Archives for posts with tag: gay

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.

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can you ever

Melissa McCarthy, in what must be her least repugnant role to date, plays the hard-drinking, foul-mouthed misanthrope and literary forger Lee Israel in this amusing movie for booklovers. After publishing biographies of Tallulah Bankhead, Dorothy Kilgallen, and Estée Lauder, Israel fell on hard times and, in order to make ends meet and keep her cat alive, took to forging and selling letters that purported to have been written by the likes of Dorothy Parker and Noel Coward. McCarthy, who is fatter but still way more attractive than the actual Lee Israel, manages to make an almost lovable character out of “a 51-year-old woman who likes cats better than people.” Suspenseful, involving, and often funny, Can You Ever Forgive Me? is forgivably watchable if you don’t have to pay for it.

4 out of 5 stars. Ideological Content Analysis indicates that Can You Ever Forgive Me? is:

4. Pro-gay. Israel is a lonely lesbian and her partner in crime is a charming British homosexual, Jack Hock (Richard E. Grant), who tragically comes down with a case of the AIDS at the end of the movie after “fucking [his] way through Manhattan.” Hock appears with a bloody face in one scene as a reminder of the perils of being a fruity fop in a cold and insensitive world. Israel’s forging of letters by Noel Coward, too, furnishes a pretext for a history lesson about how, during the benighted first half of the twentieth century, gays still had to hide their orientations and carry out their forbidden amours in secret.

3. Anti-drug. Israel’s drinking is a barrier to healthy relationships. Cocaine, meanwhile, is associated with homosexual excess and irresponsibility. After going away and leaving Hock alone to look after her apartment and cat, Israel returns to find that her friend went on a coke-and-sodomy spree and that the cat has died. It is unclear, however, whether the cat has actually died because of neglect or simply succumbed to old age, considering that it was already sickly. In any case, Hock’s life of doping and diddling eventually leads to his demise.

2. Anti-family. “Maybe she didn’t die,” Hock reflects, trying to recall what became of a mutual acquaintance. “Maybe she just moved back to the suburbs. I always confuse those two. No, that’s right. She got married and had twins.” “Better to have died,” quips Israel, who has no interest in family life.

1.Philo-Semitic and anti-white. Can You Ever Forgive Me? takes place in a New York of the imagination in which plucky underdog Jews struggle to make it in a WASP-dominated world. “Did you hear,” bookseller Anna (Dolly Wells) asks, “that Tom Clancy is getting paid $3,000,000 to write more right-wing macho bullshit?” “Are you kidding me?” Israel objects. “That blowhard’s gettin’ $3,000,000? Oh, to be a white male that doesn’t even know he’s full of crap, right?” To her credit, Israel’s literary agent Marjorie (Jane Curtin) advises her to become “a nicer person” because “you can’t be such a bitch” and make it in the publishing world. Israel, however, accuses Marjorie of benefiting from (an implicitly WASPish) privilege and wealth. (Deleted scenes include a vignette in which Israel takes a job as an assistant to a rich blonde lady with the nakedly symbolic surname Whitman. The viewer, of course, is encouraged to find Israel more likable, cleverer, and more deserving of comfort and success in life than the prim and tedious Whitman.) Probably to counter the bad-optics spectacle of a slovenly character named Israel engaging in theft and fraud and generally being antisocial, screenwriters Nicole Holofcener and Jeff Whitty throw in references to Adolf Hitler and “terrible old fart the tyranny addict Joe Kennedy” to remind viewers of Jewish suffering during the Second World War. In truth, however, Can You Ever Forgive Me? is, all things considered, a celebration of balls-out chutzpah and Jewish talent at snookering the gullible goyim.

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!

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!

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

Office Christmas Party

Jason Bateman plays straight man to a cast of corporate crazies in Office Hanukkah Party, Hollywood’s latest assault on every decent thing left in this maggoty world. The movie does manage to lampoon the self-negating neuroses bred by workplace compliance with inclusivity policies and political correctness, but ultimately embraces the same sort of idiocy, only spicing it up with vice and obscenity in order to make the New World Order seem somehow appealing. Viewed in isolation from any moral considerations or greater societal impact, Office Hanukkah Party is an admittedly fun film buoyed by a talented cast of comedic actors including Jennifer Aniston and T.J. Miller as feuding tech executive siblings Carol and Clay. Kate McKinnon insults Christians everywhere in the role of the rigid but flatulent “Mary”, while Vanessa Bayer and Randall Park reprise their interracial flirtation from the similarly depraved Trainwreck.

4.5 out of 5 stars – and, to be absolutely clear, this rating reflects not the film’s sociological value but its likely appeal to its intended audience of unredeemed degenerates. Ideological Content Analysis indicates that Office Hanukkah Party is:

9. Disingenuously anti-corporate, disapproving of impersonal business cultures, profit-prioritizing layoffs, and the like, but fully endorsing the atomized hedonism favored by the neoliberal establishment. (I find a pleasing irony in the fact that the film’s initials, O.C.P., are also those of Omni Consumer Products, the evil military-industrial megacorporation from RoboCop.)

8. Russophobic, with Russians depicted as gangsters. One of them, a thug named Alexei (Michael Tourek), gets nightsticked for calling a liberated American woman “bitch”.

7. Jewish supremacist. Indicating priorities in the opening moments of the movie, a menorah occupies the center of the frame in a shot of a holiday snack table. Aniston also demonstrates the superior merits of Krav Maga. In a possible insult to Arabs, a foreign-looking fellow is seen literally fucking a camel statue in the back of a truck.

6. Feminist. Carol, in addition to being able to hold her own in a fight against her brother, refers to God as “Her”. “Suck my dick,” a woman tells her male supervisor.

5. Anti-Christian. The entire movie constitutes a denigration of Christians’ celebration of the birth of Christ, as symbolized when Clay sleds down a staircase and demolishes a Nativity scene.

4. Anti-family. Learning that Allison (Bayer) is a single mother, Fred (Park) replies, “That’s great. I was raised by a single mom.” Children are bothers and fit primarily for corruption, as in the end credits image of two women who appear to be snorting cocaine in the presence of a minor. Asked what is most annoying about the internet, Jeremy (Rob Corddry) replies, “Pictures of people’s kids.” A youthful caroler thrusts his middle finger at the protagonist, while the inappropriately named Carol tells another child, “Fuck you” – continuing Hollywood’s use of foul language referencing sex acts with children (cf. Cooties).

3. Pro-gay. “I’m talkin’ ‘bout take your pee-pees out and put ‘em in some booties,” proclaims DJ Calvis (Sam Richardson). Clay, meanwhile, is “straight – except for that one time.” Viewers are also treated to a guy-guy dancefloor kiss and the sight of Jason Bateman simulating fellatio with an ice sculpture. Then, too, there is mention of a “Human Centipede situation in the men’s room.”

2. Pro-miscegenation. Josh (Bateman) finds himself attracted to icy Eurasian cutie Tracey (Munn). Allison, meanwhile, after being grossed out by Fred’s mommy fetish, winds up smooching with Indian nerd Nate (Karan Soni). There is also a briefly glimpsed interracial toilet stall orgy.

1. Pro-drug. Drug humor in Office Christmas Party runs the gamut of cocaine, booze, and the abuse of prescription medications. One employee remarks that it is “boring as shit” that no one gets inebriated before noon. It is only after a bag of cocaine is accidentally dropped into a snow machine that the party really comes alive. Straight-laced black executive Walter Davis (Courtney B. Vance, the indispensable negro sonar genius from The Hunt for Red October) gets particularly loose after taking a blast of powder in the face and later declares that this has been “the best night of my life” even after being hospitalized following a brutal fall. Clay, too, snorts a quantity of cocaine and gets into a wreck which serendipitously corrects a previous fracture.

Rainer Chlodwig von K.

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.

 

inside-out

Pixar puts the spotlight on the squabbling, anthropomorphized emotions inside an eleven-year-old girl’s head in Inside Out, with Amy Poehler voicing Joy, the positive force who has a challenge in reining in the Fear (Bill Hader), Anger (Lewis Black), Sadness (Phyllis Smith), and Disgust (Mindy Kaling) of Riley (Kaitlyn Dias), a girl whose family moves to San Francisco, leaving her feeling alone without her friends back in Minnesota. The lightning-paced obnoxiousness of the action should please children, but the briefly glimpsed dream image of a bisected dog may be disturbing to younger viewers, while the death of Riley’s imaginary friend Bing Bong (Richard Kind) is likely to leave them feeling bummed.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Inside Out is:

4. Pro-family, perpetuating heteronormative tyranny.

3. Green. Riley’s eco-conscious mother is eager to recycle.

2. Pro-miscegenation. Riley’s mother, briefly irritated with her husband, muses, “For this, we gave up that Brazilian helicopter pilot?”

1. Homophobic tinfoil! “Congratulations, San Francisco! You’ve ruined pizza!” scolds Riley’s Anger in a moment only likely to fuel the heterofascist hate of the #Pizzagate conspiracy theory nerds by connecting homosexuality with pedophilia. “What kind of a pizza place only serves one kind of pizza?” Riley’s mother asks. “Must be a San Francisco thing,” she stereotypes.

Rainer Chlodwig von K.

cabin-fever-poster

This pointless reboot of the Cabin Fever franchise serves no purpose whatsoever apart from making a few cruddy shekels, as very little of value has changed since the original. Furthermore, most of the offbeat humor that was present in the first film is disappointingly missing from this comparatively straight-faced and innocuous remake. Most disappointingly, Deputy Winston, the inscrutable party guy played by Giuseppe Andrews in the 2002 version has been replaced by a scar-faced bisexual deputy played by Louise Linton. Curiously, like the first film, Cabin Fever ’16 also fails to exploit the comedic potential latent in the suggested premise of whether or not a character could survive a horror movie while only subsisting on beer. The leg-shaving scene is perhaps more horrific than in Eli Roth’s original; but, throw in a generic cast and some unappealing tattoos on one of the women, and what the viewer has is a passable but decidedly underachieving horror outing.

3 out of 5 stars. Ideological Content Analysis indicates that Cabin Fever is:

4. Luddite! One vacationer mistakes his video game experience for “years of training” for the handling of a firearm. Karen (Gage Golightly), preoccupied by her cell phone, has to be reminded to enjoy the outdoors.

3. Anti-gay, furnishing publicity for an abnormal lifestyle but presenting a comically grotesque example of a lesbian in law enforcement.

2. Anti-redneck (i.e., anti-white), offering the typically creepy depictions of backwoods European-Americans. The film fails to reference any other races’ parasitic roles in the world economy, but does refer to “hillbilly vampires”. One rustic local is dubbed “Deliverance”. A faded American flag visible at the rednecks’ dilapidated gas station would seem to connect white trash with the idea of America’s decline – possibly in connection with supposed wars for oil.

1. Anti-gun. Bert (Dustin Ingram), the least mature of the vacationers, brings an “assault rifle” and accidentally shoots a man.

Rainer Chlodwig von K.

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