Archives for posts with tag: male chauvinist pig

Lap Dance

As salacious and lugubrious as its title indicates, this female version of Magic Mike concerns the lure of glorified whoring that euphemizes itself as “dancing” and warns of the stresses it places on a committed relationship.

Aspiring actress Monica (Ali Cobrin) seems to have found happiness with her fiancé Kevin (Robert Hoffman) until her father (James Remar) is hospitalized with cancer. When the hospital bills overwhelm the family, Monica rolls up her sleeves and skirt and goes to work in a strip club giving lap dances to cash-flashing black guys. In addition to straining relations with Kevin, Monica raises the ire of a rival performer, Lexus (Carmen Electra), who feels threatened when her top boyfriend/client Chicago (Datari Turner) begins making advances toward Monica for more than a lap lambada. Meanwhile, Kevin, neglected by Monica, drifts into a friendship and liaison with Jade Lee (K.D. Aubert), another dancer at the club.

Lap Dance delivers plenty of the cheap thrills promised by its title, but has some substance to offer, too – substances other than those called to mind by a movie titled Lap Dance.

3 out of 5 stars. Ideological Content Analysis indicates that Lap Dance is:

5. Drug-ambivalent. Kevin takes a devil-may-care attitude toward weed, but ecstasy, while pleasurable, carries a more sinister vibe in the film.

4. Pro-gay. Lexus and lesbian lover Jade Lee hope to “start a family”.

3. Anti-capitalistic. Whites come into social and inevitable sexual contact with blacks only through the sordid pursuit of Mammon. Addiction to money and ersatz glamor cause Monica to forget her principles and her promises. “I sucked a big black dick,” Monica taunts Kevin when he asks her what she had to do to get so much money.

2. Miscegenation-ambivalent. Lap Dance was produced, written, and directed by blacks – star/producer Datari Turner and screenwriter-director Greg Carter – which makes its mixed message about mixed relationships something of an enigma. On the one hand, the stock Hollywood type of Africanus cinematicus is very much in evidence, with blacks portrayed as physically desirable, intelligent, ambitious, and capable – appearing as doctors, playing chess, making plans to attend the opera, and giving advice to whites about the value of hard work – but whites’ increasing involvement with blacks in Lap Dance parallels and expresses their flirtation with darkness, which is to say evil, the strip club appearing as twilit netherworld frequented by well-heeled black devils. Blacks, furthermore, are depicted as privately brutish and sexually promiscuous, with Chicago issuing orders to the women in his life and brusquely grabbing Lexus by her hair. “The minute you go runnin’ after a woman is the minute you lose your power,” is Chicago’s approach to romance. Still, “We both got jungle fever,” Kevin confesses to Monica. Whatever the negatives associated with blacks and miscegenation in Lap Dance – promiscuity, infidelity, drugs, dishonesty, and cruelty – the fact that it seems such a matter of course and that Kevin raises no objections to his fiancée grinding against congoid crotches for a living works as a de facto normalization and hence endorsement of interracial depravity.

1. Anti-slut. Lap Dance functions as a compression and microcosm depicting the moral decline and fall of the European woman. “The woman that I loved was a good girl,” Kevin tells Monica after their relationship has hit the rocks. “She loved her family and she loved herself”; but now, he tells her, “You’re just a cheap trick.” Woman’s descent into misery has been brought about not by a totalitarian patriarchy, but by her own abandonment of traditional values and men’s permissive short-sighted nihilism.

Rainer Chlodwig von Kook

Wild poster

A career highlight showcase for star Reese Witherspoon, this freewheeling emotional odyssey into triumphant you-go-girlism concerns real-life tramp Cheryl Strayed, whose epic hike along the Pacific Crest Trail takes her from “piece of shit” and “hobo” to liberated and self-actualized piece of shit with an Oprah’s Book Club pick. As with all wilderness pictures, from Jeremiah Johnson to Rescue Dawn, there is an innate fascination to the scenes of Strayed’s one-woman struggle with the elements. The interspersed flashbacks to the unpleasant experiences that drive her to make her quest, however, are hit-and-miss, diminishing any sympathy this reviewer is able to muster for her. Laura Dern appears as Strayed’s long-suffering, cancer-ridden mother.

4 out of 5 possible stars. Ideological Content Analysis indicates that Wild is:

6. Drug-ambivalent. Wild sends mixed messages about Cheryl’s life as a heroin addict. Marijuana, however, seems to be a laid-back thing to do. Alcohol appears as a no-no, though, with Cheryl vomiting after some hard stuff. (see also no. 1)

5. Anti-Christian. Foulmouthed Cheryl utters multiple blasphemies.

4. Anti-redneck. The rural white male is a constant menace hovering in the gloaming of Cheryl’s consciousness, leering at her and making unsavory advances.

3. Pro-choice. Cheryl has an abortion.

2. New age, peddling mass market paperback mysticism that might have been cribbed from Sgt. Pepper’s Lonely Hearts Club Band. The film ends with Witherspoon reciting some philosophical gobbledygook about how nobody knows what leads to what – the scientific method, contrary to this reviewer’s mistaken impression all his life, turning out never to have been invented after all – life being one big mysterious journey, each seeming adversity or disastrous decision constituting a necessary step toward destiny’s fulfillment. People – and, by extension, societies – might as well experiment to their hearts’ content on this starry trek of objectively valueless existence.

1. Feminist. Wild celebrates the junkie-adulteress-intellectual as heroine. One of its many nuggets of womany wisdom is that divorces, unlike marriages, tend to be lasting. Regarding her serial back-alley extramarital humps and heroin habit, Cheryl apologizes to her nice-guy husband (Thomas Sadoski) but later confesses that she harbors no regrets about anything. Adrienne Rich’s poem “Power”, a favorite of the protagonist, furnishes Wild with its theme. Marie Curie’s “wounds”, Rich explains, “came from the same source as her power”. Witherspoon’s body, accordingly, appears with unsightly contusions and cuts throughout the movie, these presumably being the feminist stigmata symbolizing the suffering through which she has attained her “power”. In a parallel characterization, Cheryl’s mother is an abused wife who abandons her alcoholic husband and goes back to school for her education because, she says, she never felt like she was in the driver’s seat of her own life.

Rainer Chlodwig von Kook

Oprah’s Bucks Club

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

Farawaysick for a High Trust Society...

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!