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Prodigy

The popular creepy kid genre can be traced all the way back to The Bad Seed (1956), but really took off in the years that witnessed the introduction of the birth control pill and the legalization of abortion in conjunction with overpopulation propaganda, with Rosemary’s Baby (1968), The Exorcist (1973), It’s Alive (1974), The Stranger Within (1974), Devil Times Five (1974), I Don’t Want to Be Born (1975), The Omen (1976), and The Brood (1979) being notable examples. The purpose of such movies, when it is not simply to make a quick, exploitative buck, has frequently been to instill in deracinated women associations of anxiety and disgust with their own biological imperative, and The Prodigy (2019) is an especially noteworthy development of this tradition. I found it to be genuinely scary – even as I smirked inwardly at its gross subtextual purpose.

[WARNING: SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that The Prodigy is:

3./4. Anti-gun and pro-choice in one fell swoop. You have to watch out for those meddlesome old white men with their guns trying to save children from being murdered by their mothers. BELIEVE WOMEN when they determine that their sons deserve to die.

2. Antinatalist. The Prodigy might as well have been titled Abort the Alt-Right: The Movie.

1.Anti-white. New parents John (Peter Mooney) and Sarah (Taylor Schilling) – who have the surname Blume but do not appear to be Jewish – seem to have the perfect suburban life until their unhealthily pale son Miles (Jackson Robert Scott) starts to manifest precocious intelligence while lagging behind in emotional development and social skills. He also has different-colored eyes like Nazi LARPer David Bowie, who is name-dropped in the screenplay. These are the film’s first clues that what devil-child Miles really represents are Jewish and globalist anxieties about the remaining potential for a resurgence of nationalism and fascism among peskily still-reproducing white people. One of the semi-autistic child’s first demonstrations of intolerance is when as a schoolboy he becomes jealous at the sight of a Mexican-looking boy working on a project with a white girl. Miles wants to be paired with the girl instead and attacks the other boy in deplorably savage fashion with a wrench. A not-so-insignificant establishing shot shows him attending Buchanan Elementary School – because everybody knows the antisocial influence that Patrick J.’s tutelage exercises over the kids these days.

A Jewish parapsychologist, Dr. Arthur Jacobson (Colm Feore), finally determines that Miles, who speaks in Hungarian while he sleeps, is the reincarnation of a misogynistic serial killer, Edward Scarka (Paul Fauteux), whose family had relocated from Orban Land to Ohio. Scarka, as seen in The Prodigy’s prologue, disrespectfully chopped off womyn’s hands and murdered them in his supervillainous hillbilly house of horrors. He was probably a Republican, too – the viewer just senses it. Hungary, in Jewish consciousness, is inseparable from its twentieth-century history of anti-Semitism and the “Holocaust”, and Scarka personifies the threat of retro central-European bad-optics nationalism’s reincarnation in Rust Belt populism and toxic masculinity. After Dr. Jacobson tries hypnotizing Miles in order to learn more about the malevolent Hungarian soul occupying his body, Miles threatens to accuse him of sexually molesting him – because, of course, that is what incorrigible young white men are doing these days – falsely accusing Jewish men of being pedophiles. Who needs the bother, amirite, sisters? Just #RESIST pregnancy and have an abortion.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

public

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

3 out of 5 stars. Ideological Content Analysis indicates that The Public is:

5. Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

4. Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

3. Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

2. Communist. “To each, according to his needs” is very much the moral of the film.

1.Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knockout game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Redlands Poster

Vienna (Nicole Fox) is a Midwestern transplant to Southern California who dreams of immortalizing herself through art as a model. Allan (Clifford Morts) is the “fat pervert” and amateur Irving Klaw who entertains her vanity. The pair’s initial collaboration sets Redlands into deliberate motion.

An uneasy study of the creative process and of the artist-model relationship as an “energy transfer”, or a form of vampirism, John Brian King’s debut directorial effort is shot almost entirely in static master shots, a choice that screams “art house” (and low budget) and will automatically alienate the easily distracted. Potential viewers are warned that this is not a film for the faint of heart and that it contains one appalling scene of physical violence in addition to multiple instances of emotional cruelty.

Redlands, owing to a shared subject matter and sensibility, would make for a complementary double feature with Gut (2012) or 24 Exposures (2013) – not that most people would want to sit through two such films in a single sitting. Those sufficiently bold to be interested, however, can screen this gross and engrossing movie via Vimeo.

Ideological Content Analysis indicates that Redlands is:

9. Anti-miscegenation. A freakish, infatuated Asian sidler (Connie Shin) haunts a camera shop to be near its clerk (Leland Montgomery), but he wants nothing to do with her.

8. Anti-Christian. Vienna sports a kitschy “Have Faith” t-shirt as she rambles inanely about Falco.

7. Anti-vegan. Vegans are depicted as somewhat shallow. Hitler is more than once referenced as having been a vegetarian, presumably so as to discredit the lifestyle.

6. Populist, Luddite, anti-corporate, and protectionist. Allan becomes frustrated with a credit card company’s user-unfriendly robot phone system and finally snaps when he gets through to a human customer service representative, who turns out to be an African named Chiwamba. He calls her a “black bitch” after she informs him that her predatory bankster organization has lowered his credit limit without informing him and is charging him penalty fees for exceeding his newly decapitated limit. Allan’s anger is that of the disenfranchised white male and the American who has seen his countrymen’s jobs either shipped overseas or given to cheap wetbacks and other undesirables. In a fit of impotence, he smashes his phone.

5. Un-p.c. Characters use words like “bitch” and “retard”.

4. Anti-drug. Vienna’s father was an addict.

3. Anti-Semitic! Zack (Sam Brittan) is a parasitic Jew and quasi-pimp, an abusive easy rider who leeches off of his gentile girlfriend’s earnings. “Somebody’s gotta mind the store,” he says. “Might as well be me.”

2. Anti-porn. Parallel scenes of photography sessions evoke a powerful metaphor: pornography as a body of autopsy photos of western woman.

1. Anti-feminist/anti-slut. The misogynistic behavior of the men in Redlands is unpleasant to witness and not at all condoned in the tone of the film. What is impossible to deny, however, is that the unenviable treatment of the women in Redlands results from feminism and its destabilizing effect on the family and the moral fabric of society. The importance of the father as the central figure in a woman’s life comes across very clearly.

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