previous comedies have gone with such earnestness of purpose, grappling with the eternal philosophical questions that have given mankind pause over millennia.  Why does evil exist in the universe?  Are there black people in Heaven?  And, most fundamentally, can white men jump – even when descended from the Prince of Darkness himself, and when the spiritual fate of the planet is being played out on the cosmic battlefield of the Harlem Globetrotters court?

Who but Adam Sandler – who, to his credit, manages to keep his face contorted in a comical grimace through every scene – could possibly have brought the heir to the throne of Hell to life in such edifyingly funny fashion while also essaying a bold theological meditation and commentary on the morals of fin-de-siecle America?  The answer – nobody!  Add a bevy of Sandler’s Saturday Night Live buddies including Dana Carvey, Jon Lovitz, Ellen Cleghorne, Kevin Nealon, and Rob Schneider in cameos, stir with a pinch or two of tasty scatalogical humor and outright depravity, and Little Nicky makes for a strange but satisfying brew guaranteed not only to get the audience wasted, but lay their souls to waste as well.

4 out of 5 stars.  Actually a fairly heartwarming experience, Ideological Content Analysis indicates that Little Nicky is underrated, unholy, unashamed, and:

10. Corporate.  Bellicose product placement puts Popeye’s Chicken on the side of the angels.

9. Anti-South.  Nicky more than once jokes that he is from the “Deep South”, thus equating the region with Hell.

8. Pro-gay, at least from the standpoint that all publicity is good publicity.  Clint Howard portrays a grotesque but amusing transvestite.  Also, breasts are made to sprout from Kevin Nealon’s head, which later elicits a favorable remark from Rodney Dangerfield.

7. Multiculturalist/anti-racist (i.e., pro-yawn).  Validating the authenticity of kitsch pictures hanging in the homes of believers of color, Little Nicky depicts a flock of angels of different races.  Hitler receives special (and very unwelcome) attention from Satan in Hell.  A pro-wigger current finds expression in the line, “Popeye’s Chicken is the shiznit.”

6. Drug-ambivalent.  Central to Nicky’s task of taking his errant brothers back to Hell is trapping them in a magical liquor flask, which could be interpreted as suggesting that liquor is the gateway to eternal damnation.  A boy is depicted vomiting after the drinking age is lowered to 10.  Still, “I came for the beer and the bitches,” says a kid at a Globetrotters game, and marijuana-spiked pastries also receive an endorsement.

5. Pro-miscegenation.  Nicky is the spawn of Jewish Satan (Harvey Keitel) and an Anglo-Saxon angel (Reese Witherspoon) and has one black and one white brother (Tiny Lister and Rhys Ifans, respectively).  Carrying on the bestial tradition from Billy Madison, a giant bird vengefully humps pervert John Lovitz.  A demon (Kevin Nealon) and a gorilla also find themselves in the throes of jungle fever.  Dog Mr. Beefy and sewer rat Heather have “five of the ugliest children you’ve ever seen.”  Jew Sandler again goes for the blondes, in this case mousy Patricia Arquette.

4. Anti-Christian.  Quentin Tarantino represents the faithful as a stereotypical blind-eyed fanatical street preacher.  Angels are portrayed as ditzes.  (See also no. 2)

3. Family-ambivalent/anti-marriage/dysfunction-tolerant.  “I love my father very much,” Nicky says, attempting throughout the film to do his father’s bidding and save him from oblivion.  His family is majorly dysfunctional, however, with unmarried parents and abusive brothers constantly scheming against him.  (“Mom and Dad tried dating for awhile, but were unable to deal with a long distance relationship.”)  The sum effect is a normalization of dysfunction.  A churchgoer praises God for his wife’s pregnancy only to be informed that the child is not his.  A baby in a carriage is transformed into an evil midget that attacks its mother.  “You look like my first wife – only she had more hair,” Dangerfield tells the gorilla.  “I’m cheating on my husband with the weather man,” says a reporter.

2. Relativist.  At stake in the story is the balance of power between good and evil, with one no better than the other.  “Why don’t we all just have fun and do whatever we want?”  Most demons are basically decent folks.

1. Racist! – and specifically anti-Semitic, in spite of the thin pretenses of no. 7 above.  Hell is conspicuously inhabited and lorded over by Jews, with Rodney Dangerfield, Harvey Keitel, and Sandler playing three successive Princes of Darkness.  Jon Lovitz also winds up in Hell.  An Asian stereotypically resorts to kung fu against Nicky.  John Witherspoon plays a jive-talking black thief.

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