Archives for posts with tag: Gentile Spring

 

Kick-Ass 2

2010’s Kick-Ass advertised itself as presenting audiences with “A New Kind of Superhero”. What was new was the fact that, in that film, the hero nearly drops the ethnic disguise that crypto-Jewish predecessors – Batman, Superman, and others – had worn in winning the public’s heart. In adapting John Romita, Jr.’s comic book for the screen, Kick-Ass not only exposes but almost openly celebrates the Chosenness of its protagonist by transforming Dave Lizewski from the blond, Nordic-looking character of Romita’s creation into a curly-headed, bespectacled Jewish nebbish ably portrayed by Aaron Taylor-Johnson.

Hit-Girl, too – though her name is given as Macready, and despite being portrayed by Chloe Grace Moretz, a precocious actress who claims to come from a “very Christian” background – conveys a decidedly Judaic sensibility; and the character’s Jewishness goes overt in the scene in which she watches as her father, Nic Cage, conflagrates as a one-man Holocaust.

Kick-Ass poster

Kick-Ass 2 (2013), like its forebear, is filthy, foulmouthed, ultraviolent, and full of over-the-top bloodletting, but only half as engaging as the original Kick-Ass. For one thing, the novelty of the DIY hero idea is diluted by the fact that Kick-Ass 2 populates New York City with whole armies of would-be superheroes and villains, none of whom are fully developed characters as Kick-Ass and Red Mist (Christopher Mintz-Plasse) are in the first film.

Nor are matters helped by the fact that the entertainment-evaporating Morris Chestnut receives extra screen time as Hit-Girl’s tedious foster father Marcus, a straight-laced, sterling example of Africanus cinematicus who chides his young ward for her obscene language and institutes a swear jar penalty for every offense. Meanwhile, the toilet humor factor, as if to compensate for Kick-Ass 2’s lack of human interest, is ratcheted to the nth degree, with Kick-Ass and girlfriend Night Bitch (Lindy Booth) literally having sex in a toilet stall. The only other paltry attraction of note is Jim Carrey in his supporting turn as ridiculously mugging and slugging hero Col. Stars and Stripes.

Kick-Ass Chloe

Chloe Grace Moretz as Hit-Girl in Kick-Ass (2010)

Fortunately, Chloe Moretz is a few years older this time out, which softens the borderline pedophilia of the first film’s fetishization of Hit-Girl. Kick-Ass made explicit Hit-Girl’s forbidden appeal to older males, with her leather outfit, whore wig, short skirt, sensuous, sneering lips, and penchant for blowing kisses and using language like “cunts”, “motherfuckers”, and “giant cock”. One scene of the first film frames her against an erotic billboard advertisement with Claudia Schiffer, juxtaposing Hit-Girl’s juvenile form with that of the fully developed sex siren.

Kick-Ass Claudia

Hit-Girl inappropriately framed with Claudia Schiffer

Jane Goldman

Kick-Ass (2010) writer and devourer of innocents Jane Goldman

Kick-Ass screenwriter Jane Goldman, in the A New Kind of Superhero documentary included on the Kick-Ass blu-ray, refers cryptically to the “odd domesticity” between Hit-Girl and her father, a wording which casts a disconcertingly serious light on Hit-Girl’s meaning when she says, “I’m just fuckin’ with you, Daddy.” Kick-Ass 2 only reinforces this impression when Hit-Girl tells Marcus, “I know you see me as this little girl, but I’m not, and I never was. You’re right, Daddy did take my childhood away, but I’m not so sure that was a bad thing.”

Jeff Wadlow

Kick-Ass 2 (2013) writer-director-cryptographer Jeff Wadlow

2.5 of 5 possible stars. Ideological Content Analysis indicates that Kick-Ass 2 is:

10. Anti-Arab. Hit-Girl threatens to “go Saudi Arabia on your ass” before chopping a man’s hand off. A typically hypocritical Zionist warmonger, she engages in precisely the crimes of which she accuses the enemy. The Motherfucker’s henchmen commit an Islamic terrorist-style decapitation – which, like those supposedly performed by ISIS on Foley and Sotloff, never actually appears onscreen. (cf. no. 1)

9. Crypto-antichrist. Kick-Ass/Dave Lizewsky, though substantively Jewish, affects a veneer of Christian belief for gullible audiences, attending a Christian funeral ceremony for his father (Garrett M. Brown). Lizewsky’s irreverence toward his putative faith reveals itself, however, when he affects a comical pimp disguise with gaudy crucifix bling. On his bedroom wall, furthermore, is a poster advertising Kick-Ass creator Mark Millar’s comic book American Jesus, book one of which is titled “Chosen”. Military-minded Col. Stars and Stripes, meanwhile, is a born-again Christian who shows his faith and patriotism by dishing out beatings with his trusty baseball bat and barking orders like, “Yo, don’t take the Lord’s name in vain!” “I’ll be immortal, like an evil Jesus,” says the Motherfucker (Christopher Mintz-Plasse).

8. Egalitarian/class-conscious. The wealthy Motherfucker and his minions are the “one percent”, with heroes coming from what remains of the middle class. “A family livin’ in the street deserves a hot meal,” opines Col. Stars and Stripes in his role of embodiment of the schizophrenic mental retardation that is Barack Obama’s America.

7. Multiculturalist, pro-miscegenation, and pro-wigger. Hit-Girl, an orphan, is raised by an Africanus cinematicus. Katie (Lyndsy Fonseca), Kick-Ass’s girlfriend from the first film, breaks up with him and informs him that an African rival has a larger “baton”. Girls are encouraged to twerk and jerk to congoid booty-shaking beats.

6. Drug-ambivalent. Hit-Girl cut her teeth on the drug dealers she and her father targeted, but wins in the end of Kick-Ass 2 with the help of hypo full of adrenaline. Mr. Lizewsky is concerned that his son may be using drugs, but “an inebriated college girl deserves to make it home safe at night,” proclaims Col. Stars and Stripes.

5. Pro-gay. The Kick-Ass queer super-friends and allies include a token sodomite. Homophobic talk, the audience learns, “makes you sound super-gay.”

4. Misandrist and pro-castration. Hit-Girl beats up and mutilates a number of men. “In a weird way, I kinda liked it,” says Kick-Ass of being on the receiving end of Hit-Girl’s abuse. More than one male groin gets brutalized. Night Bitch devotes her career as a superheroine to stopping sexually predatory men.

3. Anti-racist (i.e., pro-yawn). Would-be supervillain the Motherfucker is loose with the racially insensitive stereotypes, which he defends rather as “archetypes”. (cf. no. 10)

2. Anti-family. Chris D’Amico (Mintz-Plasse) accidentally murders his mother in a fit of rage. Then, after discovering her S&M gear, he repurposes the items as a bad guy costume and dubs himself the Motherfucker. Hit-Girl’s high school rival, a catty and unprogressive blonde bitch (Claudia Lee), only aspires to be a wife and mother. (also see above remarks on incest and pedophilia)

Join Fight

1. Zionist. “We were in the ultimate clique. It didn’t matter that no one else knew. We knew,” gloats a self-satisfied Kick-Ass. Supervillain and would-be “evil Jesus” the Motherfucker knows that Kick-Ass and Hit-Girl – which is to say, Zionist Jews – assassinated his father (Mark Strong) in the first film. The ‘Fucker’s mother (Yancy Butler), however, dismisses her son’s claims and insists that Mr. D’Amico simply “died in a fire.” The Motherfucker, then, stands in Kick-Ass 2 as an insulting caricature of all the disgruntled “conspiracy theorists”, a representative of the Gentile Spring and the ascendant minority of the angry and awakened gentiles who know that the Jews did 9/11.

Kick-Ass 2 contains what may be a cryptic admission of Jewish guilt for the 9/11 attacks, if considered together with the conclusion of the first Kick-Ass, which ends with gangster Frank D’Amico exploding into an orange fireball high outside a New York City skyscraper. In the sequel, the hero teams up with a new vigilante (Donald Faison) who goes by the name Dr. Gravity – a handle suggestive of the force dictating that what goes up must come down. Significantly, the scene in which “ultimate clique” member Kick-Ass and artificial force of nature Dr. Gravity beat down two street thugs with skinhead haircuts takes place outside a restaurant with a sign clearly visible at the top of the frame. “Since 1911,” it reads – a reference to 9/11/01?

China and Russia, both inconvenient geopolitical counterbalances to the implementation of a Jewish World Imperium, appear personified as antagonists Genghis Carnage (Tom Wu) and Mother Russia (Olga Kurkulina), best described as a female version of Dolph Lundgren in Rocky IV. In another show of Jewish storytelling chutzpah, Col. Stars and Stripes’s German shepherd is suggestively named Eisenhower and wears a tacky American flag mask. The American president and Supreme Allied Commander of World War 2 is thus revealed as the Zionists’ pet, a faux-patriot Shabbos goy attack dog to be unleashed on the enemies of organized Jewry.

Lastly, the much-abused phrase “peace in the Middle East” occurs in the script as a reference point for something incredibly complicated, in the sense in which the proverbial “rocket science” is typically used. This, of course, obscures the fact that Americans, instead of subsidizing the Israelis’ genocide against the Palestinian people, would do better to further the aim of peace by cutting off Israel’s 3.5 billion-a-year in welfare checks.

Kick-Ass American Jesus

“Chosen”

Those following Ideological Content Analysis from its inception in 2012 may have noticed a quickening harshness and radicalization of the perspective of the author of these reviews, and a more aggressive willingness to confront the ugly. Looking back at some of those posts of two years ago in the light of subsequent revelations, he realizes with some embarrassment the inadequacy of several of his earlier analyses.

One case that particularly grieves him is his comparatively safe approach to discussing The Dark Knight Rises (2012), a film which – he is now convinced – is of the utmost significance to those sensitive to the Jewish Question. The revaluation came as the result of watching – yes, he is not afraid to confess – a YouTube video by conspiracy hound MrGeorgeJettison (also known as Jim How and Pmtmr). Jettison’s asides and embellishments are admittedly somewhat silly, but his central insight – that billionaire Batman (Christian Bale) stands for Jewish power, and that Bane (Tom Hardy), rather than merely being a socialist demagogue, represents the resistance to this power – is entirely convincing.

Bane is a paranoid Jewish money master’s idea of a populist, a man of the people bent on breaking the internationalist financial power that has its capital in New York (depicted as Gotham in the film). He represents a conflation of leftist class warfare politics and the threat of a National Socialist awakening, falling somewhere between Zuccotti Park and Nuremberg. His cult of fanatical followers, furthermore, looks forward to a spiritual experience they significantly call “the fire”, no doubt with reference to the “Holocaust“.

Bane’s revolution is the Gentile Spring, an impertinence prompting the bat-like avenger, a vampiric profiteer of the military-industrial complex, to swoop to the rescue of his fellow financial predators on Wall Street when Bane essays a program that can be interpreted as a monetary reform. Batman, who suffers the loss of his fortune as a result of Bane’s activities, is a formidable creature of the night who relies on secrecy for his effectiveness, so that Bane’s discovery of his identity and nocturnal nature poses a very real threat to Batman’s existence and that of his parasitic kind.

Also significant is Miranda (Marion Cotillard), a character later revealed to be one of Bane’s collaborators. She is Middle Eastern in origin, grew up in appallingly harrowing prison conditions – much like Palestinians since the Nakba – and can be seen to personify the righteous vengeance of militant Islam. Actress Marion Cotillard was almost certainly cast in this role because of the mole she sports in the center of her forehead, a feature bearing some resemblance to the zabiba, or “prayer bump” on the foreheads of pious Muslims resulting from repeated bowing to the ground.

Marion Cotillard in The Dark Knight Rises

Marion Cotillard, terrorist temptress

What becomes apparent from The Dark Knight Rises is that the Jews fear a united front against Talmudic supremacy – a coalition of western man and Arab against the vampire power that dictates policies from Gotham. This being the case, one question remains.

Bane, where art thou?

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

A Vote Will Never Negate Nature...

Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

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