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Machete Kills poster

Rodriguez’s most recent contribution to the Mexploitation subgenre, Machete Kills is exactly the movie one would expect it to be: a shallow, self-congratulatorily hip, and hyperviolent celebration of Mexican ethnic pride and muscle-flexing Reconquista. Danny Trejo reprises the role of the righteous butcher who in this sequel accepts a presidential offer of American citizenship in exchange for stopping a cataclysmic missile strike on Washington. Machete Kills is sufficiently fast-paced to ward off snores, but the cartoonish tone and the flippant approach to the violence keep it from generating any emotional interest or genuine suspense. One hopes for the sake of the future of film that this big-budget B-movie brand of Tarantinoid, winking, self-aware exploitation fetishism has almost run its course.

3 out of 5 stars. Ideological Content Analysis indicates that Machete Kills is:

13. State-skeptical. “Justice and law aren’t always the same thing.”

12. Anti-military. Corrupt soldiers sell government-issue arms to a drug cartel.

11. Anti-family. A whore recounts how her father raped her. (see also no. 2)

10. Drug-ambivalent. Machete “don’t smoke”, but lights a bazooka like a bong. The drug cartels are his enemies.

9. Pro-miscegenation. Can anyone blame Miss San Antonio (Amber Heard) for being unable to resist Machete’s haggard, wrinkly, and humorless Aztec charms?

8. Anti-gun. Machete prefers blades. A campaign commercial associates Second Amendment advocacy with pork spending on military hardware. The principal villain, Voz (Mel Gibson), is a firearms manufacturer.

7. Globalist and war-ambivalent. “This isn’t about Mexico no more. It’s about the world.” Voz reveals he has installed puppet troublemakers in North Korea and Russia so as to pump government interest in his military wares. While there is truth in the notion that international bogeys are frequently manufactured as pretexts for war, Machete Kills endorses the neocon worldview to the extent that it accepts that Russia and North Korea are legitimately threatening to American national security. “Fuck world peace,” says Miss San Antonio.

6. Feminist. “Don’t call me sweetheart,” bristles Sartana (Jessica Alba) before gunning down a male chauvinist pig. Machete Kills milks the tired non-novelty of women acting tough and shooting their mouths and machine-guns, which here include weapons mounted on the bosom and crotch. Interestingly, the long tradition of sexual violence directed exclusively at the male genitalia finally seems to be coming home to haunt the feminists in the form of the sickening “pussy punch”. Only girls are allowed to play this dirty hand, however. (see also no. 2)

5. Anti-Christian. Voz looks forward to a day when “kingdom comes”. White supremacist Sheriff Doakes uses expressions like “Amen” and “Hallelujah”. Assassin the Chameleon (a shapeshifter portrayed at different points in the film by Walter Goggins, Cuba Gooding, Lady Gaga, and Antonio Banderas) drives a truck called the “Holy Roller”, with kitschy religious knickknacks on the dashboard. “Preach it, Sister,” says villainess Miss San Antonio.

4. Anti-white. Whites – surprise, surprise! – are the bad guys. Those who, like Sheriff Joe Arpaio, concern themselves with America’s sovereignty and security, are represented in Machete Kills by the likes of the dopey Minutemen-like “Freedom Force” and Sheriff Doakes (William Sadler), who calls Mexicans things like “taco” and “beaner”. Voz plans to abscond into outer space with a load of Mexicans to serve him as slave labor. Blonde beauty and secret agent Miss San Antonio lives up to her hair color and turns out to be a traitoress. The decision to cast Mel Gibson, with his off-screen baggage of accusations of anti-Semitism and bigotry, as supervillain Voz reinforces the anti-white/anti-racist theme.

3. Pro-amnesty. Machete is Mexico, observes President Rathcock (Charlie Sheen), who by offering citizenship to Machete is in effect endorsing the wholesale naturalization of everybody south of the border. “Even Jesus couldn’t get through that damn wall.” Sadly, many of the ignorant dupes who see this movie will probably be led to believe that there actually is a wall protecting the U.S. from turd world invasion.

2. Anti-human. The title says it all, with enough red splattering to paint a barn. In addition, Miss San Antonio in her pageant speech endorses “a woman’s right to choose.”

1. Razist. “You fucked with the wrong Mexican.”

AHauntedHouse

To make a comedy that will satisfy its target black audience, experience shows that it helps immensely for certain crucial elements to be firmly in place. Does A Haunted House fulfill these requirements? Serious students of cinema art are encouraged to consult the following checklist of quality standards, not only in judging the movie under consideration, but in all future encounters with the African-American comedy form.

1. Stupid honkies? Check.

2. Honkies with insatiable lust for blacks? Check.

3. Industrial-strength-funk toilet humor? Triple check.

4. Jewish names credited as producers? Check and double check.

Clearly, in renting or (preferably) purchasing the remarkable Michael Tiddes joint/cinematic celebration A Haunted House, the viewer has in hand what promises to be remembered as a timeless classic to rank alongside The Ladies Man and (yes, even) Who’s Your Caddy?.

The flimsy pretense of a plot concerns the haunting of live-in lovers Malcolm (Marlon Wayans) and Kisha (Essence Atkins) and serves to set in motion an unremitting cavalcade of hit-and-miss sight gags and surplus dirty jokes. In its defense, A Haunted House does contain a few genuinely amusing cheap laughs at flatulence, bad breath, body hair, the sight of Marlon Wayans sweatily humping multiple stuffed animals, shitting on his own carpet, and so forth, but the film is only recommended to non-whites or the most contemptible and unsalvageable of white ethnomasochists.

3 stars for the full, screeching, monkey-like intensity of Marlon Wayans’s physiological investment in his part, and Cedric the Entertainer’s earthy turn in a disappointingly small supporting role as a ghetto priest. ICA’s advice: for a funnier, less disgusting movie about spooked blacks bugging their eyes out and acting like utter buffoons, see Mantan Moreland in Lucky Ghost instead.

Lucky Ghost

Ideological Content Analysis indicates that A Haunted House is:

10. Pro-life. “But good thing that clinic was closed,” Kisha’s mother (Robin Thede) says, remembering how she almost aborted her daughter. “Hoo, God is good.”

9. Sexist! Kisha once made a deal with the Devil for a pair of designer shoes.

8. Pro-gay. The ghost has anal sex with Malcolm, and psychic Chip (Nick Swardson) slobbers over the chocolate comic stud and gropes him in every scene in which the two appear together. Kisha experimented with lesbianism in college.

7. Pro-drug. Malcolm and Kisha get high with the ghost (see also no. 4).

6. Anti-gun. Malcolm promises Kisha that no harm will come to her “unless a nigger got a gun – and then you on your own.”

5. Anti-marriage/anti-family. Each couple in the film illustrates the new, childless norm of the West. Dan (David Koechner) becomes hysterical as he remembers how he caught his wife having sex with a mail carrier.

4. Anti-Christian. Father Williams (Cedric the Entertainer) keeps weed in his Bible and cocaine in his crucifix. While possessed, Kisha masturbates with a cross.

3. Racist!/anti-immigration. Mexican housekeeper Rosa (Marlene Forte) is irascible and duplicitous, pretending not to know English when in actuality she speaks it fluently. Kisha, displaying the typical touchiness and quickness to anger of the entitled American negro, suspects Rosa of seducing Malcolm and boils over with rage when Rosa uses the word “negra” (black), with Kisha mistaking it for “nigger”. Further tarnishing the reputation of Hispanics are the revelations that Rosa is running a cocaine ring out of Malcolm’s house and that she is also a murderess and nymphomaniac who has sex on the kitchen table while her employers are away. (Contrarily, if the intention is to portray Mexican women as sexy, sexually available, and proficient in English, then A Haunted House could be interpreted as favoring immigration – at least from the male standpoint – which, considering that one of the screenwriters is named Alvarez, is arguably more probable.)

2. Anti-white. The Caucasians in A Haunted House are awkward, neurotic apes obsessed with stereotypes of blacks. Chip, for instance, assumes that Malcolm plays basketball, while Dan the Security Man (David Koechner) has hardly set foot on the property before he starts blabbing about fried chicken, ribs, hot wings, cornbread, and watermelon. For some reason, he also begs Malcolm for permission to use the word “nigger”. “You can call me a cracker .  . . Let me say it.” Dan’s partner Bob (Dov Zakheim lookalike Dave Sheridan) is brain-damaged, illiterate, and, like Dan, a racist. When the pair first meets Malcolm, Dan asks if the owner is home. “You’re talkin’ to him,” Malcolm answers. “Yeah, right,” Bob objects, clearly disinclined to believe that a black man could be the legitimate owner of such a nice suburban home.

1. Pro-miscegenation (i.e., pro-AIDS). Not only are whites in A Haunted House as dumb as dung; they are also racially suicidal and bent on miscegenation at the cost of every dignity. Sickening prostitutes Alanna Ubach and Andrew Daly play the protagonists’ white friends Jenny and Steve, swingers who constantly try to get Malcolm and Kisha to swap partners. Hoping to entice them, Jenny flashes her breasts and snaps her teeth like an alligator, while enthusiastic cuckold Steve proposes to “double-stuff the Oreo a little bit, huh? Dirty up the white snow . . . black poles, white holes . . .” Finally, the couple settles instead for a “Mandingo party” or black-on-white gangbang with Malcolm’s primitive cousin Ray-Ray (Affion Crockett) and other subhumans assembled to do the job. This scene, which graphically visualizes a bare-bottomed ogre in the process of turd-rodding ecstatically grinning Jenny, is easily the most depressing thing this battle-hardened reviewer has witnessed in some time.

To see that Universal Studios, a brand once known for genre classics like Frankenstein and Jaws, has sunk to distributing biohazardous sludge like this is to realize how close to death this civilization really is. Ubach’s IMDb profile claims that this indeterminate slimewad is “Half Mexican and half Puerto Rican”, but she is no doubt supposed to be portraying a representative Caucasian human female. In any case, this person deserves the scorn of white moviegoers everywhere, who would be entirely justified in boycotting any future productions in which she, Daly, or other perpetrators of this hideous scene participate. Of all of the values, ideals, or lifestyles that Hollywood might spend its time, vast resources, and influence promoting – bravery, devotion, tradition, forbearance, intellect, or self-reliance – screenwriters Marlon Wayans and Rick Alvarez and their backers instead expect audiences to be entertained by the sight of a white woman rapturous in self-immolation and racial death as congoids line up to use her twat for a toilet. Aesthetic considerations aside, one might think that a basic human concern for the public’s health would prevent these lowlifes from promoting promiscuous sex with blacks, one of the most frequent sources of AIDS. But sex hygiene is so boring and unprogressive, right?

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