Archives for posts with tag: gay interest

neighbors 2

Seth Rogen vehicle Neighbors, while vile, was at least a passably funny film for fans of the star’s repugnant antics. This sequel, sad to say, retains and amplifies the grossness of its predecessor while disposing of any of the franchise’s previous charms. This time Rogen and wife Rose Byrne are subjected to the obnoxiousness of an upstart sorority headed by new neighbor Chloe Grace Moretz. Moretz, for several years one of Jewish Hollywood’s favorite shiksa voodoo dolls, is as usual degraded under the guise of women’s empowerment as she and her cohorts smoke dope (“College is about new experiences”), throw noisy parties celebrating the loss of virginity, wage war against “super-sexist” fraternities, and demonstrate themselves to be “strong adult women” by flinging their saturated tampons at Seth Rogen’s windows. Zac Efron, Rogen’s original nemesis from Neighbors, switches sides and joins forces with his old foe in Neighbors 2, while some of his old fraternity brothers also appear as part of a subplot that serves no purpose apart from the promotion of homosexual “marriage”. NBC sitcom old-timers Kelsey Grammer of Frasier and Lisa Kudrow of Friends are similarly wasted (no pun intended) in brief supporting roles. One also wishes character actor Billy Eichner’s supporting turn as eccentric real estate agent Oliver Studebaker had been expanded.

2.5 out of 5 stars. Ideological Content Analysis indicates that Neighbors 2 is:

6. Anti-marriage. The opening scene in the film shows a wife vomiting in her husband’s face during intercourse. This is how the filmmakers choose to establish the horror of conventional domesticity in audiences’ minds.

5. Pro-miscegenation. The obligatory interracial couple expresses interest in buying Rogen’s house.

4. Pedo-friendly. A small child is regularly present during inappropriate discussions and is repeatedly seen playing with a dildo. The last time this reviewer saw such a thing was in an Israeli film, so maybe kids and dildos is a Jewish tradition? There is also a joking reference to child pornography.

3. Pro-drug. Weed humor abounds, with illegal marijuana dealing highlighted as a quick way for college kids to pick up some extra cash. “I think this is my thing now,” one of the girls enthuses.

2. Pro-gay. A gay marriage proposal elicits a rowdy chant of “U.S.A.! U.S.A.!” The lucky couple also makes known that they intend to adopt. In addition, the film appears to encourage sexual experimentation even among heterosexuals, as “sometimes you gotta suck a dick to realize you don’t like suckin’ dick.”

1. Feminist. “Don’t call ‘em hoes. It’s not cool anymore.”

Rainer Chlodwig von K.

Advertisements

Deadpool

Marvel antihero Deadpool’s leap to the big screen manages to be highly entertaining in spite of having one of the most unnecessarily filthy and anally fixated scripts this reviewer has ever encountered. Ryan Reynolds is frivolous but funny as the frenetic special forces fighter turned mercenary – “a bad guy who gets paid to fuck up worse guys” – in what may be the most successful incarnation yet of the wisecracking hipster-as-superhero genre. Fast-paced and guaranteed diversion for devotees of the cult of hyperviolence and slow-motion bullets.

4.5 out of 5 stars. Ideological Content Analysis only recommends seeing Deadpool for free, if possible, and indicates that it is:

9. Pro-brony. The hero masturbates while amusing himself with a stuffed animal.

8. Gun-ambivalent. Deadpool owns a number of guns, but forgets to bring these to the final battle. He proceeds to demonstrate how an accomplished action hero does not need an arsenal to dispatch a heavily armed pack of henchmen.

7. Disingenuously anti-torture. Supervillain Ajax (Ed Skrein) subjects Deadpool to atrocities reminiscent of War on Terror interrogations and Abu Ghraib indignities in his efforts to activate Deadpool’s recessive mutant genes, but Deadpool himself also employs torture to get information out of opponents. “I may be super, but I am no hero,” he says by way of a disclaimer – a distinction that will be lost on all of the adolescent boys who watch Deadpool. “And, yeah, technically this is murder,” he says, flippantly dismissing his impalement of a bad guy, “but some of the best love stories start with a murder and that’s exactly what this is – a love story.”

6. War-ambivalent. War, it is suggested, is an evil enterprise, but the film makes light of wartime experiences that allowed Deadpool to travel to “exotic places – Baghdad, Mogadishu, Jacksonville – meeting new and exciting people.” The general incendiary bombast of the movie makes combat seem like a blast.

5. Anti-South. The South, as the above quotation demonstrates, is equated with the Third World.

4. Pro-drug. “God, I miss cocaine,” gripes Deadpool’s roommate Blind Al (Leslie Uggams). Learning a stash of cocaine is nearby, Deadpool’s friend Weasel (T.J. Miller) asks her, “Wanna get fucked up?”

3. Misandrist. A slap on the ass warrants vengeful crotch-clenching. Even gentlemanly behavior meets with genital abuse. Both Deadpool and Colossus must be rescued by women, and National Women’s Day occasions an unreasonable sexual favor from the protagonist.

2. Anti-family. Deadpool, a “sexy motherfucker”, exchanges dysfunctional family stories with a prostitute (Morena Baccarin). “Daddy left before I was born,” etc. Deadpool claims to have been molested by his uncle, to which she replies that more than one uncle raped her. “They took turns.” It is also suggested that Deadpool has carnal knowledge of his father when he reaches behind himself, feels Colossus’s cock, and asks, “Dad?” The film furthers the process of pedophilia normalization by trivializing child abuse.

1. Pro-gay. “Oh, hello. I know, right? Whose balls did I have to fondle to get my very own movie? I can’t tell you, but it does rhyme with ‘Polverine’. And let me tell you, he’s got a nice pair o’ smooth criminals down unda.” One of the most butt-centric movies in some time, Deadpool makes more than one reference to the hero’s anus as a sexual organ. His “on switch” is next to his prostate, he hints, and the viewer is even treated to the sight of his girlfriend (Morena Baccarin) screwing him in the posterior with a strap-on. It is also insinuated that he has been hiding her engagement ring in his rectum. Then, too, he takes a bullet right between the cheeks and threatens an adversary with a reference to his “hard spots”. “That came out wrong – or did it?” he asks, kissing him. Deadpool is “pretty sure Robin loves Batman, too.” An animated version of the protagonist sports an extensive erection when Ed Skrein’s credit comes up at the end.

Rainer Chlodwig von Kook

[For those who don’t know, icgayreviews LGBTQ ally Germanicus Fink was rousted out of his safe space at murderbymedia2 this week for allegedly failing to comply with heterofascist WordPress “terms of service”. His blog account was suspended after a few complaints, a little gunboat diplomacy, and some behind-the-scenes skullduggery from Vladimir Putin’s Ministry of Slavic Hate persuaded WordPress to rain on the pride parade. Stay tuned for future developments in the ongoing saga of this internet holocaust of all decency. In the meantime, enjoy Fink’s guest review of the Macaulay Culkin club kid classic Party Monster!]

Party Monster

This was a movie I’d have never been interested in seeing, but I was the victim of a ‘perfect storm’ that resulted in my watching it. I was having a bad day and talked to ICAreviews online. Culkin came up and I mentioned that in the recent pictures I saw of him he looked like a real mess, then he told me Macaulay had made this movie in an attempt to step back in the ole spotlight as an adult actor 12 years ago. Of course I’m not talking about an adult actor as in “adult films”, I meant as a grown up. You know, a big boy star.

I had free time so I decided to watch it out of curiosity. A couple of times I almost just turned it off, but then I figured I’d try to write something about it so I ‘manned up’ and decided to ‘take a hit for the team’, so to speak.

Of course I wondered why he chose a movie about homosexual party boys in New York as his grown up debut. I figured his motivation for picking this genre must be because maybe his voice never changed, or that it was a life style he was familiar with. I’ll have to leave it up to people who know something about him to answer that one. Possibly he made it hoping to cash in on a fad? When was that “club kids” trend big? The film came out in 2003.  I had the impression that that club kids buzz happened a bit before 2003, but I could be wrong.  Since the film focused on homosexuals and hard core drug abuse I guess those subjects will always have an appeal to both the morbidly curious and confused teenagers so I suppose it’s a moot point whether that craze lined up with the film’s release.

One thing any normal person will find immediately annoying about this film is how over the top gay most of the actors behave throughout it. I suppose there are some gays in real life who behave screaming, prancing around, Priscilla Queen of the Desert gay, but so many of them on the screen at the same time kind of gets on a guy’s nerves.

Culkin plays Michael Alig and Seth Green plays his best friend James St. James, two young New York homosexuals who liked to dress up in outrageous costumes, throw lots of wild parties and do all kinds of drugs all the time. My impression was that a lot of the film was just about broken people who just could not face reality, so they stubbornly clung to their fabulous degeneracy and did whatever it took to keep the party going. It was never a good time to quit so they just couldn’t stop and kept on going until either they imploded or crashed.

In one scene Michael abandons his mother after she shared in his television debut on a tabloid talk show about him and his “club kids” phenomenon. He hurriedly told her he couldn’t get her a ride back to the airport as he ran off with his dealer for more of the hair of the dog that bit him to fight his withdrawals. I think she summed up a lot of what this film was all about when she she said, “I came in a stretch limo, i’m not leaving in a bus”.

Of course this film will fulfill all your wildest expectations assuming your expectations are actually wild enough. Semitic Hollywood is always more than willing to promote a rainbow of antisocial behavior. Whether a film is for blacks, children or homosexuals it seems they are always encouraging people to act up, get out of control and destroy everything they can. If you can’t annihilate anything important you can at least lay waste to yourself and hopefully take a few friends with you.

Of course, misfits who are not independently wealthy and can’t face reality can only maintain their delusions with the help of duped normies. In this case they exploited a club owner with an eye patch who became a sort of surrogate father figure for Michael. By allowing him to host his well publicized parties at his club he funded Macaulay’s lavish, nonstop, party party all the f*cking time life style despite the fact he always complained that he himself barely broke even.

What’s the symbolism of the eye patch? I don’t know, maybe he didn’t examine this situation in depth or was just seeing it in two dimensions? Why did he sponsor all this degeneracy? Hard to say. I honestly can’t speak for his motivation here aside from his strange, paternal relationship with the Culkin character.

Maybe the patch just indicates that the man is missing something. He’s portrayed as very straight and normal so maybe we are to believe he was living vicariously through this flamboyant little peacock with his superficial philosophy and his high flown plans and unconventional dreams. Maybe the patch is meant to represent that he is deformed inside which is why he’s making all this madness possible. Maybe it was just to make him look ominous because he was the only straight, middle aged guy in the film and everyone else was young and marvelous. Or maybe he represents the self-Chosen who are the ones making all this current cultural decay possible and his eye was lost while struggling with narrow minded gentiles? You decide.

Since this film was obviously targeted at gays a lot of it had to do with “loss of innocence”. The first example of that is when he is talking about his childhood in a small town and how his male Sunday School teacher seduced him (this kind of stuff goes on ALL the time in small White communities goyim! Watch a few more of our movies and you’ll see!). The second instance is when Michael hooks up with a straight guy who he later seduces while they are hiding in a dumpster from a cabbie after they stiffed him on the fare. How’s that for symbolism? Of course all straight guys are totally gay just below the surface so they are easily seduced by any gay guy forward enough to try. Please make a note of that all you gay goyim!

They drag lots of innocent people with them into their self-destructive hell with drugs. Drugs seem to be EVERYWHERE in this film. This “loss of innocence” motif culminates in a depressing scene where Michael, his friends and his surrogate father are all getting pretty loaded in a swanky hotel room. The guy with the eye patch, who has never done drugs before and is married to a sensible, no nonsense conservative looking young woman is shown fried out of his mind on crack with a black and possibly a tranny prostitute. Also, there was a black drug dealer named “Angel” who nobody wanted around at first, but he seemed to become their main connection as the film progressed. Oddly, once this relationship had been established he always wore angel wings whenever he made deliveries to them. In the Hotel scene, as well as all the subsequent scenes he was always demanding his money. I guess he wasn’t really supposed to be an angel at all, but the devil come to visit them in hell to collect his dues.

In line with this theme of tricking people into doing unhealthy things there is a part where he tricks his friend James into drinking his urine when he christened their embarkation on this club gig with the eye patch guy. A pretty gross scene, but not the only scene involving the drinking of urine.

One of the more disturbing aspects of this movie is it encourages bisexuality, which in light of the AIDS epidemic strikes me as more than a little sinister. I suppose you can file that under seduction of the innocent. His girlfriend is some Midwest kid who caught him and his club kids on that afternoon talk show I mentioned earlier. She was star-struck by all the glitz and glamour of his superficial lifestyle so she got in touch with him and he invited her to come stay with him up in New York. There is a scene where they are both taking a bath together and he announces he had polluted the water, so of course she scoops some up, drinks it and sprays it on Michael. He then did the same and sprayed her. Since they are both now dependent on drugs, naturally they are encouraging each other’s debauchery. They are clearly not good for each other. Near the end of the film we hear she died of an overdose.

spit

Culkin gets pissy

Everybody in this film is out of control, that is, until the Culkan character gets in a spirited argument with his angelic, black drug dealer where he demands his money one too many times and we are led to believe he kills him in self-defense. Right after cutting up the body and dumping it in the river (after they used up all his drugs, of course) Mike decides to check himself into rehab. This is one of those films that starts near the end and loops around to the beginning and it began with Michael confessing to James that he killed his dealer as they shared some of the deceased’s stash. Seth then promptly OD’d and ended up in the ER.

I realize I may be giving way too much away about this film, but I had a bad day today and this is helping me take my mind off of my problems. Besides, be honest, how many of you were planning on seeing this turkey anyway?

So, as if “loss of innocence” weren’t bad enough, we are also treated to some rather base betrayal as well. In an effort to weasel out of a possible murder conviction for killing his connection, Micheal starts cooperating with the feds to bust his father figure for supposedly dealing drugs out of his club. Ironically he was the only person to express sincere concern about Michael’s drug habit. In fact he paid for the stint in drug rehab that Macaulay took advantage of after murdering his dealer.

I strongly dislike films like this, where people are out of control and doing stupid things. I was waiting the entire time for someone to get busted, and I wasn’t disappointed.

Michael’s constant friend throughout the film, Seth Green, wanted to be a writer but never actually wrote anything. It wasn’t all talk, he really wanted to write and did actually try from time to time, but he had a bad case of writer’s block. That is until he got so high one day that he hallucinated a giant talking rat who claims to have seen Michael’s struggle with his dealer. Michael got busted but he said he only acted in self defense, which was somewhat true, at least at first. While the black drug dealer was strangling Culkin some other druggie came out of his stupor and grabbed a hammer which was conveniently placed and hit the guy. Only he wasn’t quite dead yet. So Culkin beat him some more then tied him up and tortured him to death by injecting Drano into various parts of his body (use your imagination here you sick f*cks!).

The Seth Green character uses the information he got from his conversation with the giant rat to write a best selling novel, Disco Bloodbath, and then he takes this information to the police and has the star of the film arrested and put in prison. I didn’t know that the hearsay testimony of an imaginary, giant talking rat was admissible in court, but I guess in New York it is. That’s what happens when you live in a city that never sleeps I suppose.

I suppose here is where I do the content analysis. Party Monster was:

4. Anti-capitalist. Culkin is always letting people into the club for free, giving them free drink tickets and, of course, would rather murder his dealer than pay for his drugs.

3. Racist. Actually I guess it could be construed as being kind of racist since the only black character in the film gets beat unconscious and terribly tortured to death by Culkin.

2. Pro gay. This movie was so gay I felt that I needed an AIDS test after watching it!

1. Anti-drug. Despite showing people doing and enjoying drugs for nearly 2 hours they finally landed Michael in prison. So don’t do drugs, mmmkay?

I give it a 2. Maybe you’d give it a 3 or more if men screaming and swishing around all over the place for nearly two hours doesn’t give you a headache.

Germanicus Fink

[Who is Germanicus Fink? Read Aryan Skynet’s interview with him here.]

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1OmHpbx

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TEN

love is strange cover and back cover

“Love has pitched his mansion in the place of excrement,” wrote poet William Butler Yeats, whose words have never been more true than in twenty-first century America. In a masterful stretch of acting muscles, Hollywood weenies John Lithgow and Alfred Molina play a couple of elderly turd-tappers who tie the knot only to find that this upsets Molina’s employers at Catholic school Saint Grace Academy. Temporarily deprived of an income, the lovebirds have to give up their apartment and find separate lodgings elsewhere. All of this is treated as a terrible tragedy, Love Is Strange coming across from start to finish as some ridiculous last gasp of the moribund West’s preoccupation with First World problems.

The ethnically disinterested (((Ira Sachs))) writes and directs this bold and beautiful cultural event. Writes Gerri Miller of this alien freak at Interfaith Family:

After being together for five years, he married his partner Boris Torres, who is not Jewish, “six months after it became legal in New York State and a week before we had twins. I say that we had a gay shotgun wedding,” Sachs says. They’d met several times through friends and online before they were at the right point for a relationship, “a point where we both liked ourselves.”

Faith has never come between them, and Torres is on board for the pair’s 2½-year-old twins to become b’nai mitzvah. (Their birth mother is Seventh Day Adventist.) “Right now we’re teaching them language and how to use the potty. But I am checking out synagogues,” says Sachs, who grew up attending synagogue and was president of his temple youth group in Memphis, Tennessee.

As an established member of the Jewish community there—his grandmother’s family arrived in the 1850s, and his father’s family came in the early 1900s—he “felt no vulnerability as a Jew.” But he did experience anti-Semitism at the “very traditional old Southern white prep school” he attended in the ’70s. “I was called ‘kike’ and had pennies thrown at me. The violence scared me but the anti-Semitism seemed ridiculous.”

Today, Sachs considers himself a secular Jew. “I know that that comes out of assimilation and I’m intellectually sad to not be more knowledgeable about Judaism,” he says, though he finds Judaism “less exclusionary” than some other religions, “a welcoming fold.”

3.5 out of 5 stars. Ideological Content Analysis indicates that Love Is Strange is:

5. Multiculturalist and pro-immigration. Molina remarks favorably on the multiethnic makeup of a school’s student body, Love Is Strange being set in the magical milieu of imaginary white liberals who intermix freely with blacks and immigrants. The film features more than one “Russian” transplant, one of them played by a fuzzy-headed Jew (Eric Tabach). One assumes they had to flee for their safety from Putin’s eternally clouded heterofascist Russian Reich.

4. Pro-police. The heroes have two gay cop friends. The reader must understand that, in the eyes of Love Is Strange’s target audience, this represents the most sterling endorsement of New York law enforcement.

3. New Age. Lithgow and Molina have some kind of non-Christian, new-agey “marriage” ceremony. Love Is Strange is peopled entirely by weirdos who go in for stuff like “chromotherapy” and medicinal energy-channeling.

2. Anti-Christian. If only the Catholic Church had not been so bigoted, the two gents might have lived out the remainder of their lives together in happy fulfilment. Even so, the movie makes an unconvincing attempt to present itself as conforming to Christian values. “I still believe in Jesus Christ as my savior,” says Molina.

1. Pro-AIDS. Those enticed by the prospect of seeing not particularly sexy actors Alfred Molina and John Lithgow squish faces are in luck, as Love Is Strange features more than one such moment. They are “an example to be followed,” proclaims Lithgow’s niece Marisa Tomei. The film is at pains to present them as perfectly normal individuals and – more disturbingly – to show that they are trustworthy if left alone with children. “It’s about as family friendly a movie as Miracle on 34th St,” Sachs claimed in a Reddit Ask Me Anything session. In Love Is Strange’s most ludicrous moment, Tomei scolds her son (Charlie Tahan) for talking about fertilizer at the dinner table. “Joey, your uncle’s still eating.” Like some guy whose idea of a sexual pleasure center is his anus is going to get all squeamish about poop talk.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1Y13eAn 

Best Exotic Marigold Hotel

A chick flick truffle to induce salivation in women moviegoers made weak in the knees by tart, cockney-accented romantic comedy or who find the idea of an elderly Englishman dancing in his shower to the beat of “Le Freak” to be irresistibly hilarious, The Best Exotic Marigold Hotel is a slick but superficial offering sure to satisfy its target audience and annoy everybody else. Full of dry wit, spirited performances, and dramatic scenes that allow for a liberal range of hues of geriatric heart-tuggery, this tale of a gaggle of English geezers who retire to live out the remains of their lives in a ramshackle Indian hotel is a more than adequate vehicle for a strong and colorful ensemble cast that includes veterans Judi Dench, Tom Wilkinson, Bill Nighy, Penelope Wilton, and British bulldog Maggie Smith, who resembles Michael Caine in drag.

Ideological Content Analysis indicates that The Best Exotic Marigold Hotel is:

6. Pro-miscegenation and pro-gay. Graham (Wilkinson) has returned to India to see his old Indian lover, Manoj (Rajendra Gupta). As a sensitive gay man, Graham is naturally more desirable to Jean (Wilton) than her heterosexual husband (Nighy). Shameless tramp Madge (Celia Imrie) spends her time trying to meet a rich Indian husband. After a woman mistakenly gets into her bed, Madge, rather than being upset, reflects pleasantly, “That’s the most action I’ve had in weeks” (cf. no. 3).

5. New age. Douglas (Nighy) is impressed with the sense of peace he feels in an Indian temple. Hindi moaning features prominently on the soundtrack. The group disposes of one of its members in a spiritually piquant funeral pyre. The film generally does its best to perpetuate the idea of the East as the place where westerners can most successfully actualize themselves.

4. Anti-marriage/anti-family. Evelyn (Dench), a recently widowed housewife, has been left with debts by her controlling husband, who never communicated with her. The Ainslies (Nighy and Wilton) are both drawn to other people, and their union ends in separation. Hotel proprietor Sonny (Dev Patel) and the woman he loves (Tena Desae) must both oppose their families’ wishes in order to be with each other.

3. Feminist/pro-castration. Evelyn’s mannish haircut is a horror. The viewer is left with the impression that Douglas will become the mincing, tea-serving common law househusband of this former housewife, now a strong and empowered woman in control of her life (cf. no. 6).

2. Globalist. The film depicts business ventures sympathetically and gives a smiling human face to the phenomenon of Third World outsourcing of jobs.

1. Multiculturalist/anti-racist (i.e., pro-yawn). “Old habits die easier than we think” and “we must celebrate the changes.” Britain’s Third World influx, this film would have viewers believe, simply means more skilled professionals to serve the public interest. Wheelchair-bound bigot Muriel (Smith) is at first reluctant to be treated by a minority doctor, objecting to immigrants’ “brown faces and black hearts”, but comes to see the error of her ways in the light of Indian kindness. Sonny makes a show of Indian grace and genius with his florid speech and quotation of Shakespeare. The film opens itself to an accusation of insensitivity, however, when Douglas recommends a temple, but jokingly admonishes visitors to “maybe take a clothespin for your nose.”

Rainer Chlodwig von Kook

Dallas Buyers Club

Matthew McConaughey, who over the past few years has become one of this writer’s favorite actors working today, is the only reason to watch Dallas Buyers Club, the most recent attempt to subvert and metamorphose the American cowboy into a gay activism icon after the manner of Brokeback Mountain (2005). McConaughey stars as Ron Woodroof, a narrow-minded ne’er-do-well whose life changes forever – or, anyway, for what remains of it – after he is diagnosed with what Andy Warhol called “gay cancer”.

Jennifer Garner portrays a concerned physician, while Jared Leto munches the scenery as junkie transvestite Rayon, who becomes Woodroof’s business partner in the “Dallas Buyers Club”, a grassroots enterprise designed to provide AIDS sufferers with a healthier treatment alternative than the big pharmaceutical competition. Woodroof’s drive to prolong his life and combat the establishment’s market stranglehold is fairly compelling, but squeamish viewers are forewarned that the movie contains such tacky attempts at heart-tuggery as the sight of a sick, self-pitying transvestite drooling blood and whining “I don’t wanna die . . .”

4 out of 5 stars. Ideological Content Analysis indicates that Dallas Buyers Club is:

9. Anti-Christian. Woodroof dresses as a priest while attempting to smuggle drugs into the U.S. from Mexico. The image of an AIDS patient wearing a clerical collar is of course no sartorial accident and works as a barb directed at Catholic moral hypocrisy, so many priests being closeted homosexuals, many of whom are known to have succumbed to AIDS.

8. Anti-drug. Woodruff’s intravenous drug use, along with his inveterate whore-chasing, has put him at greater risk for contracting AIDS. Also, Rayon’s dope addiction only exacerbates his decline.

7. Anti-racist. One of the personal failings Woodroof must overcome is his racism, evidenced by his references to Asians as “chinks” and Saudis as “sand niggers”. As his drug procurement operation goes global, he learns to appreciate the profitability of doing business with foreigners. “I like your style,” he tells a Japanese doctor.

6. Feminist. In addition to overcoming his racism, Woodroof must also come to accept women’s contributions to the modern workforce. “I don’t want a nurse, I want a doctor!” he protests in one early scene.

5. Anti-redneck. The spectacle of a gun-toting “homophobic asshole” and piece of “Texas hick white trash” suffering from AIDS and lashing out in his agony as dignified professional women and minorities look on with contempt is pure political porn for liberals, the quintessence of their wishful thinking.

4. Capitalist. Dallas Buyers Club betrays a left-libertarian streak in its combination of social liberalism and celebration of the entrepreneurial spirit, attempting to illustrate how unfettered markets will serve both the small businessman and consumer. “I say what goes in my body, not you.”

3. Anti-corporatism. The IRS, DEA, and particularly the FDA appear as antagonists in the film, the cronyist footmen of big pharma monopolists looking to squeeze the competition. “Now that’s the shit that’ll rot your insides,” Woodroof avers, examining a package of meat in a grocery store. “What a surprise,” he then adds, “FDA-approved.” The FDA, Dallas Buyers Club alleges, merely functions as big pharma’s glorified street pushers.

2. Pro-gay. Through a business partnership that blossoms into a friendship, Woodroof learns to appreciate Rayon as an individual, and comes to appreciate the general plight of homosexuals as he succumbs to the disease they share. AIDS, as the great sexual-sociopolitical equalizer, almost seems to be the movie’s unsung hero. Demonstrating his transformation from homophobe to humanitarian, Woodroof in one scene grabs his bigoted friend T.J. (Kevin Rankin) and holds him in a headlock until he agrees to shake Rayon’s hand. Homosexuals appear as sensitive and nurturing throughout Dallas Buyers Club.

1. Pro-NWO. “Look at this place,” Woodroof muses, surveying the scene in a bohemian clinic south of the border. “Fuckin’ chinks, homos, herbs, hot nurses. You got a regular New World Order goin’ on here . . .”

Rainer Chlodwig von Kook

Katy_Perry_Part_of_Me

MTV Films’ latest project in the controlled demolition of civilization follows popular candy-coated nut Katy Perry on her California Dreams Tour of 2011, “a year filled with tremendous success and personal heartbreak” for the twinkly star. Along with seemingly interminable adulation from friends and toadies, the viewer is treated to Perry’s bouts of depression as her long-distance relationship with Russell Brand disintegrates. Even so, to be granted entry into the world of Katy Perry is to be plunged into a dazzling phantasmagoria of lollipops, hearts, balloons, confetti, and sexy, garish costumes.

“I feel a real connection to fairy tales, and I think that in some ways I live in a fairytale,” the singer confides, and one quickly sees what she means when confronted with so many sissy prancers ducking, gliding, and kicking around the stage in their candy cane pants. Even freaky Russell Brand, when he meets his lady backstage, looks embarrassed to be seen mixing with this lot of dubious company. Too much hagiography begins to wear on the viewer’s patience, and Perry minus the whorish makeup and the wardrobe is actually rather an uninteresting individual; but Katy Perry: Part of Me does feature some impressive concert cinematography and grotesque visuals aplenty.

2 out of 5 stars. Ideological Content Analysis indicates that Katy Perry: Part of Me is:

10. Pro-miscegenation. Interracial couplings can be glimpsed among her backup dancers.

9. Corporate. Brand sends Katy a text message with a picture of a McDonald’s restaurant and suggests they name their firstborn Ronald.

8. Anti-Christian. Katy’s conservative Pentecostal upbringing, which forbade her to watch The Smurfs or eat Lucky Charms, definitely started to cramp her style as she discovered her inner freak. “I felt like I was never even allowed to even think for myself, and having any kind of feminist live-on-your-own independent spirit is just, ugh, the devil!” (cf. no. 5) Today Perry’s beliefs appear to drift more toward permissive New Age nebulousness: “I really do believe in God[, even if I] probably don’t believe in all the same details that my mom believes, but I have a spiritual relationship with God, and it’s one-on-one, and it’s continually evolving.”

7. Pro-drug. Katy be “sippin’ on gin and juice”.

6. Family-ambivalent. Perry is close with her grandmother, and her parents are generally supportive despite not approving of all of their daughter’s output. She is unprepared, however, to have children of her own.

5. Underachievingly feminist. “I kinda want to be a leader, but, you know, then there’s all those responsibilities.” Still, California girls like Katy are naturally “fine”, “fresh”, and “fierce”.

4. Multiculturalist. The film goes to great lengths to portray Katymania as a messianic and postracial phenomenon and opens with a series of webcam effusions from teen admirers of various races and orientations who say that Perry has shown them that “being weird is okay.”

3. Pro-gay. Perry’s breakout hit, “I Kissed a Girl”, occasions a lesbian smooch from View host Whoopi Goldberg. Among the fans who receive screen time are some Japanese drag queens.

2. Pro-wigger. One must, one supposes, muster something resembling admiration for a songwriter who rhymes “peacock” with “beyatch”. “West coast, represent!”

1. Pro-slut. In addition to her salacious booty-shakery onstage, Perry’s lyrics tend to be of the tawdry “let you put your hands on me in my skintight jeans” and “I wanna see your peacock” variety.

A Million Ways to Die in the West

 

Central to Post-American Hollywood’s hate affair with European-American heritage is its especial loathing for the rugged, expansive tradition of the masculine Old West, a tired spite that found expression in Brokeback Mountain (2005), Django Unchained (2012), and last year’s flop Lone Ranger remake, and now throws a new shovelful of Marxist manure onto the pile with A Million Ways to Die in the West, the latest directorial effort of Family Guy auteur Seth MacFarlane, whose last foray into feature filmmaking was the less heartless and more palatable Ted (2012).

The western spoof was never a genre that held much interest for this reviewer. After Wild Gals of the Naked West (1962), Little Big Man (1970), Thank You Mask Man (1971), Blazing Saddles (1974), and so many others, was there really such high demand for another one of these things? Worst is that A Million Ways to Die in the West misses even the broad target of this underachieving subgenre and fails to elicit a single laugh – with, perhaps, the brief exception of the absurd sight of Gilbert Gottfried dressed up to look like Abraham Lincoln.

MacFarlane, who stars as an Arizona sheep farmer, lacks the charisma and color to carry a gonzo film of this sort, and might have done better to cast Seth Rogen or some other funny Jew in the lead. Monument Valley, at least, was never more gorgeous, and sets off race traitoress Charlize Theron’s earthy beauty to nice effect. Liam Neeson, too, is adequate as the principal villain, while Sarah Silverman is convincing as (what a stretch!) a brainless whore. No coup of casting, however, could offset the fact that A Million Ways to Die in the West is too explicitly nasty, self-aware, and mean-spirited to evoke any genuine mirth.

2 out of 5 stars. ICA’s advice: watch Shane (1953) again instead. That is, unless the viewer is absolutely determined to see a sheep urinating in Seth MacFarlane’s face or Doogie Howser, M.D., dumping noisy splats of diarrhea into a Stetson.

Ideological Content Analysis indicates that A Million Ways to Die in the West is:

13. Pro-miscegenation. Giovanni Ribisi dirties himself with Jewish floozy Sarah Silverman.

12. Anti-capitalistic. Merchants receive unfavorable depictions in an arrogant mustache cosmetics salesman (Doogie Howser) and a quack medicine hawker (Dennis Haskins). Other representative forms of commerce and industry are prostitution and mining, which leads to health problems.

11. Anti-tobacco. MacFarlane has a coughing fit when he tries his first cigarette.

10. Anti-Arab. Theron, after hearing him do a mock rendition of an Islamic prayer, is relieved to learn that MacFarlane has no Arabian ancestry.

9. Anti-slavery (i.e., pro-yawn). Django himself, Jamie Foxx, shows up in a cameo to murder the proprietor of a “runaway slave” shooting game at a fair.

8. Anti-human. Among the sights MacFarlane expects the viewer to find hilarious are a family catching on fire and men being shot, gored by a bull, and smashed into bloody bits by a falling block of ice.

7. Pro-slut. Sarah Silverman with a gob of semen stuck to her cheek. How charming.

6. Anti-Christian. Parkinson’s disease is sarcastically described as one of the ways God shows His love. A pastor and his son are murderers. Silverman plays a prostitute who bangs ten customers “on a slow day” but refuses to compromise her Christian beliefs by having premarital sex with her fiance.

5. Pro-castration. MacFarlane’s girlfriend (Amanda Seyfried) dumps him, mainly because the guy is such a wimpy, needy schmuck with no potential. The movie’s somewhat ambivalent solution to his woes, however, is not for the hero to turn himself into a stud and a macho gunslinger, but for him to become more open-minded, study under the tutelage of a feminist, take drugs, and embrace diversity. Sissy, progressive, ethnomasochistic men like MacFarlane and Ribisi are the characters the viewer is supposed to like, while traditionally masculine types are antagonists, with rough-loving outlaw Liam Neeson getting a daisy stuffed in his ass. Men, the message seems to be, ought not to toughen up so much as opt for moderation in wimpiness.

4. Gun-ambivalent. A Million Ways to Die in the West is naturally eager to depict the typical gun owner as a rowdy Caucasian who likes nothing better than to find an excuse to put a bullet through a stranger. The film finds itself in a bit of a quandary, however, in that it is difficult to tell an entertaining story about the Wild West without making use of heroic gunplay. As a compromise, the film features an unlikely, reluctant hero in MacFarlane, a man with no natural talent for shooting and who avoids confrontation when possible, but does learn (from a woman) how to handle a gun in order to protect himself from all of the horrible, unprogressive white men in town. A Million Ways to Die in the West appears to suggest that firearms are best left as a monopoly of responsible feminists like Charlize Theron.

3. Pro-drug. MacFarlane and Theron share a marijuana cookie. The hero later attains “true courage” by drinking a psychedelic concoction given to him by an Indian tribe. Group freakout sessions, explains their wise chief (Wes Studi), constitute the way to “true happiness”.

2. Feminist, anti-marriage, and anti-family. Theron heroically liberates herself from bossy, abusive husband Liam Neeson. MacFarlane’s parents are lifeless sourpusses who never show him any affection. Ribisi, meanwhile, mentions being molested by an uncle. (cf. nos. 5 and 8)

1. Anti-American. “The West fuckin’ sucks.”

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?

canyons poster

Paul Schrader (Hardcore; Cat People) delivers a characteristically decadent study with this, his eighteenth film as a director. Scripted by Bret Easton Ellis of Less Than Zero and American Psycho fame, The Canyons is at once tawdry, elegant, and meanspirited, and one of the most notable films of the year.

An extremely frank narrative revolves around repulsively spoiled trust fund wastrel Christian (James Deen), who whiles away his days corrupting the people around him and manipulating them like so many toys. So as to satisfy his father that he has an occupation, he dabbles in movies as a producer, which brings him into indifferent contact with handsome, aspiring actor Ryan (Nolan Gerard Funk). Christian professes to like to keep his openly open marriage with slut wife Tara (Lindsay Lohan) comfortably “loose” and “complicated”, but finds more complication than he probably desires when he discovers that seemingly wholesome Ryan has a previous history with Tara.

A constant doom hangs over The Canyons, its title both geographically and thematically descriptive of this sun-baked but gloomy experience. Punctuating the film are images of the empty marquees and ruined interiors of once-glorious, now abandoned movie theaters serving at once as commentary on an industry and on the characters’ inner desolation. Hollywood’s stories about itself, from Sunset Boulevard, In a Lonely Place, and The Bad and the Beautiful through Day of the Locust, The Player, and Hollywoodland, have tended to be downbeat affairs, and The Canyons continues in that tradition – less gothically or spectacularly, perhaps, than the more grotesque entries in the genre, but no less despairing by any measure.

Classy in execution if totally tacky in subject matter, The Canyons is well worth seeking out. James Deen is perfectly detestable as Christian, Nolan Funk’s male beauty is appropriately vapid, and luscious but fading Lindsay Lohan is exquisitely cast as jaded but sympathetic hussy Tara.

4.5 stars. Ideological Content Analysis indicates that The Canyons is:

5. Anti-drug. “Why are you drinking tequila at noon?” The danger of date rape drugs receives mention.

4. Anti-gay. Homosexuality appears as a predatory symptom of personal and cultural decadence.

3. Class-conscious. Inherited, unearned wealth like Christian’s gives rise to degeneracy and arrogance.

2. Technology-skeptical. Y appears as a generation rotten in inception and already gone to seed, at once precocious and empty-headed, and incapable of conversing over drinks without texting or sexting simultaneously. One suspects that Schrader holds handheld and streaming technology to be at least partly to blame for the murder of those stately old movie houses. Technology, too, has contributed to these young ones’ flippancy with regard to sexual morality. “Nobody has a private life anymore” and “We’re all actors, aren’t we?” Identity theft also looms as a threat in the world of online everything.

1. Crypto-traditionalist/anti-slut. For all its blatant depravity, male frontal nudity, and other marks of deceptively casual nihilism, The Canyons views its characters through a detached but quietly tragic, judgmental, and conservative lens. “I’m just sick of the old school shit about fuckin’ propriety, etiquette, and all that crap [. . .] It’s like when you’re at your family dinner on Sunday and everyone’s just lying, lying . . .” Christian explains – and he and his peers suffer to the degree that they deviate from the outmoded norms. Christian’s name speaks for itself as a sarcastic commentary on an utterly godless generation given to hedonistic materialism and soulless egoism. The only thing missing from The Canyons is the compounded case of venereal pestilence these little horrors would (hopefully) catch if they lived as depicted for very long.

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Author of 'Lost Lions of Judah' and other non-fiction

Bre Faucheux

News, Thoughts, & Tangents

DESERET NATIONALIST ASSOCIATION

NATIONALISM | POPULISM | IDENTITY | HERITAGE

Historical Tribune

The Factual Review

The Roper Report

Billy's Balkanization Blog

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Libertarian Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!

Floating-voter

A topnotch WordPress.com site

Two Hundred Years Together

A History of the Russians and the Jews

maddoggbuttkickingbrown's real truth!

Getting at the truth, whole truth, and nothing but the truth!

MountainGuerrilla

Nous Defions!