Archives for posts with tag: film

Replicas

You know you’ve fallen into an awesome Keanu Reeves vehicle when one of the first lines out of the actor’s mouth is, “This man is dead, yet his neurological data is still accessible.” Reeves is bracingly earnest as William Foster, a Faustian darer in the tradition of Frankenstein as he experiments with the transferal of consciousness after death. After his wife and children die in an automobile accident, Foster enlists comic-relief dweeb friend and colleague Ed (Thomas Middleditch) to clone the deceased in order to transplant their minds into blank-slate brains. Soon – much to viewers’ suspense and amusement – Foster finds himself trapped in a “giant, sucking hole of lies” as he tries to keep his life together while concealing his activities from the mysterious medical research project that employs him. Replicas, notwithstanding its abundance of CGI, actually constitutes an exemplar of the old-fashioned mad scientist genre and ought to be remembered as one of the better sci-fi entries in the Reeves filmography.

[WARNING: SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that Replicas is surprisingly poz-free and:

Miscegenation-ambivalent. After having moved his family to Puerto Rico, Foster finds that his daughter has caught the attention of a local boy named Juan. Foster impersonates his daughter in a text message, declining Juan’s invitation to meet him and claiming to be grounded until age 18; but it is unclear if Foster does this only to create a cover story for his daughter’s temporary disappearance or if he is also a dangerous bigot and Asian-Aryanist supremacist.

Anti-war. The biomedical firm employing the hero is revealed to be a front and to have other, probably military-industrial motives. “Who would spend this much money saving mortally wounded soldiers?” cynically poses Foster’s adversarial project manager, Mr. Jones (John Ortiz). “My God, man, come on. That’s not how you win wars.”

Agnostic. “We’re going straight to hell,” worries Ed; and Foster’s wife (Alice Eve) also expresses apprehensions about the morality of her husband’s research. At stake is the matter of whether human beings have souls or if humanity is “all neurochemistry” – a question never resolved in the screenplay. After the doom-laden, chaotic build-up, it is a little surprising not to see Foster meet with some form of divine retribution. Instead, the cloning of his family is successful, and the viewer is left to assume that they live happily ever after.

Transhumanist. The end of the film presents the synthetic prolongation of consciousness as a potentially ultra-lucrative business venture of the future – a prospect that the end-credits song, “I Will Live Forever”, seems to celebrate.

Rainer Chlodwig von K.

Rainer is the author of the book Drugs, Jungles, and Jingoism.

avengement

After enduring a brutal seven years of imprisonment and learning of his mother’s death from cancer, “hardened, rusty nail” Cain Burgess (Scott Adkins) breaks out and seeks his vengeance against those responsible for his torments. At the top of his list is his loan shark brother Lincoln (Craig Fairbrass); but before arriving at the climactic confrontation, the viewer is treated to a series of nasty flashbacks to prison brawls, police beatings, and other fuming catalysts for Burgess’s hate. This British film is surprisingly violent and bloody and ought to satisfy those looking for something tough, dumb, and full of broken beer bottles and spite.

3.5 out of 5 stars. Ideological Content Analysis indicates that Avengement is:

5. Anti-police. Police and prison guards are mean, insensitive, corrupt, or resort to unnecessary brutality.

4. Reformist. Cain, despite having no prior criminal record, is thrown into prison with extremely violent convicts after botching a robbery. He emerges as a hardened killer, the film seeming to suggest that the criminal justice system only breeds more dangerous menaces.

3. Racially suspect. Lincoln’s black accountant, Stokes (Terence Maynard), is a family man, listens to classical music, and would be classic exemplar of Africanus cinematicus if not for also being described as a “crooked fucker”. The overwhelming majority of the rowdies Cain has to fight in prison are white, with only a couple being black, and no racial self-segregation into gangs seems to occur in this apparently postracial penal institution. An impersonal board of officials responsible for Cain spending longer behind bars, however, is multiracial, with a “fuckin’ ponce” of East Indian origin presiding. It must be said that the sight of a row of brown bureaucrats casually signing off on punitive extensions of the white protagonist’s sentence hardly presents the new, globalized Britain in the most positive light. A gangster (Nick Moran) also has this to say about Mexican justice: “In Mexico, you know what happens to people that behave like that? They string ’em up under a bridge, cut off their dick, and shove it down their mouths […] you know, they’re savages.” This statement is left unchallenged, but the general savagery displayed by Britons throughout the film may be intended to serve as an implied and relativistic rebuttal.

2. Anti-usury. Cain gets back at his loan shark brother by redistributing the money in his bank accounts to those he has victimized. Lest this idea of debt forgiveness be interpreted as somehow even vaguely skirting the edges of crypto-anti-Semitism, however, the screenplay makes sure to mention that one of those whose lives were ruined by the predatory loans is named Silverman.

1.Pro-family. Cain loves his mother and, living up to his name, goes after his brother only after being betrayed. Lincoln’s sin, meanwhile, is prioritizing his business interests over family ties. Never believe a bent copper over your own flesh and blood!

Rainer Chlodwig von K.

 

dog

Directed by professional dork Charles Martin Smith (I’ll be goddamned if it hasn’t all been downhill for him artistically since 1986’s heavy metal horror triumph Trick or Treat), A Dog’s Way Home is, as its title would indicate, the epic story of a lovable lost pooch, Bella (voiced by actress Bryce Dallas Howard), trying to find her way home to her beloved master, Lucas (Jonah Hauer-King) – although, probably as a concession to brittle sensibilities, he is never referenced in the screenplay as Bella’s master, but only as her person. At first glance, this might only appear to be a canine’s seemingly harmless adventures through town, country, and rugged Colorado wilderness; but closer inspection reveals this effective children’s tearjerker to basically be Globohomo: The Movie.

3.5 out of 5 stars. Ideological Content Analysis indicates that A Dog’s Way Home is:

7. Antiwar. Physical and psychological costs of war are embodied by homeless veteran Axel (Edward James Olmos) as well as attendees of a veterans’ therapy group that includes Lucas’s mother (Ashley Judd), who suffers from depression and finds consolation in Bella’s company.

6. Pro-gay. Bella stays for a while with two gays (Motell Foster and Barry Watson), one black and one white, who serve as poster boys for homosexual parenting, the care they provide to Bella and another dog contrasting instructively with the callousness of grumpy heterosexual Mr. Kurch (Chris Bauer). “That man belongs alone,” Bella observes.

5. Pro-miscegenation. Lucas enjoys a relationship with more-or-less white-presenting mixed-race woman Olivia (Alexandra Shipp).

4. Woke and anti-white. Mean white guys include the aforementioned Mr. Kurch; unscrupulous, animal-hating landlord Gunter Beckenbauer (Brian Markinson); and nerdy, ineffectual dog catcher Chuck (John Cassini). Olivia and Lucas’s mother provide girls with role models as strong, assertive womyn effecting social justice by standing up to insensitive white men – in Olivia’s case, by livestreaming a scene of injustice.

3. Multicultural. Bella was raised by a cat and later adopts a young cougar as her traveling companion, demonstrating how characters from different backgrounds can live peacefully with each other and learn to work together.

2. Anti-gun. Bella witnesses hunters killing a cougar, leaving its cub a defenseless orphan.

1.Pro-immigration. A Dog’s Way Home arrives just in time for the muh-poor-brown-kids-in-concentration-camp-cages melodrama. A Denver city ordinance makes Bella’s breed illegal, so that “a dog can be banned from the city because of how it looks”, to which Olivia objects: “That’s basically racism for dogs!” It is easy, therefore, to find in the movie’s depiction of Animal Control officers stand-ins for totalitarian ICE agents out to net Mexican or Guatemalan kids, lock them up, and make them cry just for the hell of it. Fortunately, Animal Control is unable to enforce local law when Bella finds sanctuary at a veterans’ hospital, which, it is argued, constitutes federal jurisdiction. Sheriff Arpaio BTFO happily ever after. Rather revealingly – but no doubt unintentionally – A Dog’s Way Home also illustrates what illegals ultimately represent to virtue-signaling white progressives – their cute little pets.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Drunk Parents

Alec Baldwin and Salma Hayek, once they send their daughter (Michelle Veintimilla) off to college, struggle with making ends meet and hiding their poverty after being well-to-do and suddenly finding themselves in dire financial straits. Tasked with housesitting for out-of-the-country neighbor Nigel (Aasif Mandvi), the couple instead gets drunk and places a Craigslist ad to rent out the house, precipitating a wacky succession of misunderstandings and chaotic hijinks – all of it furnishing a serviceable showcase for the stars, with Baldwin doing his usual thing and Hayek totally over-the-top as she rants about hippies in a supermarket, spastically writhes as CGI spiders crawl over her face and body and bite her, and finds herself in various other zany situations. Colin Quinn and Will Ferrell, meanwhile, have amusing cameos as hobos.

3.5 out of 5 stars. Ideological Content Analysis indicates that Drunk Parents is:

6. Anti-white. Baldwin and Hayek are the comedy’s obligatory positive depiction of an interracial couple. Like The Prodigy, Drunk Parents reflects Hollywood’s discomfort with politically rebellious young white men and includes two bratty kids, Trey (Jeremy Shinder) and Tristan (Eddie Schweighardt), who have hacked a neighbor’s baby monitor and are teaching the infant to say “the N word”. The name Tristan, which this character shares with a Wagnerian protagonist, may be indicative of the fear of rising identitarianism among intellectually inclined and irreverent white youth.

5. Pedo-sympathetic. New neighbor Carl (Jim Gaffigan), a convicted sex offender, is revealed to be a basically harmless eccentric whose attempt to save some children from a shark was misunderstood as predation. Reinforcing the theme of sympathy for accused sex predators, Baldwin and Hayek are abducted by vigilantes who have mistaken them for pedophiles. Again, as in The Prodigy, a racist white boy – in this case, Tristan – falsely accuses Baldwin and Hayek of sexual molestation. The industry would seem to be circling the wagons in response to growing public awareness and hostility toward Hollywood degeneracy.

4. Consumerism-critical. “Why did we get all this stuff?” Hayek frets after coming to ruin and finding herself in debt.

3. Media-monopolist. Alternative media – which is to say, the democratization of the means of disseminating information – makes the world of Drunk Parents a more dangerous place. This is demonstrated when the anti-pedo vigilantes upload a video of Baldwin and Hayek to the internet and turn them into a viral sensation.

2. Drug-ambivalent. Drunkenness makes Hayek accident-prone and gets her and Baldwin into some trouble, but the movie’s attitude toward alcohol is ultimately rather Taoist, with everything working out alright in the end. “A drunk man’s actions are a sober man’s thoughts,” narration explains. Trafficking drugs lands a trucker in prison, but the man is not depicted as fundamentally a bad person, and the fact that his daughter is left without a provider is intended to evoke sympathy and possibly militate against the regime of prohibition. Ferrell demonstrates that smoking is dangerous, however, when he sets himself ablaze while siphoning gas. Cocaine is also mentioned as a nutritional supplement utilized by ancient warriors.

1.Class-conscious. Ferrell’s character, a once-wealthy man reduced to homelessness, explains that the rich will “prey on you” – and the film’s representatives of “Wall Street” and “family money” are of course white men. Respectability or criminality, in the world of Drunk Parents, are situational products of environment and the vicissitudes of fortune. Rather like Trading Places, this is a story about a man discovering how his social inferiors live. Suddenly an entitled Baldwin finds himself thieving a bottle of pricy wine and only meeting with job offers he once would have considered undignified. One of Hayek’s gripes is that, “You have to be rich to be skinny. All the cheap foods are the ones that pork you up. The sugars, the carbs, the corn syrup.” Now that they are struggling, “people look away. They avert their eyes. Especially our friends.” They are ultimately happy to have lost the “stuck-up, useless friends” of their former social milieu.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Prodigy

The popular creepy kid genre can be traced all the way back to The Bad Seed (1956), but really took off in the years that witnessed the introduction of the birth control pill and the legalization of abortion in conjunction with overpopulation propaganda, with Rosemary’s Baby (1968), The Exorcist (1973), It’s Alive (1974), The Stranger Within (1974), Devil Times Five (1974), I Don’t Want to Be Born (1975), The Omen (1976), and The Brood (1979) being notable examples. The purpose of such movies, when it is not simply to make a quick, exploitative buck, has frequently been to instill in deracinated women associations of anxiety and disgust with their own biological imperative, and The Prodigy (2019) is an especially noteworthy development of this tradition. I found it to be genuinely scary – even as I smirked inwardly at its gross subtextual purpose.

[WARNING: SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that The Prodigy is:

3./4. Anti-gun and pro-choice in one fell swoop. You have to watch out for those meddlesome old white men with their guns trying to save children from being murdered by their mothers. BELIEVE WOMEN when they determine that their sons deserve to die.

2. Antinatalist. The Prodigy might as well have been titled Abort the Alt-Right: The Movie.

1.Anti-white. New parents John (Peter Mooney) and Sarah (Taylor Schilling) – who have the surname Blume but do not appear to be Jewish – seem to have the perfect suburban life until their unhealthily pale son Miles (Jackson Robert Scott) starts to manifest precocious intelligence while lagging behind in emotional development and social skills. He also has different-colored eyes like Nazi LARPer David Bowie, who is name-dropped in the screenplay. These are the film’s first clues that what devil-child Miles really represents are Jewish and globalist anxieties about the remaining potential for a resurgence of nationalism and fascism among peskily still-reproducing white people. One of the semi-autistic child’s first demonstrations of intolerance is when as a schoolboy he becomes jealous at the sight of a Mexican-looking boy working on a project with a white girl. Miles wants to be paired with the girl instead and attacks the other boy in deplorably savage fashion with a wrench. A not-so-insignificant establishing shot shows him attending Buchanan Elementary School – because everybody knows the antisocial influence that Patrick J.’s tutelage exercises over the kids these days.

A Jewish parapsychologist, Dr. Arthur Jacobson (Colm Feore), finally determines that Miles, who speaks in Hungarian while he sleeps, is the reincarnation of a misogynistic serial killer, Edward Scarka (Paul Fauteux), whose family had relocated from Orban Land to Ohio. Scarka, as seen in The Prodigy’s prologue, disrespectfully chopped off womyn’s hands and murdered them in his supervillainous hillbilly house of horrors. He was probably a Republican, too – the viewer just senses it. Hungary, in Jewish consciousness, is inseparable from its twentieth-century history of anti-Semitism and the “Holocaust”, and Scarka personifies the threat of retro central-European bad-optics nationalism’s reincarnation in Rust Belt populism and toxic masculinity. After Dr. Jacobson tries hypnotizing Miles in order to learn more about the malevolent Hungarian soul occupying his body, Miles threatens to accuse him of sexually molesting him – because, of course, that is what incorrigible young white men are doing these days – falsely accusing Jewish men of being pedophiles. Who needs the bother, amirite, sisters? Just #RESIST pregnancy and have an abortion.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Monsters and Men

If someone knew nothing about life on earth, and gleaned all they knew about the New York Police Department from watching Reinaldo Marcus Green’s bitch-burn-downer Monsters and Men – or, as I am dubbing it, Dindus and Dems – that viewer could hardly be blamed for believing that the NYPD exists primarily for the purpose of persecuting innocent people of color. The film is a bit reminiscent of Paul Haggis’s Crash (2004), but updated for the angrier decade of hands-up-don’t-shoot hoaxery. In a story inspired by the death of Eric Garner, a racist white police officer shoots a po innocent brotha jus tryna sell some loosies on the corner – and witness Manny (Anthony Ramos) must now decide whether to keep his head down to protect his family or release his camera phone footage to the internet and risk the repercussions. In another of its threads, Dindus and Dems traces the turmoil experienced by aspiring baseball star Zyrick (Kelvin Harrison, Jr.) who, after experiencing police harassment, finds himself attracted to a troublemaking BLM-style organization despite the expectations of his more conservative father. Thirdly, Dindus and Dems follows black police officer Dennis (John David Washington, who has inherited father Denzel’s voice), who finds himself torn between his loyalty toward the force, his firsthand knowledge of discriminatory policing, and his fellow blacks’ perception of him as a race traitor. It’s worthwhile to watch trash like this once in a while, if only to see just how far removed from reality liberals’ understandings of race relations are to the extent that they take their cues from corporate media messaging – and, as Dindus and Dems makes abundantly clear, we appear to be inhabiting entirely different planets.

2 out of 5 stars. Ideological Content Analysis indicates that Dindus and Dems is:

5. Anti-drug. After being stopped and searched by police officers, Zyrick goes home and flushes a packet of weed down the toilet, presumably because he realizes the trouble he would have been in had the police found the pretext to arrest him. Drug use is also mentioned as a potential barrier to professional athletic success.

4. Pro-AIDS. The community organizing horde that Zyrick joins focuses on black grievances but also advocates for “trans women”.

3. Pro-family. Dindus and Dems presents more than one example of caring fathers. As Zyrick’s trajectory illustrates, however, fathers do not possess ultimate moral authority and are subject to rebellion.

2. Anti-capitalistic – but only disingenuously so. “Look around. Just turn on the TV,” insists a black street corner poetess. “KKK walkin’ ‘round here free. No white sheets. White shirts and ties, all lies. Wall Street lookin’ far too familiar like the cotton fields of Virginia,” she conjures, equating the world of finance with southern plantation culture – rather than, say, kibbutzim. Wall Street would look “far too familiar” to writer-director Reinaldo Marcus Green, who, according to Filmmaker Magazine, slaved “for five years as a director of talent acquisitions in diversity on Wall Street.”

1.Woke. Dindus and Dems is set in the “tight-knit” Bedford-Stuyvesant neighborhood of Brooklyn, which also served as the setting for Spike Lee’s similarly provocative but rather more honest Do the Right Thing (1989). Ironically, this is also the neighborhood where police officers Wenjian Liu and Raphael Ramos were murdered “execution-style” in their patrol car by angry black psycho Ismaayil Brinsley in 2014. As Dindus and Dems would have it, though, it is innocent black men just trying to get home from baseball practice or cruise around listening to Al Green who are hunted by Nazi cops with impunity. “You got a hoodie on, for chrissake,” Zyrick’s father objects before his son heads downtown to participate in a protest – the implication being that this increases the chances that some white person will shoot him a la Trayvon Martin. Inspiringly, the end of the film presents sportsball as a safe and productive means through which blacks can voice their gripes.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

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!

public

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

3 out of 5 stars. Ideological Content Analysis indicates that The Public is:

5. Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

4. Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

3. Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

2. Communist. “To each, according to his needs” is very much the moral of the film.

1.Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knockout game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Miseducation of Cameron Post

Chloe Grace Moretz, who began her career in a skintight superhero costume as a sexually exploited child in the disposable Kick-Ass films, embraces her prostitution to the cultural Marxist establishment in her role as a teenage lesbian cruelly condemned to be treated at a totalitarian Christian conversion therapy camp. There, she is insensitively disciplined by a suspiciously cold and masculine Christian psychologist (Jennifer Ehle) and mentored by a friendly reverend (John Gallagher, Jr.) who, unsurprisingly, turns out to be a recovered homosexual himself. The Miseducation of Cameron Post has little point apart from further demolishing western civilization and tediously depicting Christians as stupid, corny, boring, mean, and hatefully judgmental.

The other major objective of the film is to tempt young women into lesbian relationships. The unsightliness of male-male physicality is prudently kept off-screen, but more than one sultry scene of hot, quick lesbian seduction is featured. A key meta moment occurs in the sequence depicting Moretz’s first girl-girl experience. She and a friend (Quinn Shephard) are hanging out and watching Donna Deitch’s 1985 film Desert Hearts and find themselves overcome with lust during one of the movie’s lesbian scenes. This, of course, is how The Miseducation of Cameron Post is intended to function. With its much greater reach than this obscure eighties predecessor, The Miseducation of Cameron Post is designed to get mentally malleable adolescent girls to question their own pedestrian sexuality and wonder if it might not be more rewarding to luxuriate in a childless life of unending slumber parties and digitally induced, guy-free orgasms.

I find a great irony in this movie’s contrived shock moment of homo horror, when gay boy Owen Campbell, tortured by the contradiction between his Christian ardor and his burning desire to gobble a cock, freaks out and mutilates his genitals, leaving a pool of blood on the floor of a bathroom for Chloe Grace Moretz to find. Are Bible-thumpers really the ones bullying young men into cutting off their penises, though, or is that messaging emanating from some other quadrant of our cultural landscape?

3 out of 5 stars. Ideological Content Analysis indicates that The Miseducation of Cameron Post is:

5. Democratic. When Moretz and two of her pals at last escape from Sobibor, they hitch a ride in a pickup truck that boasts a Clinton Gore sticker – the Democratic Party being the vehicle that will carry Americans forward into a more enlightened future.

4. Multiculturalist. Moretz’s buddies at camp include American Honey’s mystery-meat dreadlocks vixen Sasha Lane and fellow pothead Forrest Goodluck, a laid-back Native American lad with “two spirits”.

3. Pro-drug. Dope enhances the thrill of an intense backseat lesbian encounter, and Moretz also bonds with her new gay camp companions over weed.

2. Anti-Christian. Yes, apparently Christianity isn’t quite dead yet – or, at any rate, Hollywood wants to make absolutely sure, and so continues to flog its carcass. “How is programming people to hate themselves,” the screenplay poses, “not emotional abuse?” (I wonder if the buffoon who wrote this line has, in this same spirit of fairness, taken an honest look at the ways in which whites are typically depicted in Hollywood fare.)

1.Anti-family, antinatalist, and pro-gay (i.e., pro-AIDS). Gay as the U.S.A. is these days, it still isn’t proactively putrescent enough to satisfy the ass venerators in Hollywood. Movies have given us gay teens, gay parents, gay artists, gay cowboys, gay scientists, gay singers, gay strippers, gay soldiers, gay superheroes, gay angels, gay Holocaust victims, and even gay Nazis – and yet, as The Miseducation of Cameron Post capably demonstrates, there remain still-ungay filmic frontiers to be reamed in trailblazing explorations. As long as there are virgin goyish bloodstreams yet to be blessed by the gift of a full-flowered autoimmune disease, and homophobic churchgoing bigots yet to be epically BTFO’d on the big screen with feels and thotness, Hollywood can hardly afford to flag in its valiant venereal efforts.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Sollers Point

American Honey’s McCaul Lombardi stars as Keith, a directionless Baltimore wigger and drug dealer just released from prison and attempting to find his place in the world. At stake in the formless, meandering story is whether the poorly behaved and inarticulate protagonist will settle into the family pattern of working-class tedium and community coexistence or fall back in with the white nationalist gang with which he became affiliated while incarcerated. Keith bowls from one unnecessarily unpleasant situation into another, getting into fights, making a little money, and chasing after various specimens of ghetto tail. Lombardi is an intense performer, and Jim Belushi is likable as his boring but well-meaning dad. What at first appears to be a downbeat and largely pointless character study, however, is revealed to be an accidental comedy once the filmmaker’s ridiculous intentions are taken into consideration.

4 out of 5 stars – in part for the unintentional humor furnished by the director in the DVD extra features. Ideological Content Analysis indicates that Sollers Point is:

3. Anti-drug. Diminishing marijuana’s glamor, a thug mentions that his stash had recently been stuffed up his ass. The film also offers a putrid portrait of an aging, heroin-addicted whore hawking her unappetizing wiles on a roadside.

2. Pro-family. Keith’s father does what he can to protect and provide for his wayward son, and other family members are also helpful and affectionate. Keith seems to be troubled by his absence from his niece’s life.

1.Multiculturalist, pro-miscegenation, and anti-white. Baltimore appears in the film as a more or less functional chocolate city marred only by the presence of reckless and immature young white men and trashy white women. Keith’s father, at least, seems to be a good man as evidenced by the fact that he hangs out and plays cards with blacks – so not all white people in the movie are criminals or addicted to dope. “I was really interested in reflecting the diversity of this neighborhood in southeast Baltimore,” soyboy writer-director Matt Porterfield explains in an interview included on the Sollers Point DVD, “but I wanted to sort of focus on the ways in which they shared space rather than the divisions, you know?” The way in which Keith shares space with his black neighbors, however, seems to entail an inferior and deferential role. When Keith’s wigger nationalist acquaintances roll up with hostile intentions, Keith’s black thug neighbors come to his aid by throwing liquor bottles at the white gang’s van; but then they expect him to pick up the broken glass littering the street – which he obediently does. Keith, Porterfield says, has to “figure out who his people are”, and as Porterfield concludes, “his people in the film are white and black” – which may go a long way toward explaining why the character is so lost. Interestingly, the writer-director describes his movie as “a portrayal of a white male in society trying to find his place,” adding that Keith is “not being given any traditional rites of passage.” I burst out laughing, however, when he added that the protagonist is “representative of, you know, a large portion of the population that put our current president in office. […] It’s tapping into a cultural energy that we all kind of want to understand, that put Trump in office.” Which, of course, is 2016 in a nutshell. The Dems should never have underestimated Trump’s appeal to the wigger jungle fever ex-con MAGA drug dealer demographic!

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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