Archives for posts with tag: Michael Moore

where-to-invade-next

Source: World Socialist Web Site

Michael Moore’s Where to Invade Next is not a much-needed comment on the American government’s never-ending invasions and wars. Far from it. Moore simply tells the generals to “stand down.” The filmmaker then becomes a one-man army that “invades” various countries to appropriate not geopolitical advantage—but beneficial social or political ideas or practices.

From Italy, for example, he takes their lengthy vacations; from Finland, their education system; from Slovenia, free college; from Iceland, the dominance of women in politics and banking (we are told that women’s DNA makes them less aggressive); from Norway, a more humane penal system; from France, gourmet school lunches; from Germany, the ability to confront the legacy of the Holocaust (as opposed to the situation in the US, where supposedly through the prison system the “white man” is once again resurrecting slavery); and from Portugal, the legalization of drugs (Moore happily poses with three cops who look like remnants of the Salazar/Caetano fascist dictatorship).

With Where to Invade Next’s potted racialist history of the US and its view that women should rule the world, Moore has, of course, added identity politics into the mix in his “happy film,” as he calls it.

It is hardly accidental that Moore has been so inactive since Barack Obama took office in early 2009. (Capitalism: A Love Story came out that year.) His new movie is a ludicrous attempt to cover for the Democratic Party, hoping against hope that he can convince it to adopt policies that, he takes pains to point out, all originated in the US. Moving the Democratic Party to the left is the most hopeless and pathetic of perspectives.

Moore has become a sometime critic of the Obama administration, after endorsing the Democratic presidential candidate in 2008 and supporting the auto bailout in 2009, which halved autoworkers’ pay. However, he is hopelessly tied to the Democratic Party and capitalist politics by a thousand strings. While excoriating Obamacare, for example, as “a pro-insurance-industry plan,” he termed the plan a “godsend” because it provides a start “to get what we deserve: universal quality health care.”

The filmmaker is a seriously compromised and increasingly discredited figure.

Joanne Laurier

[Covering up for Democrats is small potatoes after covering up for Israel in Fahrenheit 9/11. – Ed.]

Have shopping to do and want to support icareviews? Rainer Chlodwig von Kook receives a modest commission on Amazon purchases made through this link: http://amzn.to/1Qy4HdU

A brilliant evocation of a dystopian world, The Purge tells of a future America in which the “New Founding Fathers” have implemented a national night of catharsis, “the Purge”, on which all crime, murder included, is allowed to be committed with absolute impunity, all emergency services being suspended.  Otherwise peaceful and productive citizens are allowed to release their inner demons, their pent-up frustrations and hatreds, with the result that crime of the everyday variety has been drastically reduced for the rest of the year.  One reason for this is that the poor, who presumably commit crimes only from privation, are disproportionately the victims of the annual Purge because they cannot afford the home security systems that keep well-to-do non-participants safe.   (The Purge thus stubbornly perpetuates the mistaken notion that poverty levels rather than racial makeup are a more accurate predictor of rates of crime.)  Consequently, unemployment has also been virtually eradicated, with the low-skilled and unproductive segments of the population being periodically weeded as a kind of collective sacrificial Negro.

The national night of helter skelter has naturally been a lucrative boon to the private security industry and in particular salesman and suburbanite James Sandin (Ethan Hawke), who has made a mint selling home armoring systems to his neighbors and has been able to afford an addition to his house.  Unfortunately, his success has also given rise to resentment in the community.  The Sandins are accustomed to locking down for the night and not participating – at least actively – in the annual Purge; but that changes when their teenage son (Max Burkholder) sees a black man (Edwin Hodge) in distress in the street and without consulting his father disarms the home security system long enough to allow the stranger to come inside.  Borrowing an idea from John Carpenter’s classic Assault on Precinct 13 (of which Purge writer-director James DeMonaco wrote the screenplay of the remake), a pack of masked Purgers then besieges the Sandin home, demanding that their human quarry be returned to them, or else that the Sandins themselves will become the marauders’ victims.

Reminiscent of Death Race 2000 in pointing to national ritual and sport as both a source and a valve for suppressed violent impulses in the American people, The Purge nonetheless creates an original and frightening world straight out of schlockumentarian Michael Moore’s most delirious nightmares.  Prospective viewers generally but pants-pissing dumb white liberals particularly are therefore advised to anticipate an hour-and-a-half’s worth of razor-edge suspense and accelerated heartbeats. Devilishly conceived and cleverly constructed, The Purge, notwithstanding its sociological idiocy, is the best film of the year thus far and heralds potentially great and wonderful things for creator James DeMonaco.

5 stars.  Ideological Content Analysis indicates that The Purge is:

7. Pro-miscegenation.  Two of the Sandins’ neighbors are miscegenators.

6. Antiwar.  The hunted stranger, a homeless black man, wears dog tags, an indicator that America has not always been kind to its veterans and also a reminder of the myth that that blacks have borne a disproportionate burden of America’s casualties in conflicts like the Vietnam war.

5. Anti-gun.  For the opening credits montage of surveillance camera violence, 1992 footage of armed Korean shopkeepers defending their property against the African savagery of the Rodney King riots has been repurposed as a vilification of gun owners.  The Purge does depict gun owners defending themselves, but also being victimized by guns and having their own weapons taken from them.  In one scene, Mr. Sandin is choked with his own gun.

4. Noncommittally statist.  The Purge cautions viewers about the self-interested intentions of utopia-touting governments, with lawmakers serving lobbies and exempting themselves from their own decrees, but the film is itself a de facto statist statement in its implied endorsement of gun control and the welfare state.  Americans, The Purge appears to be urging, ought to be grateful for the disastrous government-engineered employment numbers of the Obama years – because look what draconian steps would have to be taken to reduce unemployment to tolerable levels!  End the federal stranglehold on the economy and a veritable Holocaust would ensue!  James DeMonaco is most probably the whimpering type of welfare-statist for whom the Ludwig von Mises Institute must appear a kind of looming Fourth Reich or harbinger of the Apocalypse.

3. Anti-white/anti-racist (i.e., pro-yawn).  Fanatical Purge partiers wear masks representing grotesquely wholesome, smiling, Caucasian faces. The implication is clear: behind the friendly facades of those once considered normal, upstanding citizens lurks an atavistic desire to butcher blacks, the homeless, and other poor, defenseless, and downtrodden creatures.  The film has a major ax to grind with suburbia and the ostensibly perfect America of the Cleaver family and so dresses its horde of murderers in preppie sweaters, jackets, ties, and conservatively virginal white dresses for the girls.

2. Anti-capitalistic.  Business interests make their money at the expense of the death and misery of the underprivileged.  Sandin, the film’s representative merchant, sells his neighbors a fraudulent bill of goods in a home security package that delivers less than it promises.  Only when confronted in his own home with the reality of the situation is Sandin moved to consider the moral dimension of his profiteering.

1. Anti-American.  There is something about the all-American health and contentment of Leave It to Beaver that drives radicals up the wall and causes them to rage with destructive self-loathing at the evil monolith of the establishment under which they imagine themselves to be cruelly crushed.  The Purge endeavors to tear it down.

Katherine

Katherine aka The Radical (1975) ****

Originally broadcast on television, this worthwhile film asks how a rich college girl from a respectable family could grow to so hate the society that has given her every advantage that she winds up as a bitter domestic terrorist and founding member of the murderous Weathermen Underground.  A pre-Carrie Sissy Spacek stars as the title character, with an unusually energetic Henry Winkler playing her quirky lover and fellow subversive.  To its credit, the film stops short of glorifying revolution, but it does humanize the aspirants in giving a glimpse into their experiences and motivations.  Balancing this, however, is the sympathetic portrayal of Katherine’s conservative parents (Art Carney and Jane Wyatt), who disapprove of their daughter’s decisions but love her and only want to help.  Rounding out the cast is Julie Kavner, future voice of Marge Simpson, as one of Katherine’s college friends whose life follows an entirely different course.  Some of the music is poor, but the film is recommended to anyone interested in the young stars or the radical politics of the period.

4 out of 5 stars.

 

KGB Connections

The KGB Connections (1982) ****1/2

Before Michael Moore and reality television programs popularized the obnoxious, attention-grasping gonzo approach, the documentary used to be a consistently fascinating and dignified form of filmmaking. Thankfully, The KGB Connections, an old-school black-and-white CBC documentary, hails from the days when stark truth was all that was necessary to hold the viewer’s attention. Consisting largely of interviews with CIA men and defectors from communist intelligence services, the film exposes shocking breaches of national security by the KGB, which utilized diplomatic missions (particularly the UN, described as a “nest of spies”) and “illegals”, spies smuggled into the country under false identities, to increasingly undermine U.S. interests throughout the sixties and seventies and into its last decade of existence.  If the film is to be believed, the Soviets even had the ability to monitor the phone calls at the White House and the Pentagon using harmless-looking antennae mounted on their consulate buildings.

The most amusing interviewee is easily Hedda Massing, who during the 1930s was one of the Soviet Union’s most distinguished recruiters of influential American citizens.  Massing and former communist Nathaniel Weyl dish the dirt on traitors Laurence Duggan, Noel Field, and Alger Hiss.  Also of interest is KGB proxy activity through Cuban intelligence and the recruitment and training of young American terrorists like the Weathermen.  There is a spareness to The KGB Connections that will probably not appeal to those with short attention spans, but history buffs and the politically aware will want to take the time to digest its abundance of information.  The unsettling electronic musical stings that introduce the different segments do much to enhance the film’s real eeriness.

4.5 out of 5 stars.

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!