Archives for posts with tag: obscenity

Office Christmas Party

Jason Bateman plays straight man to a cast of corporate crazies in Office Hanukkah Party, Hollywood’s latest assault on every decent thing left in this maggoty world. The movie does manage to lampoon the self-negating neuroses bred by workplace compliance with inclusivity policies and political correctness, but ultimately embraces the same sort of idiocy, only spicing it up with vice and obscenity in order to make the New World Order seem somehow appealing. Viewed in isolation from any moral considerations or greater societal impact, Office Hanukkah Party is an admittedly fun film buoyed by a talented cast of comedic actors including Jennifer Aniston and T.J. Miller as feuding tech executive siblings Carol and Clay. Kate McKinnon insults Christians everywhere in the role of the rigid but flatulent “Mary”, while Vanessa Bayer and Randall Park reprise their interracial flirtation from the similarly depraved Trainwreck.

4.5 out of 5 stars – and, to be absolutely clear, this rating reflects not the film’s sociological value but its likely appeal to its intended audience of unredeemed degenerates. Ideological Content Analysis indicates that Office Hanukkah Party is:

9. Disingenuously anti-corporate, disapproving of impersonal business cultures, profit-prioritizing layoffs, and the like, but fully endorsing the atomized hedonism favored by the neoliberal establishment. (I find a pleasing irony in the fact that the film’s initials, O.C.P., are also those of Omni Consumer Products, the evil military-industrial megacorporation from RoboCop.)

8. Russophobic, with Russians depicted as gangsters. One of them, a thug named Alexei (Michael Tourek), gets nightsticked for calling a liberated American woman “bitch”.

7. Jewish supremacist. Indicating priorities in the opening moments of the movie, a menorah occupies the center of the frame in a shot of a holiday snack table. Aniston also demonstrates the superior merits of Krav Maga. In a possible insult to Arabs, a foreign-looking fellow is seen literally fucking a camel statue in the back of a truck.

6. Feminist. Carol, in addition to being able to hold her own in a fight against her brother, refers to God as “Her”. “Suck my dick,” a woman tells her male supervisor.

5. Anti-Christian. The entire movie constitutes a denigration of Christians’ celebration of the birth of Christ, as symbolized when Clay sleds down a staircase and demolishes a Nativity scene.

4. Anti-family. Learning that Allison (Bayer) is a single mother, Fred (Park) replies, “That’s great. I was raised by a single mom.” Children are bothers and fit primarily for corruption, as in the end credits image of two women who appear to be snorting cocaine in the presence of a minor. Asked what is most annoying about the internet, Jeremy (Rob Corddry) replies, “Pictures of people’s kids.” A youthful caroler thrusts his middle finger at the protagonist, while the inappropriately named Carol tells another child, “Fuck you” – continuing Hollywood’s use of foul language referencing sex acts with children (cf. Cooties).

3. Pro-gay. “I’m talkin’ ‘bout take your pee-pees out and put ‘em in some booties,” proclaims DJ Calvis (Sam Richardson). Clay, meanwhile, is “straight – except for that one time.” Viewers are also treated to a guy-guy dancefloor kiss and the sight of Jason Bateman simulating fellatio with an ice sculpture. Then, too, there is mention of a “Human Centipede situation in the men’s room.”

2. Pro-miscegenation. Josh (Bateman) finds himself attracted to icy Eurasian cutie Tracey (Munn). Allison, meanwhile, after being grossed out by Fred’s mommy fetish, winds up smooching with Indian nerd Nate (Karan Soni). There is also a briefly glimpsed interracial toilet stall orgy.

1. Pro-drug. Drug humor in Office Christmas Party runs the gamut of cocaine, booze, and the abuse of prescription medications. One employee remarks that it is “boring as shit” that no one gets inebriated before noon. It is only after a bag of cocaine is accidentally dropped into a snow machine that the party really comes alive. Straight-laced black executive Walter Davis (Courtney B. Vance, the indispensable negro sonar genius from The Hunt for Red October) gets particularly loose after taking a blast of powder in the face and later declares that this has been “the best night of my life” even after being hospitalized following a brutal fall. Clay, too, snorts a quantity of cocaine and gets into a wreck which serendipitously corrects a previous fracture.

Rainer Chlodwig von K.

For a Good Time Call

Two New York Jewesses (Lauren Miller and Ari Graynor) start their own phone sex service in this lightweight but basically enjoyable chick flick. The film is plenty nasty, but in a matter-of-fact way that may leave male viewers wanting something harder-edged and rowdier, as at heart this is a film about female friendship and sisterhood. Miller and Graynor are fine in the leads, as is high-energy Justin Long as the obligatory stereotypical gay guy friend. Viewers may wish, however, that the grubby cameos by Seth Rogen and Kevin Smith had been expanded into full-fledged supporting roles, as the movie verges dangerously on an estrogen overdose.

3 out of 5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that For a Good Time, Call . . . is:

7. Multiculturalist/pro-miscegenation. New York City appears as an orderly multiracial metropolis. Admiring references are made to a “Peruvian boy” and “hot Asian guys.” Dark-colored dildos (one named Earl) make more than one appearance.

6. Pro-drug. Katie (Graynor) and Lauren (Miller) both smoke marijuana. While hard drinking results in foolish behavior, vomiting, and increased risk of rape (which receives somewhat irreverent mention), more responsible imbibing carries no consequences.

5. Anti-Christian. Krissy (Sugar Lyn Beard), a promising phone sex hiree, turns out to be an undercover Christian missionary who tries to shame the callers into repentance. “We’re Jews,” Katie proclaims defiantly as she and Lauren give Krissy her walking papers. Jesse and Katie, both living it up at a debauched college party, are revealed to have met in a religious studies class.

4. Anti-family. “It’s not so bad being alone.” Lauren’s parents keep her finances under surveillance, and Katie speaks dismissively of their controlling anal retention: “Your rich parents from Long Island, they cut your sandwich into cute little four squares until you went to prep school.” Katie, after first expressing a sentimental wish to retain her grandmother’s furnishings in their apartment, later decides, “Fuck Grandma. Can I get us that new couch?” A jailed dyke complains of phone sex being “more depressing than the macaroni necklace my kid sends me.”

3. Pro-gay/pro-castration, extolling the sensitive, effeminized man, particularly in the characters of wimpy phone sex aficionado Sean (Mark Webber) and homosexual Jesse (Justin Long), who proves that a girl’s best friend is the man who never wants to have sex with her – something, in short, like an unusually well-behaved dog.

2. Capitalist/corporate. “You ladies are living some fucked-up version of the American Dream.” For a Good Time, Call . . . thus celebrates the entrepreneurial spirit. That it characterizes business as whoring might be construed as a criticism if not for the fact that this film champions the slut ideal. In a crude instance of product placement, Jesse compliments Lauren by telling her, “You’re like a Subway gift card.” The integrity of meritocracy is dealt a blow, however, when a job opening is said to have been filled through nepotism.

1.Feminist/pro-slut. Roach spray works in place of Mace, the implication being that men are predatory, noxious insects. One reference is made to venereal disease, but women mostly discuss their anatomy without an ounce of shame. “I’m a slut,” Lauren reflects after her first phone sex. “Is it okay I’m a slut?” “Yeah,” Katie approves, “a slut that made $800 in one night.” Sexual inexperience is a source of shame for Katie, whom Lauren insults as an “insecure virgin”. Also, “We should probably, like, have sex before we live together.” Ironically, however, the film also illustrates the destructive outcomes of feminism in its portrait of a generation of disenfranchised men who, owing to the personally scabrous, unfeminine, and biologically contaminated nature of the women around them, prefer the safety of sanitary remote stimulation to physical interaction with them.

Future Sodom

Future Sodom (1987) ****

An initial viewing of Future Sodom may be a disappointment if viewers allow the stylish cover photo of Laurel Canyon to lead them to expect a dark, creative vision of a futuristic world. When friends Mickey (Frank James) and Morgan (Jesse Eastern) find themselves transported into an unknown place and time – “to grow, to advance” in their sexuality – their sylvan surroundings resemble the idyllic woods around a summer cabin more than a dingy, urban vice capital. What follows is mostly a plotless succession of sexual encounters between the visitors and the carefree inhabitants of this sunny natural paradise.

First, Mickey and Morgan double-team a blonde beauty (Canyon), Mickey receiving a boisterous blowjob as Morgan bumps her from behind, all while ethereal synthesizer and mechanized tribal beats convey that this is the future – either that or the 80s. After trading orifices and having their fill, Mickey and Morgan relax indoors and exchange philosophies about sex. Morgan, a hopeless romantic, is disillusioned with what seems to him to be the mechanical nature of sex; but Mickey is perfectly content to screw anything that moves. “It was so impersonal, man, it was hot as hell,” he says, describing why phone sex gets him excited.

Group play follows: first an enthusiastic threesome set to languid electric guitar with Laurel Canyon, Britt Morgan, and Peter North, who find that an open door policy spices up the boredom of marriage; and later a more elaborate session conducted by a toga-bedecked Instructor (gross Jew William Margold) who sets a proper orgy in motion – complete with oral and anal sex and disgusting asshole-licking – before joining the fray himself, ultimately slurping his own semen off of a woman’s back. All of this unfolds to some drab 80s disco.

In one of Future Sodom’s few acknowledgments of the notion that this is all supposed to be taking place in some kind of futuristic setting, one of the sordid celebrants is a tattooed, freakish “robot”, Lucy (played by Viper), who has been “specially programmed as an anal participant.” This bargain basement production’s idea of an android, alas, is a tramp in a Mardi Gras mask, with chains strapped across her chest, nipple and clitoris piercings, and obscenities like “motherfucker” and “eat shit” scrawled all over her body. Lucy explains that mischievous Boy Scouts are responsible for the physical graffiti. “They raped me anally and I castrated ten of them,” she says in Future Sodom’s most outrageous scene. “Yes, I programmed myself to castrate Boy Scouts.”

In the second of Future Sodom’s two standout performances – the first being newcomer Laurel Canyon – Frankie Leigh plays the mysterious “Woman”, a sexual chameleon who suits her behavior to the fantasies of her partner of the moment. This cute but thoroughly debauched brunette has the best scene in Future Sodom, sneering her needs at horny Mickey: “Nah, I don’t think you fucking understand. I want dick, dick, and more dick,  you hear that? And I want buckets of fucking cum. I wanna fuckin’ swallow it, I wanna choke on it. I wanna fuckin’ wallow in it. I wanna fuckin’ bathe in the fuckin’ shit, you know? I want you to turn my mouth into a fuckin’ sewer, into a goddamn toilet.” Leigh then proceeds to blow three guys in creepy transparent plastic masks like the ones in Last House on Dead End Street.

Underlying the flimsy excuse for a story, specifically in the old-fashioned Morgan character, is an awareness of a discomfort left in men’s hearts in the wake of the sexual revolution. Now that moral constraints are no longer an issue, do men really want their women to be voracious sexual beasts? What do women want? Paula Damiano’s script, unfortunately, leaves this speculative thread underdeveloped, the only semblance of resolution to Morgan’s uncertainty being his sullen resignation and determination of, “if you can’t beat ‘em, join ‘em.”

Future Sodom, though nothing particularly special, does have a few things to recommend it. The hair is big, the action is hot, and the actors are clearly enjoying themselves; and, with the exception of Viper, whose damaged goods and devilish scowl are a little intimidating, the principal actresses are exquisite. 80s aficionados will appreciate Jesse Eastern’s mullet, and may also be interested to learn the ultimate fate of Ronald Reagan. Viewers, however, should expect nothing profound from a film which, after all, was produced and directed by Deep Throat auteur Gerard Damiano.

4 out of 5 stars.

Load Warriors

The Load Warrior aka The Load Warriors (1987) ****1/2

From the first bleak, synthesized notes queuing up The Load Warrior’s ugly orange pixelated opening credits, all the makings of a 1980s pornographic classic are present: movie parody premise, pun title, hokey electronic music, garish eye makeup, and big, beautiful, puffy manes of whore hair. Peter North portrays the titular titillationist in this post-apocalyptic tale of a world devastated by a “great fire” (i.e., nuclear holocaust) followed by the “invisible fire” of radiation that causes fertility to plummet. The result is a wasteland in which “seed became money and men became cattle”, with female barbarians unceremoniously milking their slaves like farm animals, the old ways of love, foreplay, and even vaginal penetration having been forgotten by most – all but the Load Warrior.

The Load Warrior satirizes the seeming reversal of sex roles effected by the sexual revolution, the entry of women into the workforce, and the cold commoditization of reproduction through sperm banks. “‘Married’?” Willow (Krysta Lane) asks, puzzled at hearing the word for the first time. “What’s ‘married’?” Men, reduced to utilitarian sex slaves, are left wanting foreplay, affection, and some sense of sexual autonomy, while women have become violent, impersonal brutes, as typified by ruthless businesswoman Queen Humongous (Lois Ayres), who reigns like a callous CEO over a “bustling rat hole” called Motherload. Here the remains of the wasteland’s men come to sell their sperm at the trading post of Dr. D (Jesse Eastern), who hands out “antique” broccoli and rotten chicken (“Of course it’s got maggots in there. That’s the nutritious part.”) in exchange for their more or less ineffectual sperm. Fortuitously, the Load Warrior comes and pounds into the women an important truth: “A load in the bush is worth far more than any in the hand.”

Sharon Mitchell, who participates in an ambitious fivesome (!) with Eastern and others in the “Blow the Man Dome”, is typically tough and charismatic as the aptly named Wilde, who threatens to cut off a woman’s tits and make lampshades out of them. Too much time is spent on an interracial scene between Eastern and Angel Kelly; but the sex, if not consistently scorching, is solid, and for the most part tastefully photographed, greatly enhanced by the scuzzy art direction of “C.L. Jaz”. Much of the action in The Load Warrior plays like a music video, with the imitation Tina Turner theme song smoothing North’s scene with delectable Gail Force being a definite highlight of the show. Also, the manner in which the hero dispatches the bitchy Queen Humongous is not to be missed! Hot, heavy, and humorous, The Load Warrior is mandatory sleaze for 80s strokers.

4.5 out of 5 stars.

 

A Million Ways to Die in the West

 

Central to Post-American Hollywood’s hate affair with European-American heritage is its especial loathing for the rugged, expansive tradition of the masculine Old West, a tired spite that found expression in Brokeback Mountain (2005), Django Unchained (2012), and last year’s flop Lone Ranger remake, and now throws a new shovelful of Marxist manure onto the pile with A Million Ways to Die in the West, the latest directorial effort of Family Guy auteur Seth MacFarlane, whose last foray into feature filmmaking was the less heartless and more palatable Ted (2012).

The western spoof was never a genre that held much interest for this reviewer. After Wild Gals of the Naked West (1962), Little Big Man (1970), Thank You Mask Man (1971), Blazing Saddles (1974), and so many others, was there really such high demand for another one of these things? Worst is that A Million Ways to Die in the West misses even the broad target of this underachieving subgenre and fails to elicit a single laugh – with, perhaps, the brief exception of the absurd sight of Gilbert Gottfried dressed up to look like Abraham Lincoln.

MacFarlane, who stars as an Arizona sheep farmer, lacks the charisma and color to carry a gonzo film of this sort, and might have done better to cast Seth Rogen or some other funny Jew in the lead. Monument Valley, at least, was never more gorgeous, and sets off race traitoress Charlize Theron’s earthy beauty to nice effect. Liam Neeson, too, is adequate as the principal villain, while Sarah Silverman is convincing as (what a stretch!) a brainless whore. No coup of casting, however, could offset the fact that A Million Ways to Die in the West is too explicitly nasty, self-aware, and mean-spirited to evoke any genuine mirth.

2 out of 5 stars. ICA’s advice: watch Shane (1953) again instead. That is, unless the viewer is absolutely determined to see a sheep urinating in Seth MacFarlane’s face or Doogie Howser, M.D., dumping noisy splats of diarrhea into a Stetson.

Ideological Content Analysis indicates that A Million Ways to Die in the West is:

13. Pro-miscegenation. Giovanni Ribisi dirties himself with Jewish floozy Sarah Silverman.

12. Anti-capitalistic. Merchants receive unfavorable depictions in an arrogant mustache cosmetics salesman (Doogie Howser) and a quack medicine hawker (Dennis Haskins). Other representative forms of commerce and industry are prostitution and mining, which leads to health problems.

11. Anti-tobacco. MacFarlane has a coughing fit when he tries his first cigarette.

10. Anti-Arab. Theron, after hearing him do a mock rendition of an Islamic prayer, is relieved to learn that MacFarlane has no Arabian ancestry.

9. Anti-slavery (i.e., pro-yawn). Django himself, Jamie Foxx, shows up in a cameo to murder the proprietor of a “runaway slave” shooting game at a fair.

8. Anti-human. Among the sights MacFarlane expects the viewer to find hilarious are a family catching on fire and men being shot, gored by a bull, and smashed into bloody bits by a falling block of ice.

7. Pro-slut. Sarah Silverman with a gob of semen stuck to her cheek. How charming.

6. Anti-Christian. Parkinson’s disease is sarcastically described as one of the ways God shows His love. A pastor and his son are murderers. Silverman plays a prostitute who bangs ten customers “on a slow day” but refuses to compromise her Christian beliefs by having premarital sex with her fiance.

5. Pro-castration. MacFarlane’s girlfriend (Amanda Seyfried) dumps him, mainly because the guy is such a wimpy, needy schmuck with no potential. The movie’s somewhat ambivalent solution to his woes, however, is not for the hero to turn himself into a stud and a macho gunslinger, but for him to become more open-minded, study under the tutelage of a feminist, take drugs, and embrace diversity. Sissy, progressive, ethnomasochistic men like MacFarlane and Ribisi are the characters the viewer is supposed to like, while traditionally masculine types are antagonists, with rough-loving outlaw Liam Neeson getting a daisy stuffed in his ass. Men, the message seems to be, ought not to toughen up so much as opt for moderation in wimpiness.

4. Gun-ambivalent. A Million Ways to Die in the West is naturally eager to depict the typical gun owner as a rowdy Caucasian who likes nothing better than to find an excuse to put a bullet through a stranger. The film finds itself in a bit of a quandary, however, in that it is difficult to tell an entertaining story about the Wild West without making use of heroic gunplay. As a compromise, the film features an unlikely, reluctant hero in MacFarlane, a man with no natural talent for shooting and who avoids confrontation when possible, but does learn (from a woman) how to handle a gun in order to protect himself from all of the horrible, unprogressive white men in town. A Million Ways to Die in the West appears to suggest that firearms are best left as a monopoly of responsible feminists like Charlize Theron.

3. Pro-drug. MacFarlane and Theron share a marijuana cookie. The hero later attains “true courage” by drinking a psychedelic concoction given to him by an Indian tribe. Group freakout sessions, explains their wise chief (Wes Studi), constitute the way to “true happiness”.

2. Feminist, anti-marriage, and anti-family. Theron heroically liberates herself from bossy, abusive husband Liam Neeson. MacFarlane’s parents are lifeless sourpusses who never show him any affection. Ribisi, meanwhile, mentions being molested by an uncle. (cf. nos. 5 and 8)

1. Anti-American. “The West fuckin’ sucks.”

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