Archives for posts with tag: nature vs. nurture

Spring_Breakers_poster

Writer-director Harmony Korine’s dope-drenched epic of college-age pagan debauchery suffers from the same fatal ailment as most other movies that insist on taking as their subjects the absolute dregs of society – namely a lack of characters worthy of the least bit of audience sympathy. The introduction of the principal quartet of spoiled and mostly indistinguishable bimbos is so icily off-putting and nonchalantly bile-provoking that it could almost be a set-up for some exercise in torture porn. College students in name only, these are pretty, pot-addled apes who, during a lecture on the civil rights movement, amuse themselves by scrawling lewd notes or drawing a picture of a penis. Where the Boys Are this is not.

Tired of what they feel to be their intolerably mundane lives, four girls determine to travel to Florida to “find” themselves on spring break. Short of funds, three of them successfully rob a restaurant, and off they and naive Christian friend Faith (Selena Gomez) head for the sun and sand, where their participation in grotesque bacchanalia rightly lands the disgusting group in jail. Coming to their aid as if by providence, revolting rapper and drug dealer Alien (James Franco, in a truly transformational character creation) bails them out and takes the girls under his demonic wing, introducing them to his gangsta friends. Faith, though stupid, retains some vague wisp of the notion of decency and so decides to go home at this point; but her three friends remain and go with Alien, who, like a thuggish Charles Manson, will usher them through an initiation into nihilistic evil.

More shocking and memorable than actually good, Spring Breakers does contain some visual coups that viewers will never forget: a man performing fellatio on two guns; three girls in pink ski masks dancing, guns in hand, in the attitude of the three Graces; and, of course, sand strewn with cheap, jiggling flesh. With the anesthetized and dreamlike shoot-out of the climax, the director walks a particularly dangerous line. Are the events at the end of the film intended to inspire audience approval or did Korine even stop to consider how these moments would be received? Is Spring Breakers really the serious social commentary it seems to pretend to be or just a tacky exploiter that points and laughs at societal disease? Is Korine documenting or actually celebrating the decline of western civilization? Either way, this vile opus has much to say about American life, and much of it is true.

Ideological Content Analysis indicates that Spring Breakers is:

9. State-skeptical/anti-business. “Everyone can use a little bailin’ out once in a while,” Alien says in a line that hints at a broader significance. With his neck tattoo of a dollar sign, Alien symbolizes misguided rapacity and mirrors the criminal world of big business.

8. Pro-gay. Girls frequently engage in teasing kisses, grinding, and so forth, none of it particularly sexy. The sum effect, however, is normalization. Alien clearly enjoys sucking the guns and tells the girls afterward that he loves them.

7. Media-critical. “Just fuckin’ pretend like it’s a video game. Act like you’re in a movie or somethin’,” one of the girls advises the others before they commit a robbery. “I got Scarface on repeat. Constant, y’all,” Alien boasts, contributing to the sense that these young people’s poor behavior has been programmed by their entertainment (cf. The Bling Ring).

6. Anti-American. Alien describes his materialistic gangsta lifestyle as “the American Dream” (cf. Pain and Gain). “Seeing all this money makes my pussy wet,” one of the girls says.

5. Anti-Christian. Juxtaposed scenes equate Christianity and substance abuse as means of escape from reality. Two dumb Christian friends of Faith advise her (with good reason, as it turns out) to “pray super hardcore” for her well-being in Florida. (Ironically, her religious scruples do preserve her from the danger experienced by the other girls.)

4. Diversity-skeptical and anti-wigger. “I don’t like it here,” Faith says, finding herself in the midst of a bunch of scuzzy blacks and wiggers and feeling intensely uncomfortable. This moment counterbalances the casual flashes of suggested black-white miscegenation in the film. A theme of Spring Breakers is self-destruction, and one moment in which a girl drinks from a black water pistol, a rapper’s smug face on a poster behind her, indicates the self-loathing and suicidal nature of wiggerism.

3. Culturally and morally ambivalent. From drugs to guns and gangsterism to flippant fornication, Korine keeps such a cold, ambiguous distance that his attitude from one scene to the next is occasionally difficult to fathom. The copious casual sex and drug abuse carry surprisingly few consequences, with only a shot of a vomiter passed out by a toilet (and party-crashing by police) disrupting the flow of fun. There is nothing at all admirable in Alien or his groupie disciples, and yet the amount of time devoted to his misbehavior, his air of a tragic artist of wasted potential, and the martyrish pose pretentiously granted him at his demise would appear to give him a neon sheen of antiheroic myth. The ravages of gunplay, likewise, are mitigated by the fetishistic fascination and sexuality accorded to firepower. One of the girls determines that “being a good person” is the “secret to life”, but fails to act according to this piece of wisdom.

2. Relativistic and nurturist (i.e., anti-science). Spring Breakers points to environment as the key determiner of individual development, discrediting the role that genetics and race play in shaping human intelligence and character. “I was the only white boy in my whole neighborhood,” the worthless Alien recounts. Consequently, he grows up to be indistinguishable from the criminal blacks among whom he moves. “We met people who are just like us. Just the same as us,” one of the girls reflects in voice-over. Only the social context of their spoiled upbringing, sheltered by white privilege, has presumably prevented the girls from sinking into savagery before now. Heritability would appear to play no role in shaping these people, so that Spring Breakers works like a stock anthropology lecture to the effect that those spear-brandishing jungle natives in the National Geographic are no less civilized than the European gentleman reading poetry in his smart smoking jacket, their mating and war-making rituals being identical at bottom. The culture war does, however, appear to hold importance for Korine, even if it is not always clear on which side of the battle line he stands.

1. Anti-human. No likable characters = no reason to care.

deer crossing

A scabrous, wilfully unpleasant film, Deer Crossing wallows in the worst that humanity has to offer.  Perhaps best described as Bad Day at Black Rock meets I Spit on Your Grave, Christian Jude Grillo’s paranoid death trip into the redneck post-apocalypse that constitutes the U.S.A. outside New York, L.A., and Chicago (at least in the minds of those who live in New York, L.A., and Chicago) is a marginally recommendable film for one outstanding reason: K.J. Linhein’s Zeus-like portrayal of the granddaddy of all sadistic white trash antagonists, Santa-bearded superhick Lukas Walton.

So over-the-top it has to be seen by any admirer of things ludicrously compelling, the characterization dares to evoke what foul thing might have been spawned the night Dan Haggerty got drunk, hogtied Wilford Brimley, pumped him full of heroin, and had himself a high old time.  Lukas is basically Democrats’ idea of the typical Republican: a hulking, hairy, overalls-clad figure from distant antiquity who licks his chops at the thought of oppressing women and children and runs amuck in benighted cultural wastelands like Texas and Alabama; a gun-toting rapist and hater of all humanity, but especially African-Americans, and who will destroy us all if he/it is not stopped.

Deer Crossing takes up with old Lukas after he captures and reconditions city mother Maggie Chancelor (Laura L. Cottrel) and her young son Cole (Kevin Fennell) as the playthings of his inscrutable, primitive whims after they hit a deer on the highway and fatefully crash their car in Lukas’s neck of Deliveranceland.  Eight years will pass before the father, Dr. Chancelor (Warren Hemenway), receives evidence that his missing wife and child may still be alive.  If they are, does he want to know?  If so, his son will have lived more than half of his life in a milieu altogether removed that of Dr. Chancelor.

Is Deer Crossing a contribution to the environment vs. genetics debate or just a greasy middle finger directed at every cowboy hat in sight?  At times the film seems deadly serious; but then Lukas Walton will lope into view and elicit a laugh with his hillbilly hijinks.  The exaggerated quality of the characters and situations is constantly at odds with what seems to be Deer Crossing‘s desire to be taken in earnest.  Sunless, despairing, and silly, but also entertaining, the film is a kind of One-Eyed Jack whose belches and mumbled obscenities invite interpretation.

Christopher Mann, who stars as Detective Derrick Stanswood, seems comfortable in the role of the black man hated because he thrives.  Pinhead himself, Hellraiser‘s Doug Bradley, appears as Sheriff Lock, who – odd for a rural Pennsylvania lawman – sports a futilely wrestled British accent.  Among the other locals are callous cowboy-hat-and-eyepatch-wearing homosexual racketeer Randy (Tom Detrik) and drug-peddling madam and hairdresser Gail (Jennifer Butler).  Ernie Hudson, meanwhile, collects a paycheck by showing up in a couple of scenes as Captain Bailey.

3.5 probably overly generous stars of a possible 5.  Only the most tenebrous sense of humor is likely to endure, let alone enjoy, Grillo’s study.  Ideological Content Analysis, meanwhile, indicates that Deer Crossing is:

7. Anti-Christian.  A cross is visible on a sweaty redneck’s tacky shirt as he sodomizes a male prostitute.

6. Anti-drug.  Lukas keeps Maggie doped so he can have fun with her.  Sheriff Lock is an addict.

5. Anti-marriage.  If your spouse becomes a vegetable, it’s just a depressing hassle.  Better is when they go missing, particularly if there’s a mistress waiting in the hospital wings to become wife #2.

4. Anti-gay.  Because sodomy in the world of this film is the province of sexually inadequate white males and self-loathing backwoods hicks, it is evil and a symptom of moral rot.

3. Black supremacist.  If not for competent cops like Detective Stanswood and Captain Bailey, police departments across the country would be run by goofy, giggly white imbeciles like Detective Kushman (Phil Eichinger).

2. Animal rights militant.  Maggie should have watched the road and never hit that deer.  Her ordeal is her punishment, nature’s manifest wrath in hillbilly form for the sacrificial albatross.  Rural hunting traditions are transformed into the pointless stabbing of a rabbit trapped in a box.

1. Anti-white male/anti-redneck.  Deer Crossing admonishes city-dwellers that, not far outside their small pockets of civilization are seas of woods infested with “inbred, mullet-wearing motherfuckers”.

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!