Archives for posts with tag: Jesus

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.

Men Women and Children

This ensemble film follows the interrelated lives of a set of high school students and their parents in the context of twenty-first century connectedness that paradoxically has resulted in a profound disconnect for them all. Jennifer Garner plays a paranoid mother obsessed with controlling and filtering her daughter’s online activities. The daughter, Kaitlyn Dever, strikes up a friendship-cum-romance with Ansel Elgort, a sensitive, gloomy boy who quits the school football team after realizing that sports are meaningless. Meanwhile Elgort’s gruff football enthusiast father, played by Breaking Bad’s Dean Norris, attempts to cope with his wife’s abandonment of the family. Norris thinks he may have found a new love with Judy Greer, whose trampy daughter, played by Olivia Crocicchia, aspires to become an actress and promotes herself online with risqué photographs. Adam Sandler, meanwhile, adds another “serious” role to his résumé as a dull accountant whose marriage to Rosemarie DeWitt has lost its magic, with both seeking sexual satisfaction on an extramarital basis.

On the whole, Men, Women and Children makes for an engrossing and mildly artsy Hollywood social commentary, but some threads of the story are definitely more rewarding than others. The insights about the debilitating effects of online pornography are welcome, and the portions of the film concerning young lovers Dever and Elgort are touching and nicely played; but the story about the straying spouses takes Men, Women and Children into regions of moral repugnancy too extreme to qualify as entertainment – a circumstance that militates against what otherwise might have been this critic’s unmitigated recommendation. The film does, however, have much to say about the consequences of living in a deracinated, nihilistic, high-tech society centered on empty civic nationalism and in which “football served as a common language for which they [i.e., father and son] had no substitute.”

4 out of 5 stars. Ideological Content Analysis indicates that Men, Women and Children is:

6. Anti-Christian. The actions of Jesus Christ mean “absolutely nothing”.

5. State-skeptical. Garner’s surveillance of her daughter’s devices, while attacking the “helicopter parent” phenomenon as a sort of irrational paranoia, also serves as an allegory about the post-9/11 regime of domestic spying as the norm. The flaw in the analogy, of course, is that it suggests domestic surveillance is motivated by a misguided maternal devotion rather than a hostile mania for control.

4. Anti-porn. Sandler’s imagination has been vitiated by the instant gratification of online pornography. His computer, as a result, is also riddled with malware. His son, played by Travis Tope, has been rendered sexually dysfunctional by his own pornography habit. “By age 15,” narrator Emma Thompson informs the viewer, “Chris found it difficult to achieve an erection without viewing a level of deviance that fell well outside societal norms.” Now only the idea of female sexual domination arouses him, and he is incapable of performing with an actual girl. One wonders if Hollywood’s anti-porn stance as articulated in this film and in Don Jon (2013) is motivated by genuine concern for the public health or by worry about online pornography’s competing share of its target audience’s disposable time and income.

3. Slut-ambivalent. Elena Kampouris plays a girl who gets pregnant and has a miscarriage after losing her virginity in a sordid episode in the home of a friend. The audience is invited to hold blonde “bitch” Crocicchia in contempt when she says, “It’s a new era for women, okay? Just because I’m comfortable with my body and enjoy hooking up doesn’t make me a slut.” The film’s anti-slut credentials are, however, undermined by its comparatively casual treatment of marital infidelity.

2. Anti-marriage, pro-miscegenation, and anti-white. Sleazebag Sandler seeks and finds sexual gratification with a prostitute while his shiksa wife, Rosemarie DeWitt, signs up for an account with the Jewish homewrecking site AshleyMadison.com and takes the Allstate congoid, Dennis Haysbert, for her lover. DeWitt is eventually embarrassed to be found out by Sandler when he catches the witch in a bar with still another man, so that the film ostensibly shows that cheating carries risks; but Sandler’s response is tolerance, and his wife evinces embarrassment rather than actual regret. She clearly enjoys what she is doing, and Men, Women and Children makes a great to-do of eroticizing her first encounter with Haysbert. “I’m excited,” she says as she straddles the hulking, gorilla-faced lothario. “I want it […] in my mouth. I want that big penis of yours. I want it. I want your dick. I want you to destroy me with your big fucking cock.” The film, furthermore, could be argued to constitute de facto product placement for AshleyMadison.com’s AIDS-procurement service, suggesting as it does that women of Rosemarie DeWitt’s level of physical attractiveness can actually be met through the site. The viewer is left to assume, too, that, had Sandler’s wife not been caught in her infidelities, she blithely would have continued enjoying her shameless escapades.

1. Luddite. Technology has profoundly complicated the human condition, disrupting male-female relations and isolating individuals in a lonely cacophony. Like the Voyager outer space probe featured more than once in the movie, humanity has now entered treacherous “uncharted territories” thanks to technology.

Rainer Chlodwig von Kook

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Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in [almost] 30 Days

DAY THIRTY

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A Brave Heart profiles the unusually malformed Lizzie Velasquez, a woman with a rare syndrome that prevents her from gaining any weight. Velasquez, whose mind is perfectly normal despite her irregular outward appearance, achieved an unwanted notoriety some years ago when a meanie uploaded a video of her to YouTube and titled it “The World’s Ugliest Woman”. Not one to be discouraged, Lizzie parlays her unique experience into a popular YouTube channel of her own and a career as a motivational speaker. She remains a sympathetic if not particularly interesting protagonist until she decides to become a Washington lobbyist. Shots of the inspired faces of women as they listen to Lizzie speak can only maintain the audience’s interest for so long. ICA’s advice, consequently, is to watch Braveheart again instead.

2 out of 5 stars. Ideological Content Analysis indicates that A Brave Heart is:

3. Liberal. A meet-and-greet with war-pig Hillary Clinton leaves Lizzie in giddy shivers. She goes to Washington to promote the Safe Schools Improvement Act, an Orwellian bill designed to implement a federally enforced system to track and record the slightest microaggressions of white males being processed through the government indoctrination complex. Though she never says so, one gets the impression that Lizzie and her fellow anti-bullying activists would prefer to censor the internet of all of its incarnations of “hate“.

2. Multiculturalist. A veritable cornucopia of the vibrant bounty that is the U.S. awaits the viewer of A Brave Heart: The Lizzie Velasquez Story.

1. Christian, i.e., Jew-cultish. Such victimology porn – the fascination with the diseased, the weak, and the ugly – expresses a current of Jewish thought dating back to antiquity and stretching into the present plague of cultural Marxism. As manifested in the story of the smaller, less powerful David’s triumph over the physically more impressive Goliath, the special attention devoted by androgynous Jesus to the poor, the blind, the lame, the leprous, etc., and the tyranny-tolerant notion that the meek will inherit the earth, with attendant contempt heaped upon the beautiful and the mighty of body, intellect, and nation, this constitutes a civilizational disorder with plainly disastrous consequences for the pathologically altruistic and cuckolded countries of the West. Velasquez, being a Jew-worshiping woman and a deformed Mexican one at that, is what the Tribe would like whites to see as the ideal American citizen of the future.

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/1ONqGN9

 

 

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-EIGHT

Terminator Genisys

In a series of events with which the fans of the original Terminator will already be familiar, futuristic human resistance leader John Connor (Jason Clarke) sends his own father (Jai Courtney) back through time to 1984 to save his mother before a Terminator cyborg (CG-rejuvenated Schwarzenegger) can kill her before she conceives the destined savior. Terminator Genisys then proceeds to overturn the audience’s expectations by having Reese arrive not in the 1984 of the first film, but in an alternate, already altered reality in which Sarah Connor (Emilia Clarke) has already been toughened by years of tutelage from “Pops” (geriatric Schwarzenegger), her own personal cyborg sidekick and father figure. Genisys, an Orwellian app to be launched in 2017, turns out to be the catalyst for the rise of the machines. The plot gets a lot more convoluted than this, and none of the time travel gobbledygook makes any sense; but fans of the franchise ought to enjoy it, its sinister purposes notwithstanding.

4 out of 5 stars. Ideological Content Analysis indicates that Terminator Genisys is:

3. Feminist. Sarah Connor in this movie is already a battle-hardened warrior woman. She resents Reese’s presumption that she is in need of his protection; and, in fact, it is she, not Reese, who utters the famous line, “Come with me if you want to live.”

2. Zionist. In the bleak future sampled in the exposition, humanity is confined in camps, given arm-barcodes, and exterminated. The term “final solution” even occurs in the script, so that human resistance in Terminator Genisys is understood subtextually to serve as the avatar of holocaust-fearing organized Jewry. Awakening European racial consciousness is equated with the quest of a totalitarian order of genocidal robot supremacy. This is the future that must at all costs be prevented. (Skydance Productions, which made the film, is run by Jews David Ellison, Dana Goldberg, and Jesse Sisgold.)

1. Pro-choice and anti-white. Jew-killing robot armies of whites will never be able to serve their purpose as long as they are never born. Terminator Genisys, consequently, is greatly concerned with promoting Euro-American childlessness. Thirty years of cultural collapse spanning the first film and this one can be read between the lines. Whereas, in the first entry in the series (made in the decade following the Roe v. Wade decision), the Terminator is an antagonist – an abortionist sent from an inhuman future to preemptively terminate Sarah’s pregnancy – this same soulless, robotic abortionist (or one with identical facial features) has, in Terminator Genisys, become a perverse father figure to Sarah, who enlists his help in killing her son, John Connor, who, Sarah discovers in this installment, has become a corrupted collaborator of Skynet in the yet-to-be. One of the major action sequences in Terminator Genisys features Sarah driving a symbolically passengerless school bus – signifying the white race’s decadent demographic decline – in her desperate rush to evade and/or destroy her own posterity. Once freed from the horror of her son’s bleak destiny, Sarah can enjoy sexual freedom and happiness with Reese because, as she puts it, “Now I can choose.” Additionally, the necessity in the film of preemptively assassinating a future savior can be read as expressing a Jewish wish that Christ had been aborted.

Rainer Chlodwig von Kook

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

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY EIGHT

A-Walk-Among-the-Tombstones-Poster

As downbeat and depressing as its title suggests, A Walk Among the Tombstones has cop-turned-private-investigator Liam Neeson hired by drug dealer Dan Stevens to track down the sadistic kidnappers who took his money and dismembered his wife. In a development only a Jew could cook up, Neeson commissions a homeless but literate black teen computer whiz, vegetarian, and aspiring detective (Brian “Astro” Bradley) to help him with the case.

A Walk Among the Tombstones is one of those movies that thinks itself edgy for taking its protagonist down the dirty alleyways of the real and into America’s gritty heart of darkness – the netherworld of serial killers, drug dealers, and street-wise African-American youths with hearts of gold and brains bristling with fallow potential. Typical of the film’s pretension are the intercutting of a graveyard shootout with audio from an AA meeting, a pointless reveal of the still-standing World Trade Center at the end, and the closing credits choice of a goofily earnest female vocal rendition of Soundgarden’s grunge hit “Black Hole Sun”.

3.5 out of 5 stars. Ideological Content Analysis indicates that A Walk Among the Tombstones is:

6. Anti-Christian. The drug dealer who hires Neeson is named Kenny Kristo (i.e., Christ) and another dealer (Sebastian Roché) has a cross tattoo on his hand, the subversive meaning of these two associations being that Christianity is like peddled dope.

5. Pro-miscegenation, featuring a relationship between a mestizo and a blonde. “I gather it was a mongrel,” one character says of a canine, adding, “So many of us are.”

4. Anti-gay. The killers, it is insinuated, may be homosexuals.

3. Anti-drug. Traffickers, while portrayed with some sympathy, nonetheless endanger their families with their work, which also brings them under the scrutiny of the DEA. Neeson gives up drinking and joins AA after making a terrible mistake under the influence of alcohol.

2. Anti-gun. Set in 1999, the film shows Neeson reading a newspaper with headline “Gun Sales Rise on News of Y2K”. The implication is that gun owners are doofuses moved by paranoid patriot propaganda and conspiracy theories. When Neeson’s sidekick finds a gun, the hero advises him that he might as well go ahead and blow his head off with it, since that will be the inevitable outcome of a life of amateur pistol-packing. Neeson quit the NYPD after accidentally shooting a girl.

1. Anti-racist (i.e., pro-yawn). In a prologue set in 1991, Neeson calls his partner a “spic”. Though the character never makes an explicit disavowal of racist bigotry, it is implied in the older, wiser Neeson’s tutelage and, it is suggested at the end, adoption of his black sidekick.

Rainer Chlodwig von Kook

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Pound of Flesh

Still-kicking Jean-Claude Van Damme is Deacon, a cynical but bighearted mercenary and counter-kidnap specialist who travels to the Philippines to donate a kidney to his dying niece (Adele Baughan). Following what appears to be a simple one-night stand with local expat floozy Ana (Charlotte Peters), Deacon wakes up in an ice bath with a huge gash on his back where his kidney has been prematurely removed, harvested by a black market dealer.

Complicating things is the tension between Deacon and his wimpy, conservative Christian brother George (John Ralston), with whom Deacon has little choice but to forge a temporary posse. Will Deacon and his estranged brother be able to set aside their differences and find the kidney’s unlawful recipient in time to retrieve it and save the little girl? Pound of Flesh quickly gets down to business in answering that question and others more philosophical.

Some of the action sequences, particularly during the first half of the movie, lack sufficient coverage, and one particular fight scene in a nightclub is too darkly lit to be able to follow the choppy fight choreography in its specifics; but Pound of Flesh improves as it goes along, becoming quite suspenseful toward the conclusion, and packs a few powerful twists. A moderate recommendation for Van Damme fans.

4 out of 5 stars. Ideological Content Analysis indicates that Pound of Flesh is:

[WARNING: POTENTIAL SPOILERS]

3. Anti-slut. Loose women are devious. Reassuring the audience that there is hope for every soul, however, Charlotte Peters plays the proverbial hooker with a heart of gold.

2. Class-conscious and anti-war. The privileged pay to watch the poor beat each other senseless in an underground fight club in Manila. The culprit in the theft turns out to be Simon Rants III (David P. Booth), a high-powered purveyor of mercenaries and a stereotypically frigid crumb of the British upper crust. Sadly, anti-Semites will be disappointed to discover that Pound of Flesh, despite the Shylock reference in its title, is not at all concerned with the Jewish Question, with usury, or with any Hebraic villainy whatsoever.

1. Christ-ambivalent. Blood, Pound of Flesh would seem to suggest, is thicker than scripture, with milquetoast George finally abandoning his principles and learning how easy it is to kill when his daughter’s life is at stake. Deacon, who literally beats people up with a Bible, comes to symbolize a new vision of Christ as a man of brutal action driven by profound compassion with his climactic act of self-sacrifice. This tension and antagonism between the West’s traditional Christianity and the exigencies, often ugly, of a bloodline’s survival, feel especially timely in this age of cuckservative toleration of ongoing white genocide.

Rainer Chlodwig von Kook

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Blue Jasmine

Embarrassing for a white nationalist to admit, Jewish pervert Allan Konigsberg (alias Woody Allen) remains one of this writer’s favorite directors despite the auteur’s corrosive persona and poisonous cultural influence. Now, with Blue Jasmine, the seriocomic pedo-provocateur furnishes Cate Blanchett with her best and strongest role to date as the fallen Park Avenue socialite spouse of sleazebag Wall Street operator Alec Baldwin, who, after being caught “up to his ass in phony real estate and bank fraud” and committing suicide in prison, has left her penniless, alone, and psychologically brittle. Moving in with her blue collar adopted sister Ginger (Sally Hawkins) in San Francisco, Jasmine struggles to adjust to her lowered station in life – a situation Konigsberg expertly fondles, balancing audience schadenfreude with surprising sympathy. The cast is perfect, the jazz is hot, and Woody is in top form. Fans will enjoy.

5 stars. Ideological Content Analysis indicates that Blue Jasmine is:

7. Drug-ambivalent. “You drink, you become a jerk.” Characters imbibe throughout, sometimes to the impediment of their judgment. Overcoming addiction is presented as an accomplishment, but Blue Jasmine constantly runs the risk of promoting a kind of nervous breakdown chic given how good Blanchett looks in the film – at least until the concluding scenes, when her traumas and bad habits show on her face. “Have you ever gotten high on nitrous oxide?” asks randy dentist Dr. Flicker (Michael Stuhlbarg).

6. Liberal. “The government took everything,” moans hypocrite Jasmine. “The first thing you gotta know,” her husband earlier warns, “is how to not give half your money to the government.” Resistance to taxation and redistribution of wealth is thereby framed as the scheming of a white financial criminal to avoid paying his fair share of the common burden. Working for the State Department, meanwhile, is “glamorous”.

5. Multiculturalist. New York and San Francisco appear as peaceful and orderly multi-ethnic metropolises. A note of discord is struck when Jasmine, working as a dentist’s receptionist, snaps, “Can you just put someone on [the phone] who speaks better English?” Presumably, though, this is only supposed to mark the character as a bit of a bigot instead of a person with a valid dislike of America’s multicultural experiment.

4. Pro-miscegenation. The film includes multiple white/Asian pairings. In one scene, a white man and Asian woman gawk in bemusement as Jasmine hallucinates and talks to herself. The mixed couple is thus the face of normalcy, the fair Nordic that of pathology.

3. Pro-slut. “It’s not like we’re engaged, so, you know, I’m free.” Ginger, quickly seduced by a man she meets at a party, shamelessly discusses her sex life within earshot of her children.

2. Anti-marriage. Baldwin plays a serial philanderer. Jasmine says her sister’s husband “used to hit her.” Louis Szekely (alias Louis C.K.) plays another cheater.

1. Crypto-Zio-capitalist. As with Arbitrage (2012), The Wolf of Wall Street (2013), and Assault on Wall Street (2013), it is the hated European gentile male and not the Jew who serves as the representative figure in financial shenanigans. “Jesus Christ almighty,” Konigsberg’s script has “philistine businessman” Baldwin gripe when arrested. Jews instead come across as the victims, with Baldwin bilking brother-in-law Andrew Clay Silverstein (alias Andrew “Dice” Clay) and his ostensibly Catholic but Jewish-looking and therefore subtextually Semitic wife out of all of their lottery winnings and savings. Audience sympathy is generally with the down-to-earth crypsis-Jews rather than with the snooty elitist blonde. Hilariously, Baldwin’s innocently idealistic Ivy League son and heir Danny, who rejects him after learning of his fraudulent dealings, is played by a Jew, Alden Ehrenreich. All of this, of course, only serves to obscure the reality of Zio-financial hegemony and Jewish supremacism.

Rainer Chlodwig von Kook

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Equalizer

Denzel Washington stars as the title character in The Equalizer – a superhuman bundle of Robin Hood, Barack Obama, Angus MacGyver, and Jason Voorhees rolled into a single American hero. Perhaps the most preposterous film in which Washington has yet appeared, The Equalizer concerns an ex-CIA spook who comes out of retirement to save filthy, greasy-lipped prostitute Chloe Moretz from the clutches of the oil-and-pimping syndicate run by ridiculously named Russian gangster “Vladimir Pushkin” (wink, wink), played by Vladimir Kulich.

Washington’s genius allows him to improvise endlessly inventive and cruel methods of dispatching his enemies, frequently by means of split-second calculus – cogitations conveyed cinematically by extreme close-ups of Washington’s all-seeing eyeball – and always directed at Caucasian men. The Equalizer is silly, offensive, inorganic, and way too long at a run time in excess of two hours, but those who suffer the full duration of its unending equality mandate will at least be treated to an awe-inspiring rap by Eminem.

3 out of 5 stars for the unintentional humor. Ideological Content Analysis indicates that The Equalizer is:

6. Pro-torture. Enhanced interrogation be da bomb.

5. Black supremacist, pro-immigration, and anti-white. The titular hero, living up to his name, disburses the villains’ ill-gotten gains among a group of Asian immigrants. Juxtaposed with the brilliant, polite, well-read, and fastidious Washington – an extraordinary specimen of Africanus cinematicus – white men appear as boorish ogres who mistreat women. Washington scolds a white co-worker for his foul language, and one scene even shows a white criminal in a hoodie robbing minorities at gunpoint. In still another scene, he literally uses a book to disable a Caucasian. “Change your world,” the Equalizer advises, a recommendation that screenwriter Richard Wenk seems to have taken to heart in depicting lifeforms on this planet.

4. Anti-police. Boston cops – white ones, of course – are on the take and extort protection money from minority businesses. In a lame reversal of the famous scene in Dirty Harry (1971), a black man points a gun at a white cop and calls him “punk”.

3. Anti-Russian and pro-war. As in all recent Hollywood output – The Heat (2013), Bullet to the Head (2012), and Pain and Gain (2013) being other examples – Slavic women are depicted as prostitutes. Moretz’s pimp, played by David Meunier, is even named “Slavi” so as to as to scream his ethnicity into the viewer’s ears in case the fact of his being a Russian was not already obvious.

Marton Csokas portrays Itchenko, the iciest and most bestial of the Russians – a character whose name suggests that he is subhuman (i.e., an “it”) as well as being a biological nuisance (an “itch”). Itchenko also has epaulette tattoos on his shoulders, a detail which implies that imperious militarism constitutes a physiologically inextricable aspect of the Russian subhuman’s being. Of “Pushkin”, it is said that “his money and political ties make him untouchable”, which can only suggest that he is somehow connected with Russian government officials – Putin himself, perhaps?

In one scene, an assembly of Russian mobsters refuses Washington’s offer of $9,000 in exchange for a hooker’s “freedom”. “You should have taken the money,” he taunts after murdering all of them. The significance of this confrontation, almost unrecognizably distorted in its filtering of geopolitical reality, is that Russia, by rejecting America’s globalist porno-economic order of capitalo-totalitarian usury, has invited its own extermination. At the film’s conclusion, Washington travels to Russia to assassinate “Pushkin” – and, like a proper slasher movie serial killer, confronts him while he is taking a shower.

2. Pro-N.W.O. CIA officials appear as tender and devoted nurturers. Clearly, the casting of Washington as the hero also carries an onomatological resonance.

1. Anti-Christian and Jewish supremacist. “I will have vengeance,” one hears muttered repeatedly during one of the songs featured on the Equalizer soundtrack. Indeed, it has been some time since this reviewer has seen a movie as viciously and mockingly anti-Christian as this one. Early on, The Equalizer associates and nearly equates Christianity with Russian brutality, with gangsters sporting crucifix tattoos and lounging around a bar with an Orthodox icon on the wall. When Washington intrudes and casually slaughters them, the icon is splattered with their blood.

An early scene that establishes Washington’s character and trajectory draws a parallel with the protagonist of Ernest Hemingway’s The Old Man and the Sea. On the surface, this refers to Washington’s being an older man of former achievement who rises from mediocrity to take on a massive challenge, or catch the big fish represented by “Vladimir Pushkin”. So blatant is The Equalizer’s hatred of Christianity, however, that the significance of the fish allegory is multiple. At the deeper level, Washington is the personification of Judaic vengeance, the golem, the butcher, and fisherman who has finally, triumphantly, reeled in Christendom. The script, at the moment of Washington’s summary of the novel, warrants quotation:

Old man tied the fish to the side of the boat, had to row back to shore. The fish bled in the water, sharks came, and ate the whole fish till there was nothing left. [. . .]  The old man met his greatest adversary when he thought that part of his life was over [. . .] Came to respect it the more it fought.

Asked why the fisherman refused to relinquish the fish, Washington replies that, “The old man’s gotta be the old man. Fish gotta be the fish.” The big fish is Christendom, its bleeding either the vivisection of Christ or the degradation and rot of the West by corrosive culture-disease. European man, in the allegory, is Jewry’s big trophy catch – and neither, if it is to be true to itself, can ever give up the struggle against the other’s all-or-nothing efforts.

In the climactic scene, the hissing and superficially civilized Itchenko is transfixed in a ritual sacrifice by Washington, whose sadistic choice of a nail gun to do the job is the key to understanding the movie’s subtext. Here, for America’s rooting enjoyment, is a thinly disguised Christ-snuff film framed as a thrilling adventure in which ZOG saves the world again from crypto-tsarist-fascist bigotry. For the cherry to top the cloying Jewishness of the whole tawdry abomination, in an earlier scene Washington even subjects Itchenko to psychoanalysis before committing a massive act of industrial terrorism to spite him.

Rainer Chlodwig von Kook

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