Archives for posts with tag: pro-drug

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

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.

neighbors 2

Seth Rogen vehicle Neighbors, while vile, was at least a passably funny film for fans of the star’s repugnant antics. This sequel, sad to say, retains and amplifies the grossness of its predecessor while disposing of any of the franchise’s previous charms. This time Rogen and wife Rose Byrne are subjected to the obnoxiousness of an upstart sorority headed by new neighbor Chloe Grace Moretz. Moretz, for several years one of Jewish Hollywood’s favorite shiksa voodoo dolls, is as usual degraded under the guise of women’s empowerment as she and her cohorts smoke dope (“College is about new experiences”), throw noisy parties celebrating the loss of virginity, wage war against “super-sexist” fraternities, and demonstrate themselves to be “strong adult women” by flinging their saturated tampons at Seth Rogen’s windows. Zac Efron, Rogen’s original nemesis from Neighbors, switches sides and joins forces with his old foe in Neighbors 2, while some of his old fraternity brothers also appear as part of a subplot that serves no purpose apart from the promotion of homosexual “marriage”. NBC sitcom old-timers Kelsey Grammer of Frasier and Lisa Kudrow of Friends are similarly wasted (no pun intended) in brief supporting roles. One also wishes character actor Billy Eichner’s supporting turn as eccentric real estate agent Oliver Studebaker had been expanded.

2.5 out of 5 stars. Ideological Content Analysis indicates that Neighbors 2 is:

6. Anti-marriage. The opening scene in the film shows a wife vomiting in her husband’s face during intercourse. This is how the filmmakers choose to establish the horror of conventional domesticity in audiences’ minds.

5. Pro-miscegenation. The obligatory interracial couple expresses interest in buying Rogen’s house.

4. Pedo-friendly. A small child is regularly present during inappropriate discussions and is repeatedly seen playing with a dildo. The last time this reviewer saw such a thing was in an Israeli film, so maybe kids and dildos is a Jewish tradition? There is also a joking reference to child pornography.

3. Pro-drug. Weed humor abounds, with illegal marijuana dealing highlighted as a quick way for college kids to pick up some extra cash. “I think this is my thing now,” one of the girls enthuses.

2. Pro-gay. A gay marriage proposal elicits a rowdy chant of “U.S.A.! U.S.A.!” The lucky couple also makes known that they intend to adopt. In addition, the film appears to encourage sexual experimentation even among heterosexuals, as “sometimes you gotta suck a dick to realize you don’t like suckin’ dick.”

1. Feminist. “Don’t call ‘em hoes. It’s not cool anymore.”

Rainer Chlodwig von K.

doctor-strange

Benedict Cumberbatch (BBC’s Sherlock) stars as Marvel’s Sorcerer Supreme in this decent supernatural action-adventure adaptation. A brilliant but arrogant surgeon whose hands are ruined after a car accident, Strange treks to Nepal in the hope of finding a means of recovering his manual dexterity, only to find instead that a world of occult knowledge and power awaits him. Tilda Swinton appears as “The Ancient One” who mentors him. She, along with Strange’s big brother adept Chiwetel Ejiofor and antagonist Mads Mikkelson, does a good job of keeping a straight face while delivering gobs of earnest mystical gobbledygook; but the team of screenwriters has also wisely peppered the script with irreverent observations from Doctor Strange, who, like the viewer, experiences the occult side of reality as a newcomer and serves as his own comic relief. With action choreography and a concept similar to The Matrix, fans of CGI-heavy special effects extravaganzas ought to be satisfied. One does, however, wish that sexy Rachel McAdams (True Detective season 2) had received more screen time as Strange’s love interest.

3.5 out of 5 stars. Ideological Content Analysis indicates that Doctor Strange is:

4. Anti-gun, with a physician mentioning “a drunk idiot with a gun” as a recipe for bodily injury.

3. Pro-drug. Stan Lee, in a cameo, is seen reading Aldous Huxley’s Doors of Perception and exclaiming, “That is hilarious!” There is, too, a psychedelic sensibility to Doctor Strange’s visuals – Strange, on first experiencing the otherworldly, even wonders aloud if he has been dosed with psilocybin – and sitar flavors the music that plays during the end credits.

2. Multiculturalist. Only after sitting at the feet of black masters and enlightened bald women are white men permitted to save the universe.

1. New Age. As in The Matrix and any number of other martial arts movies, eastern wisdom is sold to impressionable western youths as a means of attaining preternatural fighting prowess and impressive occult powers. Strange is instructed that he must forget everything he thinks he knows – abandon the European achievements of reason and scientific knowledge, in other words – in order to find that which he seeks.

Rainer Chlodwig von K.

cooties

Elijah Wood, an aspiring novelist, shows up for his first day of work as an elementary school teacher only to find that the student body has been infected with a rapidly transmitted cannibal zombie plague, which complicates his hopes of sparking a geeky romance with faculty colleague Alison Pill. Cooties is a difficult film to review for the reason of the impression it gives of being two stylistically clashing stories forced into uncomfortable cohabitation. It is, on the one hand, a delightful take on the quirky romantic comedy genre and, at the same time, as repulsive a dose of dysfunction-inducement as has ever been splattered onto celluloid.

For the mostly harmless first fifteen minutes or so, the unsuspecting viewer might mistake Cooties for merely a fun but biting social commentary on various twenty-first century neuroses; but the extreme evisceration and the trivialization of violence toward children that follow steer the movie into an altogether darker and more upsetting territory. Cooties is wittily scripted and brilliantly cast, with several very memorable character turns from Elijah Wood, Rainn Wilson, Alison Pill, and the other adult performers; but it is too bad that their efforts work to strengthen such a remorseless assault on already collapsing demographics.

Cooties earns 4 out of 5 stars for the fine comic talent on display, but goes onto the list of films whose producers will be interned in the pitiless gulags of an imagined moral future. Ideological Content Analysis indicates that Cooties is:

6. Pro-drug. Jorge Garcia gets through the ordeal with the help of a bag of psychedelic mushroom “medication”.

5. Racist! Indulging in a bit of hipster racism, the film features a Japanese janitor (Peter Kwong) who (naturally) turns out to have mad martial arts skills. In a scene that can be read more than one way, a seemingly random reference to “shekels” creates a moment of strange discomfort in the faculty lounge. Is this a sly reference to Jewish hegemony in the world of high finance, or an indication that only socially awkward types who alienate their peers take an interest in such conspiracy theories?

4. Pro-gay. Jack McBrayer appears as a screechily drawling homosexual.

3. Liberal. With one set dressed in decorations for the school’s Fourth of July pageant, Cooties advertises itself as a commentary on twenty-first century America. Conservatives and terrorists, it seems, are to blame for turning a generation of children into rabid maniacs. The snottiest of the boys (Cooper Roth) was born on 9/11 and therefore named Patriot. His aspiration, he says, is to kick “towel head ass”. Alison Pill’s perky teacher character, however, claims to have beaten the terrorists “with a positive attitude.” Nasim Pedrad plays a shrill anti-government nutcase who ridicules the idea of evolution.

2. Pro-miscegenation and anti-white. “I always wanted to have sex with a prostitute who was non-white,” confesses Leigh Whannel in the role of a socially diseased weirdo. It is also noteworthy that the only two children to survive the zombie epidemic without being affected are a white girl (Morgan Lily) and a docile mulatto (Armani Jackson). The viewer is left to assume that these two will go on to repopulate a new and more peaceful human community. As in Reclaim, whites are invited to find hope and consolation in a racially alien pseudo-posterity.

1. Antinatalist. Set in Fort Chicken, Illinois – a name suggestive of cowardice and defensiveness – Cooties both expresses and exacerbates millennials’ anxieties about procreation, casting children as monstrous annoyances fit only for extermination. Pedrad’s character wears a “rape button”. Considering her workplace and suburban location, however, it is less likely that she fears sexual assault than that she has a problem with the prospect of adult sexual intimacy and motherhood. She and other freaks in Cooties reflect a generation’s psychological immaturity. The film, however, rewards them with a tentative survival for their determination to stamp out a possible posterity. As disturbing as the savage fire-extinguisher head-smashing and other means devised to murder children in the film are the multiple verbal associations of children and sex in a context of violence. “I’m givin’ you kids an ‘F’ – for ‘Fuck you!’” declares Rainn Wilson during the climactic battle sequence. “Fuck you, mom,” a boy tells his mother earlier in the film. Most disgustingly, a child is told to “eat a cock” as a truck’s chicken-shaped bumper ornament is rammed into his face to kill him.

Rainer Chlodwig von K.

Green Inferno

Eli Roth, the sadistically grinning embodiment of the distinctly Jewish torture porn horror subgenre that flourished under George W. Bush, has never been one of this writer’s favorite moviemakers; but Rainer Chlodwig von Kook is big enough to admit when one of his cultural adversaries knocks one out of the park – one severed head, that is. Cannibalism, as practiced in remote and exotic places, naturally lends itself to action and horror cinema; and the cannibal film, which has an affinity with the “Mondo” genre, flourished especially in Italy in the seventies and eighties, producing such classics of controversy as Cannibal Holocaust (1980) and Cannibal Ferox (1981). It makes perfect sense that unredeemed gorehound Roth would eventually turn his attention to the limitless potentials of the Amazon rainforest to generate compelling and grotesque stories. The Green Inferno is Roth’s homage to Ruggero Deodato and all of the other filmmakers who stalked the forest before him.

Lorenza Izzo plays Justine, a naïve university student who finds herself drawn to a messianic community organizer named Alejandro (Ariel Levy). Wanting to feel that she can give something of value back to the world, but also hoping to spend more time with Alejandro, Justine signs on to accompany a group of volunteers to the jungle to stop a construction project from destroying the indigenous way of life. Once the rag-tag team of idealists has scored its media coup, however, the group finds itself in a world of pain when the local gut-munchers mistake them for the developers they had come to oppose. Worse, the mysterious Alejandro might not be the saintly soul they imagined when they began their journey. Drenched in jungle colors and the epic production values that can only be found in the natural world, Eli Roth’s The Green Inferno is a literally eye-gobbling experience!

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that The Green Inferno is:

5. Anti-gun.These are our guns,” says Alejandro as he brandishes a cell phone. The idea is that citizen journalism renders armed self-defense unnecessary. Justine has learned a lesson at the end of the film and prevents a mercenary from shooting her by convincing him that she has him on camera.

4. Politically incorrect. “Honestly, I hope they starve to death,” says frivolous college girl Kaycee (Sky Ferreira) of fellow students enduring a hunger strike out of solidarity with the school’s benefit-bereft janitors. (The Green Inferno, though not released until 2015, was finished in 2013, and there is an Occupy Wall Street feel to the film’s Ché shirt milieu.) She also taunts one of the hunger strikers with a big bagel. “Activism is so fucking gay,” Kaycee declares. Roth, in his audio commentary, indicates that Kaycee is “the voice of realism” in The Green Inferno. Her cynicism prevents her from taking any interest in the jungle expedition from which so few of her peers will return. The primitives are literally redskins who paint themselves with a bright red pigment, so that their communal practices can be read as a skewering of communism as ideological cannibalism. (See the Charlton Heston western Arrowhead for another example of redskins as subtexual commies.) “Maybe we’d have a chance [against the natives] if we hadn’t blown up the bulldozers,” one of the activists laments. Despite the story essentially being one of liberals mugged by reality and confronted with the ignoble nature of the savages they adore, Justine maintains the lie after returning to civilization. “I never felt afraid when I was with them,” she says. Justine even claims the natives saved her. Lefties, the movie suggests, will stoop to feeding false information to the public so as to perpetuate the myth of turd world people’s saintliness.

3. Pro-drug. A bag of powerful weed comes in handy once the activists are prisoners. They stuff it down the throat of one of their dead comrades, so that, when the natives inevitably cook her, they all get high and mellow, allowing for an escape attempt. Unfortunately, the natives also get a giggly case of the cannibal munchies.

2. Cynical and conspiracist. Alejandro, a representative SJW, is revealed to be an unfeeling cad and unconcerned with the safety of his fellows. Confronted with one of The Green Inferno’s worst atrocities, he proceeds to masturbate in order to ensure that he can “think clearly”. The whole expedition on which he has led the group turns out to be a ruse. Instead of being motivated by the dignity of the rainforest or the rights of its indigenous peoples, Alejandro is actually in the employ of a rival developer looking to frustrate a competitor’s project. “Everything’s connected,” Alejandro explains. “The good guys and the bad guys. You think the U.S. government didn’t allow 9/11 to happen? You think the war on drugs is something real?” Understandably, given Roth’s racial background, he situates 9/11 in LIHOP Land and has nothing to say about Larry Silverstein, Dov Zakheim, Odigo, or the celebrants spotted at the Doric Apartments in Union City, New Jersey, on the morning of September 11, 2001. Oil, it is suggested elsewhere in the film, is what motivates U.S. foreign policy.

1. Judeo-obscurantist. “The only things those posers care about is looking like they care,” fumes Kaycee. “It’s just some weird demonstration to appease that fucking white stupid suburban Jewish guilt. Hi, I’m Jewish,” she quickly explains, displaying her Star of David pendant to a passerby. “I’m allowed to say that.” Roth would have viewers believe that Jews are “white” and that their “social justice” agitation is motivated by “Jewish guilt” rather than hatred of Europeans and conscious promotion of social chaos.

Rainer Chlodwig von Kook

Deadpool

Marvel antihero Deadpool’s leap to the big screen manages to be highly entertaining in spite of having one of the most unnecessarily filthy and anally fixated scripts this reviewer has ever encountered. Ryan Reynolds is frivolous but funny as the frenetic special forces fighter turned mercenary – “a bad guy who gets paid to fuck up worse guys” – in what may be the most successful incarnation yet of the wisecracking hipster-as-superhero genre. Fast-paced and guaranteed diversion for devotees of the cult of hyperviolence and slow-motion bullets.

4.5 out of 5 stars. Ideological Content Analysis only recommends seeing Deadpool for free, if possible, and indicates that it is:

9. Pro-brony. The hero masturbates while amusing himself with a stuffed animal.

8. Gun-ambivalent. Deadpool owns a number of guns, but forgets to bring these to the final battle. He proceeds to demonstrate how an accomplished action hero does not need an arsenal to dispatch a heavily armed pack of henchmen.

7. Disingenuously anti-torture. Supervillain Ajax (Ed Skrein) subjects Deadpool to atrocities reminiscent of War on Terror interrogations and Abu Ghraib indignities in his efforts to activate Deadpool’s recessive mutant genes, but Deadpool himself also employs torture to get information out of opponents. “I may be super, but I am no hero,” he says by way of a disclaimer – a distinction that will be lost on all of the adolescent boys who watch Deadpool. “And, yeah, technically this is murder,” he says, flippantly dismissing his impalement of a bad guy, “but some of the best love stories start with a murder and that’s exactly what this is – a love story.”

6. War-ambivalent. War, it is suggested, is an evil enterprise, but the film makes light of wartime experiences that allowed Deadpool to travel to “exotic places – Baghdad, Mogadishu, Jacksonville – meeting new and exciting people.” The general incendiary bombast of the movie makes combat seem like a blast.

5. Anti-South. The South, as the above quotation demonstrates, is equated with the Third World.

4. Pro-drug. “God, I miss cocaine,” gripes Deadpool’s roommate Blind Al (Leslie Uggams). Learning a stash of cocaine is nearby, Deadpool’s friend Weasel (T.J. Miller) asks her, “Wanna get fucked up?”

3. Misandrist. A slap on the ass warrants vengeful crotch-clenching. Even gentlemanly behavior meets with genital abuse. Both Deadpool and Colossus must be rescued by women, and National Women’s Day occasions an unreasonable sexual favor from the protagonist.

2. Anti-family. Deadpool, a “sexy motherfucker”, exchanges dysfunctional family stories with a prostitute (Morena Baccarin). “Daddy left before I was born,” etc. Deadpool claims to have been molested by his uncle, to which she replies that more than one uncle raped her. “They took turns.” It is also suggested that Deadpool has carnal knowledge of his father when he reaches behind himself, feels Colossus’s cock, and asks, “Dad?” The film furthers the process of pedophilia normalization by trivializing child abuse.

1. Pro-gay. “Oh, hello. I know, right? Whose balls did I have to fondle to get my very own movie? I can’t tell you, but it does rhyme with ‘Polverine’. And let me tell you, he’s got a nice pair o’ smooth criminals down unda.” One of the most butt-centric movies in some time, Deadpool makes more than one reference to the hero’s anus as a sexual organ. His “on switch” is next to his prostate, he hints, and the viewer is even treated to the sight of his girlfriend (Morena Baccarin) screwing him in the posterior with a strap-on. It is also insinuated that he has been hiding her engagement ring in his rectum. Then, too, he takes a bullet right between the cheeks and threatens an adversary with a reference to his “hard spots”. “That came out wrong – or did it?” he asks, kissing him. Deadpool is “pretty sure Robin loves Batman, too.” An animated version of the protagonist sports an extensive erection when Ed Skrein’s credit comes up at the end.

Rainer Chlodwig von Kook

Deathgasm

High school heavy metal outcast Brodie (Milo Cawthorne) has little going for him until he meets fellow metalhead Zakk (James Blake) in a record store. Along with a couple of hopeless nerds, they paint their faces a-la-KISS and form the ominously named band Deathgasm. The group would seem to be doomed to obscurity until Brodie discovers an ancient satanic manuscript and turns it into one of Deathgasm’s songs – the resulting dirge unleashing demonic forces that turn the people of their sleepy New Zealand town into rabid zombies. It then falls to Brodie, love interest Medina (Kimberley Crossman), Zakk, and the rest of the gang to rid the planet of the impending ultra-bogusness.

A New Zealander film, Deathgasm follows in the tradition of Peter Jackson’s early splatterfests Bad Taste (1987) and Dead Alive (1992), and might also appeal to those who fondly remember such metal-themed horror outings of the eighties as Hard Rock Zombies (1985), Trick or Treat (1986), and The Gate (1987). Gorehounds and aficionados of things gross should definitely come away from this feast satisfied, with Deathgasm’s veritable buffet for the depraved boasting mass blood-vomiting, forcible earring removal, dildo violence, blood-shitting, urine-squirting, decapitation, sodomy with a chainsaw, and a demonic zombie’s penis getting weed-whacked off.

4 out of 5 flaming pentagrams. Ideological Content Analysis indicates that this “brutal as fuck” Kiwi film experience is:

Fucking Andrea Dworkin A Wyatt Mann9. Anti-Semitic! During band practice, Zakk wears a t-shirt bearing a caricature of Jewish feminist Andrea Dworkin created by the infamous Nick Bougas, aka A. Wyatt Mann.

8. Pro-gay. Medina, on hearing her first blast of metal, envisions herself as a warrior goddess with fawning lesbian slaves at her feet.

7. Anti-bully. Medina is turned off by her boyfriend’s bullying of Brodie. The film even treats Brodie’s coldblooded murder of this character as a moment of comedy.

6. Feminist/pro-slut. Boringly, once the supernatural splat hits the fan, Medina (of course) transforms into an ax-wielding, zombie-butchering metal chick. “I was thinking about getting a tattoo,” she says, because “It would drive my dad crazy.” She then displays to Brodie the spot on her chest she would like to disfigure.

5. Pro-drug. Brodie gets high with Zakk, who is also shown drinking and driving with no adverse outcomes. It is noted that Brodie’s mother was institutionalized after going nuts and debasing herself under the influence of meth, but this information is presented with irreverence rather than caution.

4. Anti-family. None of the characters like their parents. Zakk’s father even has to be killed after he turns into a zombie. In addition to its subversive treatment of conventional domesticity, Deathgasm also features a dashboard trinket in the shape of a baby smoking a cigarette – antinatalist imagery celebrating death, corruption, and nihilism.

3. Anti-Christian. “Hell is awesome,” the viewer learns. Brodie’s churchgoing aunt and uncle, described as “balls deep into Jesus”, are revealed to be hypocrites when anal beads and dildos are discovered in their bedroom. “Older Christian people maybe should steer clear,” star Milo Cawthorne says in an interview included on the DVD.

2. Conformist. Getting across the stupidity of “conspiracy theories” and those who espouse alternative interpretations of history and current events, the unsophisticated Zakk attributes his neighbors’ strange behavior to “the Illuminati pourin’ fuckin’ fluoride in the water or something.”

1. Superficially anarchist. Though stupidly consumerist in their obsessions, Zakk and Brodie steal the things they want – even stooping so low as to siphon fuel from an ambulance.

Rainer Chlodwig von Kook

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[Ideological Content Analysis is pleased to present a guest review of the psychoactive pseventies TV artifact The Point by Germanicus Fink.]

PointThe Point was the ABC movie of the week and aired on February 2nd, 1971. Since television was the most popular form of home entertainment at that time one can easily deduce that they wanted as many people as possible to see it. Also, since it was broadcast on a Tuesday evening rather than on a weekend, it’s also safe to assume they wanted young people to see it because, Tuesday being a school night they knew that most kids would be stuck at home.

This film was such an obvious instance of social engineering it’s actually kind of redundant that I’m even bothering to review its ideological content, but I think the fact most people have either long forgotten it or are too young to ever have seen it makes the endeavor somewhat worthwhile.

The movie was allegedly based on the Harry Nilsson album of the same name; but, considering the movie aired only a month after the album’s release, clearly the two projects were more closely intertwined than that.

PointNilssonNilsson, at least according to my facile research, was not himself Jewish, but Norm Lenzer who wrote the screenplay for the television movie, obviously is.

According to Nilsson, who was a pretty popular songwriter and musician in his day, the idea for this album was conceived when he was on acid and he had an epiphany where he said to himself, “Oh! Everything has a point, and if it doesn’t, then there’s a point to it.”. It must have been some weak acid if that was all he got out of it.

Actually, the acid story was likely a lie. It was very popular at the time to ascribe inspiration for well-known contemporary artistic works to drug experiences. The thinking was that these ideas were already out there, floating around in the zeitgeist, and that certain substances made you more sensitive to these ‘cosmic trends’. However, anybody with any idea of what’s actually going on knows this is nonsense and that really all these subversive concepts were deliberately injected into the mass consciousness by manipulative little Semitic trolls.

So, contrary to what your old, burned-out hippie aunt or art teacher tells you, things didn’t change all by themselves because the “time was right”. That kind of talk is all just empty-headed, new age baloney.

The feature is animated in that intentionally sloppy and scribbly style which was pretty common in the late 60s and early 70s. The songs were made to sound sedate and old-fashioned. There was a “nostalgia craze” around this time, an obvious reaction to all the new toxins our hostile elites were starting to force-feed us in ever increasing doses. Naturally, faced with all this new insanity most people pined away for simpler times when life actually made some sort of sense. Of course those Chosen hacks also cleaned up on exploiting that aspect of the madness they choreographed. They never miss an opportunity to turn a buck.

I’ve provided a link to this movie on Youtube. This version is narrated by Ringo Starr. They used Dustin Hoffman in the televised presentation, which I thought worked much better, but due to a contractual conflict they had to ditch him for the video release.

Anyway, on to the actual film:

PointOblioWe are shown a town where everything has a point, even the people. Everything and everyone has a point directed at the heavens until one day a child is born named Oblio, who has no point at all, just a round head. To compensate for his deformity, he wears a pointed cap while out in public.

Oblio is a happy, sociable, and well liked kid until one day, after being challenged to a game of “triangle toss” by the Count’s evil son, he soundly defeats him in front of a cheering crowd of their school mates. Triangle Toss is the official sport of the Pointed village and is played by catching a triangle on the point of one’s head. Since Oblio suffers an obvious handicap here, he is permitted to play assisted by his dog Arrow who has a long pointed snout.

Interesting side note here, keep in mind this was the early 70s so all these communist ideas had yet to take firm root in this country. Although all the pointed townsfolk are orange, the evil Count and his son are dark purple and the good guy, Oblio, is bright White. LOL!

The count is so outraged that Oblio defeated his son in front of all the young men in the town that he holds a tribunal and insists Oblio be banished from the town for “not having a point” which violates the letter of the law of the Pointed Village.

While this meeting is in session, we hear one of the women in the audience say to another woman who confessed to feeling sorry for Oblio, “Listen, neither one of us were born yesterday, and we both know that if we let one of Oblio’s kind stay, ugh, before long the whole village will be crawling with…”  I like how the opposition likes to quote things we may have said or thought back at us in a mocking way while always neglecting to explain exactly what is wrong or mistaken about such sentiments. This is a psychological trick they use. It’s enough to make us look or feel ridiculous. There is little need to give a cogent explanation of the facts of the matter after successfully having done that. Again, they always play directly on the emotions and entirely bypass rational thought.

Funny side note here: It seems that this movie is saying negroes are pointless.

In another scene soon after the above mentioned, some other woman was going on about what a polite kid Oblio was when a man interrupted her by saying, “Yeah, but would you want your daughter marrying one?”, and the woman responded by saying, “You are baiting me! You are deliberately baiting me!”, which, again, evades answering the question, “How would you feel about your offspring mixing your genes with a freak?” Concerns like these are not altogether as groundless as they would have you believe.

PointRingoThe tribunal decides, although reluctantly, to banish Oblio and his dog into the Pointed Forest which surrounds the village.

In the next scene we see the whole town gathered at the gate to see Oglio off. “Stay loose O!” we hear one person shout as he is leaving to the Pointed Forest and all the contrived adventures that await him.

Upon entering the Pointless Forest the first entity they encounter is a three-headed being called the Pointed Man who checks in with Oblio and his dog from time to time throughout the film. Evidently, even in the Pointless Forest one needs someone with a point to point things out to you, but according to this character himself, “To point in every direction is the same as having no point at all”. I really don’t know how people back then were able to even stomach this pretentious crap.

Later Oblio encounters a rock man who tells him, “Us stone folks are everywhere, just open your eyes and look around you. There’s a whole family of us rock folk”, and, “You don’t have to have a point to have a point”. I think by now we can all see where this is going and what the message is they are trying convey to the young people of 1971. It was only seven years since the Civil Rights Act, and six years after the Open Immigration Act so they were busily paving the way through the American mind toward that jewtopian, multicultural, gender-fluid Nirvana that was looming large on our collective horizon!

Then they discover a bottomless hole that throws a pie into their faces after singing them a song about loneliness. This one segment epitomizes the Semitic entertainment industry as a whole in my opinion.

After they venture deeper into the forest they meet an enterprising Jewish tree who claims to be in the leaf business and doesn’t want to let anyone step on his leaves claiming it costs him money because he turns “green leaves into greenbacks”. The Jewish tree then offers Oblio and Arrow what he assures them is a golden opportunity in the leaf business. However, when they inform him “they have no roots”, the Tree man retracts this offer.

PointCoverAfter this Oblio and his dog are abducted by a giant bird that deposits them on a giant egg. The huge egg then hatches, revealing an exceedingly small bird, whom Oglio tries to converse with. He interprets all his various squawks as questions and he strives to answer them all. This is the whole movie in a nutshell, answering questions nobody has bothered to ask in the first place.

The Pointed Man then shows up, and during the course of the mostly one-sided conversation he mockingly tells Oglio he’s “thinking”, and that “thinking is very destructive indeed! If a person does enough thinking, knowledge is sure to follow. The results, Sonny Boy, is a life of misery!”  That certainly would not result from this kind of ersatz thinking and questioning, which is more along the lines of a guided tour through a nursery. It avoids hard-hitting questions and, most importantly, does not question or interfere with the powers that be. Shoot a bit higher, however, and the results could be fatal! However, it’s perfectly safe to question your parents and religious leaders (unless you happen to be Jewish). Hell, you should question ALL authority! At least, that’s what they were telling us young folks back in the 1970s before these aliens completely commandeered the establishment.

After this corny exchange the Pointed Man again vanishes. Oblio wonders aloud where he always vanishes to and he pops back briefly to inform him, saying, “The Vanishing Point, naturally!”

Right after this he has to rescue Arrow, who has somehow slipped into this hidden dimension. (For some reason Jooz are obsessed with hidden dimensions and alternate realities. Something about their own deceptive natures possibly?) “That vanishing point. Hmpf! It only made it so I couldn’t see you, it didn’t make it so you really weren’t there!” Oblio muses to himself. Then he goes on to say, “I’m starting to think that the Pointless Man, as nice as he was, was the only pointless thing in the forest…I don’t think having a point on your head is so important after all. It’s what’s in your head that’s most important!”

After Oblio arrives at this disingenuous conclusion he heads back to the Pointless Village where he is accepted back with much boisterous fanfare and announces to the ecstatic citizens that everything has a point, exclusive of whether or not they display a physical point on their bodies.

All the while the Count frantically tries to shout everyone down like an overexcited, irrational hothead. Anybody who dares question the social conditioning is always portrayed as a frothing, senseless lunatic.

After Oblio presents his piece, the Count knocks off his pointed cap in a fit of anger, revealing that now Oblio actually has a point on his head! Then the points disappear from the heads of the evil Count and his son who immediately run and hide from humiliation and fear!

Inexplicably, after Oblio had grown his own point, all the people and buildings in the village lost theirs! This all makes even less sense than Oblio being welcomed back into the village after he was officially banished. This is never explained as it occurs at the tail end of the film, nor can I think of any rational reason for such an outrageous and unexpected turn of events!

The only explanation I can concoct to answer for this is that this film was an autobiographical effort about the Jews themselves and how they were exiled from various European countries and how they managed to turn everything upside down after they had managed to worm their ways back in the last time. Of course this was done through deception and trickery but don’t expect them to confess to that.

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

4. Pro-family. A father reads a story about a kid who lives at home with his mother and father to his own son.

3. Anti-drug. The film shows no drug use or drinking, which is pretty amazing since everyone in the entertainment business at the time was hopped up on something! [But the fact that Nilsson acknowledged LSD as an inspiration makes The Point, if not explicitly, then implicitly, an extrafilmically pro-drug effort. – Ed.]

2. Pro-pedophilia. The candy shop owner gives Oblio a candy bar as he leaves for the Pointed Forest, and on his return he shouts out to him,  “Come by the shop Oblio! I have some butterballs for you! Round! Completely round!”

1. Pro-Diversity. I don’t think I should have to explain why since that’s a no-brainer.

Germanicus Fink

[Read Germanicus Fink’s review of Party Monster here.]

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John Wick

Keanu Reeves is John Wick, a retired assassin and man of “sheer will” who must dust off the tools of his trade when his car is stolen and – worse still! – his dog is butchered by Russian rowdies. Reeves gets to do the sorts of things one expects – strolling in slow motion through a dance club while casually dispensing violent punishments, and so forth – and, in a scene that alludes pointlessly to his climactic confrontation with Agent Smith in The Matrix Revolutions, even has a dramatic hand-to-hand showdown during a downpour with low-interest villain Michael Nyqvist. John Wick packs a handful of quality action moments, but not enough to stuff the soulless void at the heart of this nihilistic exercise in death for death’s sake. The gravitas of supporting players Willem Defoe and Ian McShane is wasted in such a film.

3 stars. Ideological Content Analysis indicates that John Wick is:

4. Pro-torture. Hitwoman Miss Perkins (Adrianne Palicki) is visually aroused at the sight of a knife being driven into a bound man’s leg.

3. Pro-drug. Wick, despite his abdomen having been cut open, is able to launch back into action with the aid of a glass of bourbon and dose of some sort of pills.

2. Anti-Christian. A Russian church serves as a gangster front. Consequently, Wick has no qualms about shooting a priest in the leg.

1. Neoconservative. Those darn puppy-murdering Russian bad guys are at it again! John Wick came recommended as a good “guy movie” from a social justice warrior coworker – such people apparently considering themselves qualified to judge typical “guy” tastes. That social justice warriors are now endorsing rotgut neocon propaganda should come as no surprise, however, considering that this is 2016, a year that will see American liberals throwing the heft of their silly support behind an Israel-firster warmonger like Hillary Schlongedham Clinton. Wick, true to his name, is a Shabbos goy – a subservient gentile who lights a candle for superstitious Jews forbidden by their “religion” to perform any labor on the Sabbath – and serves his Hebraic Hollywood masters by demonstrating for all of the gullible goyim how cool and exciting it is to shoot perfect strangers. The name also suggests the character’s wickedness, an apt association in this context.

Rainer Chlodwig von Kook

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