Archives for posts with tag: Ian McShane

John Wick

Keanu Reeves is John Wick, a retired assassin and man of “sheer will” who must dust off the tools of his trade when his car is stolen and – worse still! – his dog is butchered by Russian rowdies. Reeves gets to do the sorts of things one expects – strolling in slow motion through a dance club while casually dispensing violent punishments, and so forth – and, in a scene that alludes pointlessly to his climactic confrontation with Agent Smith in The Matrix Revolutions, even has a dramatic hand-to-hand showdown during a downpour with low-interest villain Michael Nyqvist. John Wick packs a handful of quality action moments, but not enough to stuff the soulless void at the heart of this nihilistic exercise in death for death’s sake. The gravitas of supporting players Willem Defoe and Ian McShane is wasted in such a film.

3 stars. Ideological Content Analysis indicates that John Wick is:

4. Pro-torture. Hitwoman Miss Perkins (Adrianne Palicki) is visually aroused at the sight of a knife being driven into a bound man’s leg.

3. Pro-drug. Wick, despite his abdomen having been cut open, is able to launch back into action with the aid of a glass of bourbon and dose of some sort of pills.

2. Anti-Christian. A Russian church serves as a gangster front. Consequently, Wick has no qualms about shooting a priest in the leg.

1. Neoconservative. Those darn puppy-murdering Russian bad guys are at it again! John Wick came recommended as a good “guy movie” from a social justice warrior coworker – such people apparently considering themselves qualified to judge typical “guy” tastes. That social justice warriors are now endorsing rotgut neocon propaganda should come as no surprise, however, considering that this is 2016, a year that will see American liberals throwing the heft of their silly support behind an Israel-firster warmonger like Hillary Schlongedham Clinton. Wick, true to his name, is a Shabbos goy – a subservient gentile who lights a candle for superstitious Jews forbidden by their “religion” to perform any labor on the Sabbath – and serves his Hebraic Hollywood masters by demonstrating for all of the gullible goyim how cool and exciting it is to shoot perfect strangers. The name also suggests the character’s wickedness, an apt association in this context.

Rainer Chlodwig von Kook

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Hercules poster

Rush Hour franchise director, Zionist zealot, member of the Board of Trustees of the Simon Wiesenthal Center and Museum of Tolerance, and “lecherous lothario” Brett Ratner strikes again with a pedestrian sword-and-CGI epic in Hercules, starring Dwayne “The Rock” Johnson in the title role. Johnson’s part-negroid Polynesian features might seem at first glance to be an odd choice for the hero of Greek antiquity; but if any actor today has the combined physique and charisma to play Hercules, it is probably “The Rock”. The script and execution, unfortunately, are unconvincing, and opt for mindless, underachieving spectacle and bloodshed rather than the elemental masculine archetype creation of, for instance, Conan the Barbarian (1982). As for ancient neoconservative bloodbaths, 300 (2006) is a more entertaining example of this subgenre.

3.5 stars. Ideological Content Analysis indicates that Hercules is:

9. Pro-family. “I only want to be a husband and a father.”

8. Pro-drug. Amphiaraus (Ian McShane) makes use of psychedelic “herbs” for oracular purposes.

7. Talmudic, attempting to milk inappropriate cutesy humor from a young boy’s naïve use of the word “bondage”.

6. Pro-immigration, drumming up sympathy for the plight of “refugees”.

5. Feminist, promoting women in the military in the person of accomplished archer Atalanta (Ingrid Bolso Berdal).

4. Neoconservative. An enemy army of brainwashed savages wields crescent-shaped weapons that may be intended as an allusion to Islam.

3. Anti-white. The blond King Eurystheus (Joseph Fiennes) betrays Hercules. His throne appears to be decorated with a Greek meander motif like that used by Golden Dawn.

2. Pro-war. Despite revealing war to be motivated by mendacious behind-the-scenes machinations, Hercules delights in nothing more than the sight of barbarians mutilating each other like cattle. The hero even travels with his own personal propagandist, Iolaus (Reece Ritchie), who, like America’s Psywar Division during World War 2, spins glorious falsehoods in celebration of his mass-murdering master. “Are you only the legend, or are you the truth behind the legend?” asks Amphiaraus. A tension is maintained throughout the film as to where the truth begins and the propaganda ends. Ultimately, of course, Hercules demonstrates that he is the vaunted figure of myth. Tydeus (Aksel Hennie) represents the perfect soldier: a feral, unthinkingly loyal brute and killing machine.

1. Jewish supremacist. Hercules is the Jews as they like to imagine themselves, Zionist power symbolically flexing its muscles for the camera to entertain and indoctrinate the gullible goyim. The bastard son of Zeus, he wields power inherited from the Divine and so can be said to be one of the Chosen. Among his labors and feats of chutzpah is the slaughter of a mighty lion – Britain – whose pelt he wears as a trophy signifying the Rothschild imperium’s subversion of the British Empire. Haunted by Bergen-Belsen-ish visions of piled corpses, Hercules is also the subject of a blood libel and is accused as a “child killer”. Just as Jews have succeeded in blaming the Nazis for their own crimes, however, Hercules pins the blame on evil wolves for the child murders in question. In other reversals of tradition, Jewish Hercules is said to have slain rather than established a hydra, and is actually shown saving a prophet from being pierced by a spear rather than being the traitorous cause of this torture. Finally, Hercules pulls a Samson, bringing a temple down on the heads of his enemies.

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