Archives for posts with tag: one world government

arrival

Arrival is a more intimate alien visitation story than most owing to its sensitive lead performance from Amy Adams (Man of Steel’s Lois Lane playing another lover of extraterrestrials) as a distinguished linguist drafted by the U.S. government to communicate with the occupants of one of twelve alien spaceships that land around the world. Kill the Messenger’s Jeremy Renner appears as the physicist who assists her. Arrival features some highly stressful and fascinating sequences, but loses a little steam as its bankrupt moralism becomes evident.

[WARNING: POTENTIAL SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Arrival is:

5. Green. The extraterrestrials’ craft demonstrates that highly sophisticated technology can be developed to travel at high speeds without producing an ecological footprint.

4. Feminist. It is women with brains and feelings, not men with guns, who will win peace for the world, the film suggests. The protagonist’s daughter plays at being a sheriff, her mother having empowered her to believe that girls can fill traditionally masculine roles.

3. Neoconservative. Russia and China, not the U.S., threaten global security with their idiosyncratic saber-rattling. Mention is also made of the Amy Adams character having helped the military translate a recording of Farsi-speaking “insurgents”, connecting Iran with terrorism in audiences’ minds.

2. Pro-immigration. Arrival functions partly as an allegory about western anxieties of demographic displacement. This subtext is made explicit when the viewer is treated to an excerpt of a blowhard conservative talk show host complaining about the alien presence. Lucky for Earth, the undocumented ones come bearing the gift of advanced parapsychological technology.

1. Globalist. Renner’s physicist feels – correctly, as it turns out – that the earth’s safety depends on his work with Adams rather than anything the military can do. It is sensitive, scholarly anti-racist academics to whom the world must look in order to understand immigrants’ needs and desires and the ways in which all beings’ interests are intertwined. The appropriately octopus-like Heptapods – reminiscent of the Twelve Tribes of Israel – visit the planet in twelve massive ships in order to gift humanity with their nonlinear, brain-reconfiguring language, a sort of intergalactic Esperanto through which a one-world order will be brought about. Something vague is said about how the Heptapods will collect on the debt in 3,000 years, at which point something akin to a horrible plague will develop. Screenwriter Eric Heisserer thereby seems to acknowledge that the “gift” of globalism will ultimately result in decay and death of the host, but seems to expect the viewer to feel that the joy of experiencing nation-erasing Jew World Order parasitism will somehow be worth the price.

Rainer Chlodwig von K.

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Homefront

Viewers are encouraged to do what they can to endure a disorienting first five minutes or so of prologue material shot in spazvision, as Homefront quickly shapes up to be an exciting suspense vehicle for leading limey Jason Statham. Screenwriter-producer Sylvester Stallone has written a human and involving winner for his fellow Expendables  alumnus, who profits in presence by playing something more substantial than Rambo’s globe-trotting sidekick.

Statham is quietly tough in his role of recent widower Phil Broker, a veteran of Interpol and the DEA who tries to make a new life for himself and his daughter Maddy (Izabela Vidovic) in a rural Louisiana community. Unfortunately for them, a schoolyard incident escalates into a dangerous situation involving meth manufacturer Gator (James Franco) and one vengeful ghost from Broker’s past.

At stake throughout and uppermost in the audience’s apprehensions is the safety of the innocent Maddy, so that portions of Homefront recall Cape Fear or Taken with its story of a loving but serious-minded and violently protective father. As in Taken, the hero is rather too impervious – getting shot, beaten up, nearly drowned, and car-wrecked are only momentary setbacks for the formidable Broker – but Homefront‘s momentum is such that its excesses might just as well be the sparks of its incendiary potential.

James Franco is as scary as Gator as he was as Alien in Spring Breakers, while Kate Bosworth fumes with bitchy toxicity as Cassie, the meth-head Lady Macbeth of the piece. Izabela Vidovic is a sophisticated young actress and deserves credit for making the little girl at the heart of the story an interesting character. Also in the cast is Winona Horowitz (alias Ryder), who appears to skanky effect as Gator’s main squeeze Sheryl.

4.5 stars. Ideological Content Analysis indicates that Homefront is:

7. Racist! Sacrificial Negro rules of survival are clearly in effect.

6. Feminist. Maddy handily dispatches a big boy bully at school.

5. Anti-police. A corrupt sheriff (Clancy Brown) turns a blind eye to Gator’s business.

4. Pro-gun. A solid stock of firepower comes in handy when a man has to defend his castle.

3. Anti-redneck/pro-N.W.O. The locals are throwbacks to hillbilly days, complete with feuding clans. What they need is a good dose of civilized one-world-government whoop-ass from somebody with a foreign accent!

2. Pro-family. Notwithstanding no. 6, Homefront does showcase a touching father-daughter relationship.

1. Anti-drug. Drug dealers appear as deplorable people. Gator, the dastard, has even turned his own sister into an addict.

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