Archives for posts with tag: media-skeptical

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.

Closed Circuit

Forget neoconservative junk like Zero Dark Thirty. Closed Circuit is the real deal – or, anyway, as close to it as a major motion picture is likely to get in the present climate. After a 7/7-reminiscent terrorist bombing in London, attorneys Eric Bana and Rebecca Hall are assigned the task of defending Farroukh Erdogan (Denis Moschitto), the alleged “mastermind” of the attack. It soon becomes clear, however, that nothing is as it seems in this self-described “conspiracy thriller”, as Bana discovers that the case is “being managed” from above and that the “suicide” of the previous barrister handling Erdogan’s defense might actually foreshadow his own demise. Unremittingly grim and realistically paranoid, Closed Circuit moves at a healthy clip, sustained by the lead actors’ earnest performances, and suffers principally from its anemic chromatic palette and visual drabness.

[WARNING: POTENTIAL SPOILERS]

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

7. Anti-marriage. Bana is going through a divorce.

6. Feminist. Hall portrays an assertive, tough, and detail-oriented professional woman.

5. Anti-drug. Government patsy Erdogan is a heroin addict who, in the great Islamic fundamentalist tradition, has a drunk driving arrest on his record. The poor quality of the horse made available to him in prison causes him to be nauseous.

4. Anti-racist/multiculturalist. An East Indian complains that he is regularly stopped by police. The War on Terror, Closed Circuit suggests, has exacerbated racial prejudices. The multicultural wealth of London’s Turkish population proves to be an asset to the investigation.

3. Media-skeptical. The British press is characterized as unscrupulous. Closed Circuit strains credibility, however, in suggesting that The New York Times, of all publications – the “newspaper of record” that, for instance, covered up the Holodomor – would be the beacon of honesty in such a scenario, and that one of its reporters (Julia Stiles) would risk assassination to bring the truth about synthetic terrorism to the public.

2. Anti-state. Closed Circuit performs a modest service in mainstreaming the concept of government-instigated terror, with “national security” considerations only masking the cover-up; but the movie stops short of accusing western intelligence agencies of actually commissioning false flag terror attacks. Instead, Closed Circuit presents a story in which MI-5, through “incompetence”, has lost control of its counterterrorism operation.

1. Defeatist. “We’re not strong enough to fight them, are we?”

Rainer Chlodwig von Kook

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