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Nic Cage fans should get a kick out of this genuinely unnerving H.P. Lovecraft adaptation. Cage plays Nathan Gardner, a family man finally “living the dream” after moving his family out of “the big city” and onto a rural New England farmstead. The trouble starts when a stinky meteorite lands in his yard, after which strange transformations start to occur among Gardner’s family and in the wilderness around them. Devotees of crazy, freaked-out Cage moments will have a ball with his close-encounter-in-the-shower scene, driveway tantrum, and the sight of him blasting away at a mass of slimy mutant alpacas. Some of the outrageously grotesque situations and visuals are reminiscent of films like From Beyond (1986), The Curse (1987), and Society (1989), which ought to give prospective viewers a fair warning of what lies in store. Color Out of Space does, unfortunately, overstay its welcome by twenty minutes or so, particularly when it slips into all-encompassing CGI saturation mode; but, at its best, Color Out of Space is good, spooky, occasionally campy fun.

4 out of 5 stars. Ideological Content Analysis indicates that Color Out of Space is:

[WARNING: SPOILERS]

Drug-ambivalent. Tommy Chong plays a forest-dwelling hermit and weed aficionado. His chemical pastime is played for laughs, but his easygoing disposition also leaves him spacey, reckless, and incapable of perceiving the threat right under his feet (and in his cup).

Media-skeptical. When TV news does a story on the landing of the meteorite at Mr. Gardner’s farm, the interview is inaccurately captioned “UFO Sighting in Arkham?” and the reporter insinuates that Gardner is only a drunk.

Green, suggesting that politicians are insufficiently concerned with conservation and public health. Arkham’s corrupt mayor (Q’orianka Kilcher) proceeds with a profitable reservoir construction project despite being warned about the environmental hazards.

Wicca-ambivalent. Gardner’s daughter, Lavinia (Madeleine Arthur), practices witchcraft, casting spells to, for instance, keep her mother (Joely Richardson) free from cancer. She claims never to practice black magic, and is depicted as a more or less normal teenage girl. Her spells are ineffective at combating the titular menace, however, and viewers are left with the impression that Wicca is probably only a silly hobby. Interestingly, one of the talismans employed during one of her rituals is a swastika made from Barbie doll legs. This could, on the one hand, indicate her character’s immaturity; but it might also suggest elites’ anxiety over potentially negative, possibly nationalistic outcomes of young European-Americans’ abandonment of Abrahamic religion in favor of a return to paganism, however superficial (cf. Midsommar).

Urbanite. Lavinia is dismissive of country life, dislikes being made to eat “peasant food”, and, unlike her father, would have preferred to continue enjoying life in “the big city”. The family’s isolation and remoteness from civilization and help does contribute to their downfall in the end.

Pro-miscegenation. Lavinia has a crush on a “kinda cute” African-American hydrologist, Ward (Elliot Knight), who comes to survey the Miskatonic River for a hydroelectric company. H.P. Lovecraft, who advocated “the domination of English and kindred races over the lesser divisions of mankind”, would no doubt have been appalled. Fortunately, the color out of space culturally enriches Lavinia before the suitor of color can.

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

Midsommar

When some guy named Ari makes a movie about the revival of native European spirituality, you pretty much know what to expect. Midsommar has anthropology student Christian (Jack Reynor) taking emotionally distraught girlfriend Dani (Florence Pugh) to Sweden to study the religious observances of a rustic pagan community. Unsurprisingly, the hospitality of the Swedes turns out to mask the murderousness of a human sacrifice cult. Essentially a Wicker Man for the twenty-first century, Midsommar seeks to improve on its model by imbuing itself with seething hatred of whites and offensive levels of graphically depicted gore. Plodding and seemingly interminable at two hours and twenty-eight minutes, and overstaying its welcome by roughly sixty minutes, Midsommar inadvertently gives voice to my own sentiment when, toward the end, someone observing a ritual sex act commands, “Finish.” The funniest line in the movie, though, is probably the one about Sweden having “a tick problem”.

2.5 out of 5 stars. Ideological Content Analysis indicates that Midsommar is:

HBD-denialist. Accompanying Christian to Sweden is Josh (William Jackson Harper), a particularly ugly black student whose every moment onscreen is jarring and unnecessary. The quintessential specimen of Africanus cinematicus – the type of black person who only exists in Hollywood movies – Josh shares Christian’s research interest in indigenous European faiths. A candidate for the least convincing black character ever presented in a movie, Josh is given to sophisticated remarks like, “Do you think there is a masochistic part of you that is playing out this particular drama to avoid the work you actually need to be doing?”

Antinatalist. An annoying sex scene is intercut with an inbred, mentally retarded child’s hideous face.

Anti-white. Boiled down to its essence, Midsommar expresses Jewish anxieties about the rise of the Alt-Right and the end of the Christian era. The solar worship, ancestor veneration, and white costumes of the cult carry Nazi and racialist connotations, with even the beams in an elaborately decorated bunkhouse mimicking the Algiz, or life rune, used by the National Alliance. Likewise, a torch-bearing ceremony may be intended to evoke the Charlottesville rally with its tiki torch march and chants of “Jews will not replace us!” It is not so much that Ari et al. will lament the passing of Christianity in itself, but that it makes them nervous to see intelligent young white people watching Survive the Jive videos instead of attending a Zionist megachurch. Ari wants impressionable women and Christians to watch his drivel and call it to mind if they learn, for instance, that a friend is studying Asatru. “OMG, runes? You mean, like, that movie Midsommar? Isn’t that like, cannibalism and stuff?” Boringly, Ari resorts to the old canard that intraracial procreation is akin to incest. The Swedish cult’s scriptures, the movie reveals, are dictated by an inbred oracle, which is tantamount to telling Europeans that their ancestral religions are just retarded dribblings. But don’t expect Ari to make a horror movie about blood-ritualizing mongoloid Israeli rabbis anytime soon. That, after all, would be anti-Semitic.

Rainer Chlodwig von K.

Rainer is the author of Drugs, Jungles, and Jingoism.

Mud_PosterArt

Wholly original while also echoing Stand by Me in its coming-of-age adventure and Sling Blade in its rural milieu, Mud is the story of fourteen-year-old Arkansas boy Ellis (Tye Sheridan), who, along with buddy Neckbone (Jacob Lofland), discovers the titular fugitive (Matthew McConaughey) hiding out on a little island not very far downriver from his family’s houseboat. Mud is on the run after murdering a man who threatened his girlfriend (Reese Witherspoon), and Ellis and Neckbone, who are understandably fascinated by this highly unusual character, strike a deal to help him out by bringing him food and supplies.

Mud, like Luke Glanton in The Place Beyond the Pines, is a semi-mythical, romantic, rough-hewn, damaged but untamed figure whose face and tattoos tell his story. He is something out of America’s past, a sort of boy who never grew up, and locates a parallel spirit in Ellis. Matthew McConaughey, so memorable in the previous year’s Killer Joe, is perfect in this polar opposite role as the friendly and formidable but tragically naive Mud, and Tye Sheridan, too, is believably earnest in his central role as companion Ellis. Other faces enhancing the cast are Sheriff Pusser himself, Joe Don Baker, Premium Rush‘s Michael Shannon, The Right Stuff‘s Sam Shepard, and newcomer Bonnie Sturdivant as sultry teenage hussy May Pearl, Ellis’s inamorata.

5 stars. Highest recommendation. Ideological Content Analysis indicates that Mud is:

6. Anti-Christian. King (Joe Don Baker) represents Christians unflatteringly when he initiates a group prayer for Mud’s imminent demise. Mud makes at least one reference to God, but comes across as more of a pagan with his wild, natural ways.

5. Gun-ambivalent. Mud’s pistol gets him into trouble, but mentor and ex-Marine Tom (Sam Shepard) comes in handy in the end with his rifle and sniper skills.

4. Anti-slut. Mud’s love is wasted on floozy Juniper (Witherspoon).

3. Anti-marriage. Ellis’s parents are getting divorced. Women are undependable.

2. Anti-vigilante. Mud’s poorly considered vengeance has made him a hunted man. King, father of the abusive lowlife Mud murdered, arranges a posse to locate and liquidate the hero, but by doing so he only succeeds bringing more woe on himself.

1. Libertarian. The River Authority callously threatens to order the family out of their houseboat. Neckbone dismisses the legislation sanctioning such an action as “bullshit”. Ellis’s father (Ray McKinnon), meanwhile, voices strong propertarian views when his son is caught in a theft. The police are susceptible to corruption.

Rock DJ Heidi Hawthorne (Sheri Moon Zombie) launches upon a series of strange and frightening experiences after mysteriously receiving a goth record credited to “The Lords”. But are her ordeals real or just hallucinations? And is the elusive tenant down the hall in apartment 5 just another figment of her imagination? Meanwhile, museum curator Francis Matthias (Bruce Davison) investigates what he believes may be a link between the Lords’ surprising new hit song and the local heritage of sorcery and witch burnings. Could the eccentric old ladies living in Heidi’s building be the remnants of Salem’s seventeenth century coven, and, if so, do they have plans for their young friend?

Rob Zombie’s latest horror opus, The Lords of Salem, is impressive in a number of ways. Ambitious, consistently atmospheric, and occasionally quite unsettling, the film is filled with images that will remain with those who view it. Cinematographer Brandon Trost deserves much of the credit for the veneer, somewhat tenuous, of something approximating class, which keeps the show afloat over the stinking morass of its unsavory obsessions. The special effects and art departments are equally commendable, as are the contributions of musicians Griffin Boice and John 5.

The Lords of Salem does, however, begin to overstay its welcome as it becomes increasingly apparent that the film has little or no purpose apart from cramming as much blasphemous shock value onto the screen as possible while maintaining a stylish pretension to some kind of seriousness. Still, horror fans should find much to enjoy, and may detect and appreciate the writer-director’s indebtedness to genre classics including Black Sunday, Rosemary’s BabyThe Wicker Man, and The Fly. These same fans, unfortunately, may be disappointed to learn that familiar performers like Michael Berryman, Meg Foster, Richard Lynch, Andrew Prine, and Sid Haig are squandered in worthless, unrecognizable cameos.

Ideological Content Analysis indicates that The Lords of Salem is:

9. Media-critical. Pop culture carries the potential for mass hypnosis. Rock in this case is literally “the Devil’s music”.

8. New age. Wicca is “a positive, earth-centered religion”.

7. Multiculturalist/pro-wigger. Heidi sports ratty dreadlocks and gets along swimmingly with her non-white coworkers.

6. Pro-miscegenation. Herman “Whitey” Salvador (Jeff Daniel Phillips) – a white Hispanic, presumably – is something like Heidi’s occasional guyfriend. Matthias is married to a Latina (Maria Conchita Alonso).

5. Anti-family. Matthias, appalled at the thought of changing diapers, has never wanted children. An attendee at a drug rehabilitation support group recalls that his mother was also an addict and responsible for his own drug problem. (see also no. 3)

4. Drug-ambivalent. Hard drugs are a problem from which Heidi is still recovering, but cigarettes and liquor receive a free pass. Mrs. Matthias smokes marijuana.

3. Pro-choice. “Children are a bit of a waste.” Childbirth is more than once depicted horrifically. First a witch licks a newborn infant and spits on it, disgusted by the taste. Later scenes depict a human mother giving birth to inhuman invertebrate offspring. (see also no. 5)

2. Feminist/pro-slut/pro-castration. In the opening scene, a coven of seventeenth century Femen disrobe and disport without shame. “That felt good,” Sonny (Dee Wallace) says after braining Whitey with a pot, thus repurposing traditional women’s domestic wares into the means of gender retribution. Heidi, Zombie’s feminine ideal, is a tattooed eyesore who sleeps bare-bottomed and experiences sexual self-actualization with a goat. Her guyfriend Whitey, a sensitive nurturer, does a weenie dance to the Velvet Underground’s masochistic paean “Venus in Furs”.

1. Anti-Christian. The Lords of Salem is a veritable cavalcade of blasphemous celebration. Images likely to offend religious viewers include monstrous, masturbating clergymen, Christian objects juxtaposed with liquor, and a priest (Julian Acosta) forcing Heidi to give him a blowjob. Church is “slavery”. The Bible is “the Book of Lies”. “Our philosophy,” says rock musician Count Gorgann (Torsten Voges), who no doubt speaks for Zombie himself, “is to expose the lies of the Christian whores and Jesus the true bringer of death.” “God must die. God is the unholy pig,” he adds for those in need of further clarification on his views.

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