Archives for posts with tag: Jewry

Jurassic World Fallen Kingdom

Star-Lord (Chris Pratt) is reluctantly recruited by ex-girlfriend Gwen Stacy (Bryce Dallas Howard) to rescue as many species of dinosaurs as they can from Isla Nublar before the island’s volcano erupts. The enterprise is being bankrolled by a mysterious philanthropist (Rafe Spall) – but is his offer what it appears to be? Most importantly, can the unfossilized and feral creatures be contained after they are transported to safety? Jurassic World: Fallen Kingdom delivers the mayhem fans are expecting and more, with the volcano’s explosion providing the perfect pretext to fill the screen with giant reptiles of every variety as they scurry and stomp for their lives.

4 out of 5 stars. Ideological Content Analysis indicates that Jurassic World: Fallen Kingdom is:

[WARNING SPOILERS]

4. Feminist and pro-miscegenation. Representing the Coalition of the Fringes are a tattooed Latina man-hater (Daniella Pineda) and a nebbishy mulatto computer whiz (Justice Smith).

3. Anti-white, anti-gun, and animal-rights-militant. Ted Levine appears as a “great white [sic] hunter” whose hobby of assembling necklaces from the teeth of endangered species earns him a dinosaur jaw’s worth of trouble. Guns, in addition to being unreliable, are problematic in the possession of trigger-happy white men in particular.

2. Disingenuously antiwar but actually anti-Slav and neoconservative. The dinosaur rescue operation turns out to be a nefarious military-industrial plot – what? social justice hijacked for capitalist plunder? I’m shocked! – and the movie climaxes at an auction at which arms procurers from around the world bid on weaponizable reptiles. Present at the auction are representatives from Russia, Slovenia, and Indonesia, the world’s most populous Muslim nation. “Too many red lines have been crossed,” as well – ostensibly with regard to Frankenstein genetic science, but probably also in reference to Syria.

1.Racist! Bookending the film are testimonies from learned elder of science Jeff Goldblum, who warns that humanity, by saving the dinosaurs, is risking its own extinction. Underlying the film is the West’s anxiety about the acceptance of “refugee” populations from the Third World. The dinosaurs, as savage, prehistoric animals – rather like Africans, the film seems to imply – are objects of both amazement and civilizational trepidation. Indicative of the mingled fear and excitement experienced by mentally ill social justice warriors in the presence of rapefugees is an unsettling scene in which a dark-colored dinosaur creeps into a little girl’s room and hovers over her in her bed, extending a claw to caress her. This same child’s decision at the end of the film to release the dinosaurs into the modern world can be read either as a parody or a celebration of naïve Europeans’ – and particularly women’s – childishness and erotic retardation in ushering in their own racial and cultural annihilation. She makes her momentous choice after discovering that she is a clone and not the person she thinks she is – which is to say, after having her sense of identity undermined.

Alternatively, Jurassic World: Fallen Kingdom can be read as an allegory about the danger inherent in providing succor to Jews. After rescuing the dinosaur-Jews from the volcano-Holocaust, western man is faced with the problem of how to survive with these troublesome creatures in his midst – an interpretation bolstered by an attempt to exterminate the dinosaurs with cyanide gas at the end of the film and which, furthermore, would put a somewhat different and perhaps self-revelatory spin on the aforementioned scene of the giant lizard in the little girl’s bedroom.

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!

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Richard Spencer and Mark Brahmin discuss James Cameron’s films The Terminator (1984) and Terminator 2: Judgment Day (1991). Readers may want to compare this pair’s very insightful commentary with my remarks on Terminator: Genisys (2015).

Rainer Chlodwig von K.

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.

Transcript here.

Foxcatcher

From Capote (2005) collaborators director Bennett Miller and co-writer Dan Futterman, here is another somber character study revolving around the circumstances of a true crime. Magic Mike himself, Channing Tatum, stars as Olympic grappler Mark Schultz, who in 1987 was taken under the wing of eccentric pharmaceuticals heir John E. “Golden Eagle” du Pont (Steve Carell), who sponsored America’s team at Seoul in 1988. Du Pont would hardly warrant the movie treatment if not for the fact that he murdered Schultz’s brother Dave (Mark Ruffalo), another one of the wrestlers sponsored by the eccentric multimillionaire, in 1996.

Tatum gets another role that allows him to display not only his competence as an actor, but his impressive athleticism as well. Comedian Steve Carell, nominated for Best Actor, has with justification been praised for bringing to life an unexpectedly deep and enigmatic character, and his exaggeration of Du Pont’s halting quirks of speech and his solemn air succeeds in creating an onscreen presence more magnetic and fascinating than the real man who inspired it. Foxcatcher invites comparison with the same year’s similarly intense Whiplash, another story of a disturbing Svengaliesque relationship, and should engross audiences prepared to be entertained by something again as unstintingly grim.

4.5 out of 5 stars. Ideological Content Analysis indicates that Foxcatcher is:

5. Pro-gay. More than one scene of grappling carries an undeniably homoerotic charge. As Kristian Lin observes in Fort Worth Weekly, the film “is about a rich guy who can’t explain his deep-seated need to spend hours each day with his arms around young, muscular men wearing singlets. In real life, du Pont had a wife (who is completely left out of this movie), and his problems likely stemmed from paranoid schizophrenia rather than latent homosexuality.”

4. Anti-drug. Magic Mike’s use of cocaine with Du Pont’s encouragement marks his nadir as a person and athlete. His sponsor also throws him off-course with copious alcohol.

3. Anti-gun. Private gun ownership gets a black eye with Du Pont’s murder of David Schultz. The place name Newtown Square (in Pennsylvania) may also serve as a subliminal reminder of the Sandy Hook Elementary incident in Newtown, Connecticut.

2. Liberal. Du Pont represents the typical NPR listener’s idea of the dread Republican power structure looming over America – an affluent WASP, crazed, gun-obsessed, hypocritical, and probably secretly homosexual. Du Pont appears as an emblematic figure of the Reagan era beloved of today’s conservatives: a coke-snorting military buff and fraud whose money substitutes for character and whose moralizing masks a hollow, selfish depravity.

1. Anti-American. “I want to talk about America. I want to tell you why I wrestle.” With these words, Jewish co-screenwriter Dan Futterman and Shabbos goy collaborator E. Max Frye establish thematically that their movie is concerned with the essence of what it means to be an American. Not long after uttering these lines, Mark is shown nervously wolfing fast food alone in his car. It is, as Lin puts it, “a takedown of the myths we Americans like to tell ourselves.” The viewer is only invited to feel contempt for the monologue in which Du Pont expresses the pro-America feeling that informs his fears: “When we fail to honor that which should be honored, it’s a problem. It’s a canary in a coal mine […] I’m an ornithologist, but more importantly, I am a patriot, and I want to see this country soar again.” If only people were less patriotic and also more open about their obvious gayness, perhaps, the world would be plagued with less madness and murder.

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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Magic in the Moonlight

With Magic in the Moonlight, degenerate Jewry’s auteur laureate Allan Konigsberg (alias Woody Allen) returns to his beloved Jazz Age and to the theme of the enchantment in life and love that began to preoccupy him sometime around A Midsummer Night’s Sex Comedy (1982) – as well as to the contested existence of God, a subject that has obsessed him throughout his career. Colin Firth plays a celebrity illusionist invited to debunk spiritualist Emma Stone. The results, pleasantly enough, are quintessential Woody – witty, romantic, and generally wonderful. Blu-ray was invented to showcase Emma Stone’s immaculate, strange, and exquisite face. Highly recommended.

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that Magic in the Moonlight is:

6. Anti-family. Stone’s father abandoned her.

5. Class-conscious. “Unlike you, we’re members of the working class.” Emma Stone’s character comes from a much humbler background than those who patronize her services as a spiritualist.

4. Racist! Firth refers to Stone’s “confused black little criminal’s heart”. Konigsberg is hereby sentenced to make amends by appearing in Tyler Perry’s next Madea vehicle.

3. Anti-Semitic! “Hoodwinking is what we do,” confesses the hero’s trusted Jewish magician colleague Burkan (Simon McBurney), who presents himself as an exposer of hoaxes but turns out to have been a conman himself and a traitor to his friend. He is motivated, he concedes, by “envy and resentment”.

2. Redpilled. Stone rejects fawning, ukulele-strumming beta male suitor Hamish Linklater in favor of masculine, dignified Colin Firth.

1. Agnostic. “I think Mr. Nietzsche has disposed of the God matter rather convincingly.” Or has he? Maintained throughout is a tension between protagonist Firth’s rational understanding that spirituality is a fraud “from the séance table to the Vatican and beyond” and his simultaneous longing for some transcendence. Is it true that “happiness is not the natural human condition”? Is willful ignorance really bliss? “You were much happier when you let some lies into your life, Stanley,” Konigsberg seems to want to suggest with Magic in the Moonlight.

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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Anthony Zerbe and Keanu Reeves talk encrypted shop in The Matrix Reloaded.

Anthony Zerbe and Keanu Reeves talk encrypted shop in The Matrix Reloaded.

In the Jewish supremacist film The Matrix Reloaded (2003), Neo (Keanu Reeves) has a ruminative chat with Councilor Hamann (Anthony Zerbe) about the relationship between man and machine in Zion. In addition to references elsewhere in the film to sheep and steak (i.e., goy cattle), the subtext of Jewish superiority becomes clear in these characters’ attitudes toward the subservient machines that sustain their people. Neo notes in passing that “there are no young men on the Council” to which Hamann belongs, so that the latter’s words are to be understood by the redpilled viewer as the pronouncements of an Elder of Zion.

Elder: I like to be reminded this city survives because of these machines [i.e., the Shabbos goyim]. These machines are keeping us alive while other machines [i.e., anti-Semites and Muslims] are coming to kill us. Interesting, isn’t it? The power to give life and the power to end it.

Neo: We have the same power.

Elder: I suppose we do, but [. . . ] I can’t help thinking that in a way we are plugged into them.

Neo: But we control these machines, they don’t control us.

Elder: Of course not. How could they? The idea is pure nonsense, but it does make one wonder, just what is control?

Neo: If we wanted, we could shut these machines down.

Elder: That’s it, you hit it. That’s control, isn’t it? If we wanted, we could smash them to bits. Although, if we did, we’d have to consider what would happen to our lights, our heat*, our air.

Neo: So we need machines and they need us.

In a later scene, Neo meets the Matrix’s anti-Semitic “Architect” (German-born actor Helmut Bakaitis), who explains as an image of Hitler flashes across several monitors in the background that he had to redesign the Matrix to account for the troublesome behavior of humans/Zionists. The Matrix with which the viewers of films like this one find themselves confronted is, of course, of Jewish provenance rather than anti-Semitic, and the robotic Sentinels that detect and destroy human dissent are more likely to take the form of organizations like the ADL and SPLC rather than the National Socialist German Workers Party.

The Matrix endures . . . for now.

Rainer Chlodwig von Kook

*Ronald L. Eisenberg explains that, “In the Mishnah, the Rabbis enumerated 39 major categories (with hundreds of subcategories) of labor that were forbidden (avot melakhah) based on the types of work that were related to the construction of the Tabernacle in the wilderness, which ceased on the Sabbath (Shab. 7:2). Activities that cannot be performed on the Sabbath are basic tasks” such as “kindling a flame (lighting, extinguishing)”. These are reserved for the Shabbos goy.

Twilight of the Cockroaches VHS cover

This writer’s father took him to see the Japanese import Twilight of the Cockroaches (1987) during its 1989 American theatrical run – at the now-defunct Fine Arts Theatre in Mission, Kansas, if memory serves. Directed by Hiroaki Yoshida, whose only other credit at the helm of a film is the Jeff Fahey thriller Iron Maze (1991), Twilight of the Cockroaches is but one of unnumbered oddities spawned by the Japanese cinema during the 1980s; and one suspects that the principal reason it got picked up for stateside distribution was its combination of live action and animation, a pairing that had demonstrated its power to charm audiences with Who Framed Roger Rabbit? (1988).

The plot concerns a colony of pampered cockroaches who are permitted to live and thrive in the apartment of the dissipated and enigmatic Mr. Saito (Kaoru Kobayashi), who seems to spend most of his time in a stupor. The roaches’ peaceful existence is upset, however, when Saito gets a girlfriend (Setsuko Karasuma) who understandably insists on ridding his place of its swarms of invertebrate squatters. Not too many movies muster the gumption to cast six-legged vermin as sympathetic protagonists in such a situation, but Twilight of the Cockroaches does exactly that and succeeds largely by anthropomorphizing the animated pests, complete with human faces, facial hair on the men, and even cleavage on the females of the species.

What makes the film doubly strange and noteworthy is that the roaches apparently represent Jews, much of the story suggesting a “Holocaust” allegory. The English-language script, credited to a Steve Kramer, even uses the term “genocide” to describe humanity’s treatment of its innocent, toilet-tripping neighbors of order Blattodea. “With its subtle allusions to Hiroshima and Dachau,” the VHS box quotes The Philadelphia Inquirer’s Carrie Rickey, “this comedy has unexpected resonance. You will think twice before getting out that can of Blockade.” (Ms. Rickey is presumably unaware that even mainstream “historians” of the “Holocaust” no longer support the Nuremberg Tribunal lies about the Dachau facilities housing homicidal gas chambers disguised as showers.)

The cockroaches comprise a “tribe” suffered in the home of “host” Mr. Saito, who is described as being diverted or entertained by them, much as Jews in America distract the host with Hollywood. Then, too, they see themselves as having a special racial destiny, and they also worship a toy rabbit they know as “Torah”. Nothing in the English-dubbed soundtrack suggests Jewish vocal mannerisms, but some of the older and more important roaches do exhibit large and somewhat hook-shaped noses. The penchant of many of the roaches for spending their nights frolicking in the toilet could also suggest the subversive traits of Jews who specialize in pornography and the propagation of other degeneracies.

Seeing this movie as a child, this writer was wowed by the sheer weirdness of it, Europeans having been conditioned for decades to adore the foreign and the bizarre as a virtue. Revisited now, it is hardly a classic. Twilight of the Cockroaches does, however, furnish a useful illustration of how and why such infestation occurs. The “host”, Mr. Saito, the film eventually reveals, has been abandoned by his family, and only after the dissolution of this essential unit has he fallen into complacency and toleration of vermin and allowed them scavenge on his goods, the spoils of his own productivity. The destruction of the family is the crucial and most fundamental component of Jewish subversion of a nation; without that the Jewish cockroach is in peril, and it is only after another woman enters Mr. Saito’s life and inspires within him a yearning for new happiness in domesticity that he awakens to the filth and asserts his masculine sovereignty over his realm.

Rainer Chlodwig von Kook

Twilight of the Cockroaches VHS back

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