Archives for posts with tag: gay rights

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.

burroughs

Burroughs: The Movie (1983), one of this writer’s favorite documentaries, makes for a must-see viewing experience in its extras-packed Criterion Collection Blu-ray release.

 

Unaccountably lionized murderer, heroin addict, pedophile, absentee father, allowanced wastrel, and “novelist” William S. Burroughs receives the star treatment in Howard Brookner’s 1983 film Burroughs: The Movie. “He’s up there with the Pope, you know?” gushes unashamed Burroughs groupie Patti Smith. “You can’t revere him enough. One of the greatest minds of our times, you know?” This is typical of the bizarre affection inspired by the eccentric writer, who gave Brookner unusually candid access to his life and was generous with his time in cooperating with the production of this entertaining documentary. Others appearing in the film include Terry Southern, Herbert Huncke, and Burroughs’s assistant and “son” James Grauerholz. Crooked-mouthed creep, brain damage evangelist, and NAMBLA alumnus Allen Ginsberg, who for a time was Burroughs’s lover, offers various reminiscences and characterizes Burroughs’s killing of his wife as a kind of assisted suicide (for a dissenting account, viewers of the Criterion release have recourse to a recorded conversation between Brookner and Burroughs biographer Ted Morgan).

Twitchy-faced Burroughs, whose incoherent mutterings published under the title Naked Lunch were included on the American Library Association’s list of banned and challenged “classics”, is imagined by his admirers to be some species of anti-establishment rebel; but, beginning with EMI’s inclusion of the notorious reprobate on the cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (glamorously, right next to Marilyn Monroe), Burroughs has repeatedly been promoted as a countercultural icon for gullible youth through collaborations and endorsements from entertainment industry figures like Iggy Pop, Debbie Harry, Dennis Hopper, Gus Van Sant, David Cronenberg, R.E.M., U2, and self-pitying Nirvana belly-acher Kurt Cobain. He was even introduced as “the greatest living writer in America” when he appeared on Saturday Night Live on NBC in 1981, and his books, furthermore, are published by international giant Penguin.

The contradictions of the Burroughs persona are on display throughout, the patrician features and gentlemanly manners masking an ultra-degenerate who insists, “I don’t like violence,” but constantly talks and writes about it and delights in showing off his collection of guns and exotic weaponry. Burroughs, as captured in the film, speaks with relish of his dream of death squads that will hunt down and kill heterosexuals who oppose the establishment of a “Gay State”. For all of this, however, the film remains a bit of a whitewash, making no mention, for instance, of what Jim Jarmusch diagnoses in his audio commentary as Burroughs’s hatred of women. “Burroughs would have been a great CIA agent,” Jarmusch also observes, which, if true, says little about the moral caliber of that agency’s personnel. Curiously, Burroughs actually interviewed for a position with OSS founder William “Wild Bill” Donovan himself. Criterion’s Blu-ray release of Burroughs: The Movie is altogether a fascinating portrait of one of the most contemptible human beings who ever lived.

Rainer Chlodwig von K.

 

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FOUR

Pussy Riot

Daryl Hannah ought to be tarred and feathered for agreeing to narrate this piece of shit, positively one of the worst, most hideously ugly and unappealing documentaries of the decade. Perhaps best viewed as an inadvertent comedy, complete with Jewish handwringing about corruption and the need to uphold the Russian constitution, its robust aroma is made the more pungent by slapdash subtitles, bad acting, and tiresome samples of Pussy Riot’s monotonous, wailing “music”. During the course of this particolored cavalcade of tedium, the saints of Pussy Riot are likened to Elvis Presley, Joan Baez, John Lennon, Joan of Arc, and even Michelangelo – and without the slightest indication of irony.

The “evil man” Putin, on the other hand, is compared to Joseph Stalin, Tsar Nicholas I, and Francisco Franco, and repeatedly depicted as a “fascist”. “This is a country where people die from dissent,” charges Masha Gessen. Performance artist Oleg Kulik has the most sidesplitting lines of this circus, funnier for being delivered with the utmost earnestness: “We are in the heart of a Satan and the heart is beating. Black blood is pumping like oil. The girls have poked the devil’s eye and the devil screamed ‘I am God!’ And the girls say, ‘No, you’re not God. You’re the devil,’ so it’s an argument between them. Is he a devil, or is he a God? It is an existential argument.”

Another chuckle comes from the sight of young women in rainbow-colored terrorist ski masks accompanied by the assertion that a rising generation of young Russians has a “desire to live in a normal country.” “Thank you, Madonna! Thank you, Red Hot Chili Peppers!” the girls exclaim for the solidarity shown them by the American entertainment establishment. The group needs all the help it can get when faced with a dictator like Comrade Putin. One of the silliest statements in the film is the weepy telling of how the members of Pussy Riot “were arrested in a dark street in Moscow.” Imagine the shame of the thing! Arresting these world-famous artistes in a street that was not even properly lighted!

Pussy Riot: The Movement earns a star and a half for its unintentional humor. Ideological Content Analysis, meanwhile, indicates that this pile of Jew dookie is:

4. Pro-AIDS. Jewish faggot Masha Gessen, who has admitted that her advocacy of “gay marriage” has the purpose of destroying the institution of matrimony, is one of the wholesome voices of anti-authoritarian courage featured in the documentary. The Pussy Riot girls are also shown cavorting and howling about homosexual “rights”.

3. Anti-Christian. “Sexism, persecution, and torture” follow from church involvement in state affairs. The Russian Orthodox hierarchy is portrayed as corrupt, oppressive, and avaricious. The entire film celebrates the Pussy Riot sluts for their desecration of Christ the Savior Cathedral, which, one of the interviewees suggests, may come to be known to history as Pussy Riot Cathedral. Francis Carr Begbie of The Occidental Observer adds:

Pussy Riot is also supported — in a circuitous route — by the Soros-funded National Endowment for Democracy. Could it also be that support of groups like Pussy Riot is part of a parallel Jewish strategy of debasement and corruption of Christian morality? As Professor Nathan Abrams wrote, the very prominent Jewish involvement in porn was a result of the “atavistic hatred of Christian authority” and a desire to “weaken the dominant Christian culture.”  Is it so much of a stretch to view Jewish support of these groups as part of the same agenda?

2. Feminist/pro-slut, with Russia depicted as some sort of hell hole of sharia-style patriarchal totalitarianism where women are obligated to cover their heads in shame. “It’s an act of love among dead nature to show that there is at least something living in this country,” Kulik says of a public orgy in which one of the Pussy Rioters participated.

1. Zionist, smearing Putin and Russia in accordance with neoconservative aims. Pro-Israel Jew Senator Benjamin Cardin is spotlighted for his work in raising awareness about the gentile evil being perpetrated in Russia. The narration even tosses in a jab at Iran for alleged corruption. Interviewees, in addition to the disease-exuding Gessen, include Pussy Riot’s Jewish lawyer, Mark Feygin, and gallery owner Marat Guelman, who whimpers piteously: “Because now what we have, Stalin come back.” There is, too, an echo of “Holocaust” propaganda in Pussy Riot: The Movement’s characterization of Russian prisons as concentration camps where women are (so the story goes) fed stale bread and rotten potatoes, made to stand naked outside in the cold, and prevented from using a toilet. Jewish billionaire oligarch Mikhail Khodorkovsky is presented as a rival of Putin – perhaps the only politician who could lead Russia to freedom! – but those susceptible to such rubbish are advised to read what Ronald L. Ray of American Free Press has written about this parasite:

It is Russia’s President Vladimir Vladimirovich Putin, a former communist, who stands in the breach, while bankers and internationalists promote the likes of Mikhail Borisovich Khodorkovsky, a Russian Jewish oligarch with billions of dollars to use for the re-enslavement of the former Soviet Union. […]

Although convicted of tax evasion and moneylaundering—a conviction upheld by the European Court of Human Rights—Khodorkovsky has been portrayed by Western media and politicians as a “political prisoner” because he opposed Putin. He is the poster boy for the plutocratic fight against Russian nationalism and economic independence.

But according to a January 3 report in Germany’s National-Zeitung, even defenders of the 50-year-old multi-billionaire are forced to admit that his wealth is ill-gotten. In just 15 years, the young communist son of modest engineer parents amassed many billions of dollars under the aegis of former Russian President Boris Nikolayevich Yeltsin. He was one of a handful of Jews who were given free rein by Yeltsin to enrich themselves by gaining control of much of Russia’s wealth and politics […]

As Yeltsin’s energy minister, Khodorkovsky used his now-bankrupt privately-owned Bank Menatep, for shady real estate dealings and to purchase a controlling interest in the defunct Yukos Oil Company at a fraction of its value. The Yukos production division in Russia sold the oil at minimal profit to the distribution division, located in a foreign tax haven, which then sold the oil to American and Jewish interests at market rates. Khodorkovsky and his partners profited immensely and paid little or no taxes. When a local Russian mayor spoke out about Yukos’s refusal to pay taxes, a Khodorkovsky partner was implicated in the contract murder of the official.

Khodorkovsky was accused of stealing 200 million metric tons of oil from Russia—half the Yukos production—via his business practices. Thus, it was natural that, under Putin’s efforts to break the international bankster grip on Russia and regain control of natural resources, Khodorkovsky would be investigated for selling those resources out of the country.

Not surprisingly, Pussy Riot: The Movement executive producer Marianna Yarovskaya – clearly a principled crusader for truth – is a former employee of Zio-globalist operations Greenpeace and Voice of America. She was also the head researcher for global warming scare film An Inconvenient Truth. Unsurprisingly, too, given the group’s Jewish and globalist NGO connections, Pussy Riot has most recently thrown the weight of its tawdry celebrity wholly behind the “refugee” invasion of Europe.

Rainer Chlodwig von Kook

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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

Council on Foreign Relations creature Angelina Jolie directs Unbroken , a.k.a. (as it shalt be known for the purposes of this cinematic exegesis) The Unbroken Passion of G.I. Goy, the Judeo-Christian fable of Olympic athlete Louis Zamperini (Jack O’Connell), his war service to organized Jewry, and his long and not particularly interesting tenure as a P.O.W. Equal parts war movie, survival story, and prison film, The Unbroken Passion of G.I. Goy’s most satisfying passage is the section in which Zamperini and two other survivors of a plane crash are stranded at sea for more than a month in a lifeboat. For the remainder of the film, Zamperini stoically endures forced labor and regular torture at the hands of the Yellow Peril. One might have expected something more engaging (or at least more divertingly offbeat) from screenwriters Joel and Ethan Coen, but what the audience gets is tolerable, if judged by the standards of neocon fodder.

3.5 out of 5 possible stars. Ideological Content Analysis indicates that The Unbroken Passion of G.I. Goy is:

4. Sodomy-ambivalent. Showing their solidarity with the globalist gay agenda, P.O.W.s put on a drag show. A pox on progressive internationalist Angelina Jolie, however, for resorting to the cookie-cutter homosexual villain type in the characterization of Commander Watanabe (Takamasa Ishihara). Shame on her and the Coen brothers for their clearly unreconstructed Hollywood hetero-fascism!

3. Pro-immigration. Zamperini serves as the poster boy immigrant son whose mother still speaks Italian. Bigoted Anglo-Saxon boys pick on him and call him a “wop”, unaware that he will go on to become a war hero and suffer his Unbroken Passion for all of their sins of WASP privilege. Even his underwhelming eighth-place finish in the 5,000 meter race at the Berlin Olympics is treated as an immaculate triumph for America, democracy, and equality, a companion feat to that of fellow diversifier Jesse Owens (Bangalie Keita), and the film actually attempts to give the impression that the crowd in Olympic Stadium is cheering for Zamperini.

2. Ostensibly Christian. Zamperini, initially an agnostic or atheist, is eventually moved by the Spirit to become the personal Jesus of his fellow P.O.W.s. In the triumphant moment of his Unbroken Passion, Zamperini is made to lift a cumbersome beam, the framing unsubtly calling to mind Christ’s bearing of the cross, after which he must stand crucifixion-like with it or be shot by the sadistic Jap-Romans.

1. Pro-war. The opening shot of The Unbroken Passion of G.I. Goy is a dreamscape of clouds accompanied by the singing of a chorus as of angels. Soon the angels materialize as American bombers doing the righteous bidding of FDR’s Yahweh-state. In The Unbroken Passion of G.I. Goy’s most laughable scene, a P.O.W. falls to his knees and weeps on hearing the news that FDR has died. Oh, no! God is dead! Yes, seventy years later, the Jew World Order is still cranking out stupid WW2 propaganda movies – in other words, hardcore porn for folks like the annoyingly coughing old Tea Party type who sat behind this reviewer and commented with a reverent and wistful air during the trailer for Selma that “if they hadn’t killed him, things’d be different today.”

Make no mistake: the tableaux of ruined Jap buildings and bodies is included not to evoke sympathy for the victims of Allied war crimes, but as a warning of what can be expected to befall any Eastern powers attempting to resist the will of ZOG. (Malaysian jet pilots, are you reading this?) The detail that the Japanese have beheaded some prisoners is no doubt intended to engender a subconscious psychological continuity between the viewer’s experience of the still highly marketable “good war” against nationalist Europe and Japan and the current money pit conflict against “ISIS” (Israeli Secret Intelligence Service?).

Rainer Chlodwig von Kook

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