Archives for posts with tag: Republican Party

Reagan Devil

Regular readers of icareviews are aware of this writer’s interest in shadow government and conspiracy lore. Here, then, if only for the benefit of a chuckle, is a theory that is admittedly rather loony, but nevertheless possessed of a certain poetic charm and appropriateness. It comes from attorney Richard J. Bisbee’s novel Capitalism Imperfectly Understood:

In 2000 I met my favorite client, a woman of about my age, Angela Churchill. True to her name, she was a “church lady,” a regular at the local Catholic Church. […] In 1973 as a young adult she was profoundly affected by the movie, The Exorcist. A few years later, she began hearing “spiritual voices.” She became convinced that she was “demon possessed.” […] Her psychiatrist concluded that she would only cooperate with him if exorcism was tried. He convinced the local Bishop to authorize an exorcism for “therapeutic purposes.” […] Amid much drama, no doubt inspired by the movie, the “demon” was drawn out and expelled, sent “back to Hell.” […]

By 1976 her life was back on track. […]

But Angela’s “vision” was not limited to the afterlife and world of spirits. During her “demonic possession,” she believed that she had been given a special insight into American politics. It all went back to the 1973 movie, The Exorcist. The book of the same name was based on a real life story, the alleged “possession” of a boy. In the movie, a girl named Regan who lives in Washington D.C., is possessed by a spirit that arises from an artifact dug up in Northern Iraq.

Angela’s special insight was that this movie was actually a “coded message” from “Hollywood insiders” regarding the “demonic possession of the American Presidency.” Regan is but a variation of Reagan. In the sixties, Ronald Reagan had been Governor of California, and by 1973 was already being touted as an eventual President. […]

Exorcist

Angela was convinced that Reagan was “demon possessed.” That dark, Satanic powers guided his every move. And that he worshiped Mammon, a pagan god from the Old Testament who was now a demon. Pagan gods were often relegated to demon status in Catholic mythology. Angela was convinced that Reagan, once President, would turn the country over to Mammon, the god of money and greed. […]

Years later when Reagan won election, she was not surprised. It was all coming true, just as she had foreseen. Reagan’s deregulation of the financial industry led directly to the Bank and Savings & Loan bailouts. Their association with mobsters and reliance on astrologers confirmed Angela’s conviction that the Reagans were not true Christians. And that they had given the country over to mobsters turned financiers. […] Even Reagan’s name presaged evil: Ronald Wilson Reagan, three names with six letters each, or “666.” […]

Her disapproval was not limited to the Reagans. Indeed, Angela believed that “the demon” or “demons” continued to “possess” subsequent Presidents and other politicians. The trend toward a “Wall Street government” continued under George H.W. Bush and Bill Clinton. Increasingly, speculators on Wall Street were gambling with the life savings of the people, both in America and worldwide. Usury laws were rescinded. Increasingly, the rich were allowed to prey at will upon the people. Greed was everywhere, corrupting the people with false values and “idols.”

Hmm …

Rainer Chlodwig von Kook

Endnotes

Bisbee, Richard J. Capitalism Imperfectly Understood. Bloomington, IN: AuthorHouse, 2011, pp. 251-254.

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-TWO

Gaddafi

Muammar Gaddafi was one of the most remarkable leaders of the twentieth century. Taking charge of a country of impoverished illiterates at the time of his 1969 coup, he transformed Libya through his Green Revolution into a modern, secular state with extensive public works and services funded by oil revenues. Put together by Critical Productions, this YouTube documentary stands a testament to Gaddafi and to the crimes against humanity perpetrated by NATO in plunging his country into anarchy.

A creation in the style of Evidence of Revision, the program consists of arrangements of clips from television and online reportage and commentary, the end result comprising a mosaic that forms a picture of one of the greatest travesties and human catastrophes this century will hopefully ever witness. As the title indicates, such horrors frequently hinge on wordplay and who or what is or is not deemed “terrorist” in the western government-media matrix. The film instructs viewers to come to their own conclusions, but only one verdict is possible or sensible after watching Semantics: The Rise and Fall of Muammar “Mad Dog” al Gathafi.

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

5. PC, never once mentioning Jews or the Zionist order. There is, furthermore, a suggestion that the United States is particularly opposed to African self-determination, as if any other nationalisms are somehow acceptable. Libyan blacks are shown to have suffered after Gaddafi’s downfall. The Colonel’s friendly relations with Nelson Mandela are offered as evidence of his moral superiority.

4. Media-critical, pointing to misrepresentations of the Libyan situation in “news” reports.

3. Populist, celebrating Gaddafi’s Libyan iteration of national socialism. Electricity was free for Libyans, and farming and other endeavors and services were heavily subsidized by the state. In accordance with traditional morality, zero interest was paid on loans. The Green Revolution represented a nationalist third position ideology – that is, neither communist nor capitalist – always a threatening prospect to globalist interests.

2. Anti-bankster and anti-establishment, whether that establishment takes the form of Republican or Democrat, NATO or the United Nations. Barack Obama and Hillary Clinton come across as particularly reprehensible. Anybody even considering voting for Hillary Clinton should be compelled to watch Semantics: The Rise and Fall of Muammar “Mad Dog” al Gathafi. Gaddafi’s intention to demand that Libyan oil be paid in African dinars rather than U.S. dollars is suggested as one plausible motive for the toppling of his government.

1. Anti-war. War is a racket.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY

Kill the Messenger

Anybody with even a casual interest in conspiracy lore knows at least the outline of the true events that inspired this worthwhile film. Released on the heels of the Ferguson unrest of 2014, Kill the Messenger tells the story of San Jose Mercury News journalist Gary Webb (Jeremy Renner), who discovered that the 80s crack apocalypse epicentered in Los Angeles was facilitated by the Central Intelligence Agency through its sponsorship of the Nicaraguan contras.

Unlike any number of other media stories about police brutality, microaggressions, gentrification, hoodie scares, or other mysterious manifestations of racism and white privilege, Webb’s unsavory revelations give blacks good reason to be angry at their government’s actions. Webb made powerful enemies with his disclosures, which cut across partisan politics but incensed blacks in particular, and understandably so, given crack’s devastation of their families and neighborhoods. Kill the Messenger stops short of alleging that the CIA intentionally targeted black communities for destruction, but does highlight the particular blight these areas have endured.

Primarily, Kill the Messenger is the story of Webb the man, whose life and career were irreparably damaged by the titular smear campaign. Tastefully, but admittedly somewhat disappointingly, the movie leaves to viewers’ imaginations the question of whether Webb, as the official version goes, committed suicide by shooting himself twice (!) in the head or was murdered by some New World Order assassin. Renner is intense as Gary Webb, and the use of actual television news reportage of the day – including CIA shill (and current Ben Carson foreign policy advisor) Duane Clarridge’s jaw-droppingly stupid and smarmy reaction to Webb’s allegations: “Don’t give me that conspiracy bullshit. […] There has never been a conspiracy in this country” – does much to enhance the impression of reality.

4.5 out of 5 stars. Ideological Content Analysis indicates that Kill the Messenger is:

6. Non-partisan. Both Republicans and Democrats are implicated, as is indicated by the opening montage.

5. Pro-gun. Webb keeps a handgun in his home and uses it to scare a spooky prowler away from his car.

4. Drug-ambivalent. Webb and his wife (Rosemarie DeWitt) smoke weed, but a visit to South Central Los Angeles underscores crack’s social ravages.

3. Media-critical. After initially celebrating his breakthrough, Webb’s fellow journalists either distance themselves from him or devote themselves to discrediting his work.

2. Anti-state. This writer must not have been paying attention during his high school civics class when the teacher explained how it was the government’s responsibility to import hard drugs into the country.

1. Borderline anti-Semitic! Richard Schiff plays Richard Zuckerman, a CIA asset and shill utilizing The Washington Post to trash Webb’s credibility. Tim Blake Nelson plays sleazy attorney Alan Fenster, who, while lending crucial assistance to Webb’s investigation, comes across as the stereotypical lawyer who insists even in private conferences on referring to his client “Freeway” Rick Ross (Michael K. Williams) as merely an “alleged” drug dealer. Oliver Platt, meanwhile, appears as Mercury News executive editor Jerry Ceppos, who at first defends Webb’s work but then wimps out in the face of the media firestorm. Perhaps to compensate for these unappealing characterizations, both Webb and his wife as visualized in the movie are darker, less Nordic-looking figures than the biographical subjects.

Gary Webb

Gary Webb

Jeremy Renner

Jeremy Renner

 

Rainer Chlodwig von Kook

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Foxcatcher

From Capote (2005) collaborators director Bennett Miller and co-writer Dan Futterman, here is another somber character study revolving around the circumstances of a true crime. Magic Mike himself, Channing Tatum, stars as Olympic grappler Mark Schultz, who in 1987 was taken under the wing of eccentric pharmaceuticals heir John E. “Golden Eagle” du Pont (Steve Carell), who sponsored America’s team at Seoul in 1988. Du Pont would hardly warrant the movie treatment if not for the fact that he murdered Schultz’s brother Dave (Mark Ruffalo), another one of the wrestlers sponsored by the eccentric multimillionaire, in 1996.

Tatum gets another role that allows him to display not only his competence as an actor, but his impressive athleticism as well. Comedian Steve Carell, nominated for Best Actor, has with justification been praised for bringing to life an unexpectedly deep and enigmatic character, and his exaggeration of Du Pont’s halting quirks of speech and his solemn air succeeds in creating an onscreen presence more magnetic and fascinating than the real man who inspired it. Foxcatcher invites comparison with the same year’s similarly intense Whiplash, another story of a disturbing Svengaliesque relationship, and should engross audiences prepared to be entertained by something again as unstintingly grim.

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

5. Pro-gay. More than one scene of grappling carries an undeniably homoerotic charge. As Kristian Lin observes in Fort Worth Weekly, the film “is about a rich guy who can’t explain his deep-seated need to spend hours each day with his arms around young, muscular men wearing singlets. In real life, du Pont had a wife (who is completely left out of this movie), and his problems likely stemmed from paranoid schizophrenia rather than latent homosexuality.”

4. Anti-drug. Magic Mike’s use of cocaine with Du Pont’s encouragement marks his nadir as a person and athlete. His sponsor also throws him off-course with copious alcohol.

3. Anti-gun. Private gun ownership gets a black eye with Du Pont’s murder of David Schultz. The place name Newtown Square (in Pennsylvania) may also serve as a subliminal reminder of the Sandy Hook Elementary incident in Newtown, Connecticut.

2. Liberal. Du Pont represents the typical NPR listener’s idea of the dread Republican power structure looming over America – an affluent WASP, crazed, gun-obsessed, hypocritical, and probably secretly homosexual. Du Pont appears as an emblematic figure of the Reagan era beloved of today’s conservatives: a coke-snorting military buff and fraud whose money substitutes for character and whose moralizing masks a hollow, selfish depravity.

1. Anti-American. “I want to talk about America. I want to tell you why I wrestle.” With these words, Jewish co-screenwriter Dan Futterman and Shabbos goy collaborator E. Max Frye establish thematically that their movie is concerned with the essence of what it means to be an American. Not long after uttering these lines, Mark is shown nervously wolfing fast food alone in his car. It is, as Lin puts it, “a takedown of the myths we Americans like to tell ourselves.” The viewer is only invited to feel contempt for the monologue in which Du Pont expresses the pro-America feeling that informs his fears: “When we fail to honor that which should be honored, it’s a problem. It’s a canary in a coal mine […] I’m an ornithologist, but more importantly, I am a patriot, and I want to see this country soar again.” If only people were less patriotic and also more open about their obvious gayness, perhaps, the world would be plagued with less madness and murder.

Rainer Chlodwig von Kook

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Captain Phillips

An exceptional naval thriller based on the actual 2009 kidnapping of Captain Richard Phillips by Somalian pirates, Captain Phillips (2013) marks yet another career highlight for capable star Tom Hanks. Taut, exciting, and scary throughout, the film succeeds largely due to the presence of Hanks in the likable lead. Also contributing to its impact, however, is the presence of such ugly, menacing blacks in the roles of the antagonists, particularly Barkhad Abdi as pirate ringleader Abduwali Muse. Any self-respecting white person watching this movie will be terrified.

5 stars. Ideological Content Analysis indicates that Captain Phillips is:

7. Ostensibly egalitarian. As a fig leaf to cover its obviously obscene racism, the film includes a line about how Somalian men have no economic opportunities apart from fishing and piracy, the former option being limited after western fishing vessels have depleted their waters’ stock of fish. The poor, disadvantaged chaps just happened to have the bad luck of growing up in a dangerous environment exacerbated by the West’s capitalist imperialism.

6. Pro-drone. A “Scan Eagle” conducts surveillance as part of the mission to rescue the captain.

5. Pro-family. Phillips’s thoughts are with his family during what may be his last moments on earth.

4. Pro-gun. A valid complaint from the crew is that their ship has no weapons with which to repulse the invaders.

3. Pro-military. Navy SEALs enact the role of the proverbial cavalry coming to the rescue.

2. Neoconservative. Set in March of 2009, shortly after the inauguration of Obama, the film features an early scene in which Phillips exchanges nervous remarks with his wife about the changing nature of the times. In production during the presidential election year of 2012, Captain Phillips benefited from serendipitous onomastic circumstances of the historical Phillips narrative. The Navy dispatches the USS Bainbridge and USS Halyburton to intercept the hijackers and retrieve Captain Phillips. How perfect is that? Bain Capital and Halliburton speed to the rescue of white America, held hostage by African terrorist Muslims just like President Obama! Good thing the U.S. has so much world police man and materiel invested in the Middle East, as well, or else Captain Phillips might not have been saved so quickly – if it all!

1. Racist! Mainstream political discourse disallows Republicans from discussing race in any but the most mincing and counterproductive of terms. Suppressed neoconservative racism, consequently, can only express itself as hatred of foreign Muslims or else encrypt itself as is the case with the thinly veiled subtext of Captain Phillips. A ship is a world unto itself, and just as the prison vessel in Escape Plan (2013) works as a floating microcosm of the American police state, so the Maersk Alabama functions as a representation of an American polity subject to a demographic shit-hurricane. Just as Bull Connor, Birmingham’s Commissioner of Public Safety during the 60s, tried to be civil and used restraint in only hosing revolting congoids who invaded his community, so the moderate captain of the Maersk Alabama hopes to stave off the pirate attack by holding their boat at bay with his ship’s several powerful hoses. As Montgomery fell to the blacks, however, the Alabama is boarded and occupied by the party of Africans.

“Is this how you do business?” Phillips asks as the invaders brandish their weapons. The pirates, like American blacks, take from others to further their parasitic mode of living. Like American blacks, too, they are never satisfied. After flash-mobbing the ship and being offered $30,000 to leave, they demand millions more and take a hostage to ensure that they receive it. (“When we get paid, everything gon be OK.”) Negotiation with the savages – in other words, more political moderation and compromise, disingenuous dialogue, hand-wringing, and flattery, as Phillips advises his men to “make them feel like they’re in charge” – is of course futile, and only results in the good-natured captain being kidnapped. A third vessel participating in the Phillips rescue mission along with the USS Bainbridge and USS Halyburton is the USS Boxer, significantly a “Wasp-class” amphibious assault ship, a designation further emphasizing the racially informed nature of the conflict. The Somalian pirates – again, like America’s blacks – are prone to self-pity and bickering, prompting Captain Phillips in a moment of candor to tell them, “Your problem is you.”

The lesson to be had from Captain Phillips? Communities, like ships, should be armed and ready to fight to keep out the undesirables.

purge-anarchy-poster

The Purge (2013) demonstrated that writer-director James DeMonaco is a gifted craftsman of suspense – and also a lefty retard who believes economic inequality and gun rights are the roots of all of America’s evil. The same can be said for DeMonaco’s follow-up, The Purge: Anarchy, which, like its predecessor, is a nicely constructed scare film informed by its creator’s contemptible ignorance.

In this installment, which takes up with an entirely new set of characters, a grieving father (Frank Grillo) takes advantage of America’s annual night of legalized bloodletting to go after the man responsible for his young son’s death. Along the way he crosses paths with a couple (Zach Gilford and Kiele Sanchez) whose car breaks down – oh shit! – just as the Purge commences and a mongrel mother (Carmen Ejogo) and daughter (Zoe Soul) who also find themselves on the unlucky end of the hunter-prey relationship.

The Purge: Anarchy introduces a few new elements into the franchise mythology, incorporating ideas from Richard Connell’s oft-filmed short story “The Most Dangerous Game”, with well-to-do Purgers hiring squads to go out and collect unfortunate specimens for them to hunt on private property. Another new feature, perhaps inspired by the subversive movement in the thematically similar Death Race 2000 (1975), is an underground revolutionary movement, led by the foulmouthed Carmelo (Michael K. Williams).

Grillo’s alpha male power maintains viewer interest in the lead character’s mission (the she-mutt charms on offer are less than entrancing, however), while Hala Bahmet’s costume design greatly enhances the spookiness, so to speak, of a gang of genuinely unsettling ghetto marauders. The Purge: Anarchy is a tightly wound, violent, electrified thriller that should satisfy fans of the original film and exasperate those who found it offensive.

Purge God

Whatever happened to Buckwheat?

[WARNING: POTENTIAL SPOILERS]

4.5 stars. Ideological Content Analysis indicates that The Purge: Anarchy is:

9. Anti-obesity. More than one mentally unbalanced chubby girl takes part in the Purge.

8. Anti-drug. The hero’s son was killed by a drunk driver (Brandon Keener) – another one of those damned stupid white men. Pills figure in one scene as a scary habit.

7. Anti-Christian. Religious language and concepts are used irreverently throughout. Purgers hold hands in a prayer circle before commencing mass murder, and so forth.

6. Pro-slut/pro-miscegenation. Eva (Ejogo) is that most admirable of American types: the minority single mother. She and her little hovel of high yellows or mestizos or whatever they are represent the racially indeterminate norm of America’s future.

5. Vigilante-ambivalent. Eva and her daughter implore Sergeant (Grillo) not to go through with his planned revenge. When the time comes to do the deed, he contents himself with giving his quarry a scare. Carmelo and his congoid army of avengers, however, appear to be fully justified in their activities. The lesson, then, would seem to be that personal vendettas and individually motivated murders are wrong but that violent mass actions of class conflict are validated by the demands of social justice. In one audience-pleasing scene, a Wall Street crook’s corpse is seen hanging over a sidewalk.

4. State-skeptical. The Purge: Anarchy is imbued with an uneasiness about the hyper-surveillance state, and it turns out that the “New Founding Fathers” who preside over the Purge are actually participating and using street cameras to track their prey. Typical of DeMonaco’s political idiocy is his paradoxical advocacy of gun control in conjunction with his distrust of authoritarian government. One can only assume that the “New Founding Fathers” of the Purge franchise are, to his mind, something like the Tea Party on steroids, and that a government sensitive to the people’s need for gun confiscation would be more trustworthy.

3. Anti-gun. The first Purge posits that guns are weapons of aggression and simply not an effective means of crime deterrence and home protection, as illustrated by a scene in which Ethan Hawke’s gun is used against him. The sequel, in which the Second Amendment becomes not only a license to kill, but an article of fanatical religious faith, suggests the same idea in a scene in which Eva’s pistol is in another room and out of reach when her home is invaded. The Purge: Anarchy, however, finds DeMonaco (who admits to being “terrified of guns“) going totally off the rails on a crazy train of convoluted reasoning according to which gun ownership represents such a threat to public safety that the poor masses must rise up with guns to combat gun owners. Black Marxists with guns is good and progressive. Rich white people with guns, on the other hand, is just another hateful Holocaust waiting to happen.

2. Egalitarian. The annual Purge exists partly to contain crime to a single night, but also for population control, with the poor and homeless being the ones who cannot afford to protect themselves. Carmelo rails against the “market mentality”. Eva puts in a good word for Obamacare by mentioning that she can hardly afford medical coverage for her family. The Purge: Anarchy furthermore asks viewers to understand that a gang of sick masked black thugs led by Keith Stanfield only participates because they need the money. Hear that, America? Flash mobs and polar bear hunters – the sort of African garbage documented by Paul Kersey and Colin Flaherty – do what they do only because they are socially marginalized and disadvantaged by structural inequality. Revolutionary death squads save the day. End credits feature money spattered with blood.

1. Anti-white. Surprisingly, The Purge: Anarchy is less single-mindedly anti-white than the first film, and features plenty of minority perpetrators, such as would-be rapist Diego (Noel Gugliemi) and the aforementioned masked street trash. Make no mistake as to this film’s principal target, however. In one of the dumbest sequences, Eva’s father (John Beasley) agrees, in exchange for monetary compensation to be paid to his daughter, to go to the home of a “posh” WASP family to allow himself to be butchered as a literal sacrificial Negro. “Change”, this movie informs its viewers through Carmelo, only comes with the spilled blood of the (white) rich. Climactic scenes include a machine-gun slaughter of wealthy WASPs, several blondes among them, by the black communists.

 

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Street Wars

Originally a two-part episode of the TV series True Justice, this ersatz “movie” has over-the-hill kicker Steven Seagal playing the chief of a special sheriff’s task force in the Seattle area. He becomes concerned when clueless clubbers start dropping like flies from a new drug making the rounds of the local rave scene. (Indicative of the depressingly meager budget of Street Wars is the fact that the psychedelic effect of the drug is conveyed by choppy editing, strobe lights, and a close-up of a water bottle being shaken.) “This is gettin’ bad, man. This is gettin’ bad. We gotta do somethin’,” the enlightened law enforcer decides. The investigation will lead his team into a tangle of mob hits and federal corruption, none of it particularly interesting.

Seagal, sporting a plastic Dracula ‘do and a few extra pounds around the midsection, characteristically whispers his way through police procedural gobbledygook and action epilepsy shot nearly entirely in gimmicky ADHD jerkvision to disorient the viewer and try to shock life into this video corpse. Speed-up/slow-down annoyance, generous expenditures of ammunition, and quick cuts (to distract from Seagal’s relative lack of mobility) were never so boring. Ever. The bleak non-entertainment that is Street Wars is probably best summed up by one of the hefty, greasy-faced hero’s lines of dialogue: “I mean, you gotta be kidding me, man. I ain’t got time for this.”

1.5 out of 5 stars.

Ideological Content Analysis indicates that Street Wars, in addition to sucking, sends mixed political signals and that it is:

9. Sexist! Workplace flirtation (i.e., verbal RAPE) goes unprogressively unpunished.

8. Pro-wigger. Seagal is given to occasional black affectations, calling people “y’all” and saying things like, “We ain’t suppose to be babysittas.”

7. Pro-family. “If I could turn back the hands of time,” Seagal says, “I’d spend a lot more time with my wife and kids.”

6. State-ambivalent. Street Wars accepts the validity of the War on Drugs, but depicts the DEA as corrupt and favors local law enforcement as more effective, honest, and caring. “If you think you’re going to make the government care about these [impoverished] people, you’re crazy,” Juliet (Meghan Ory) says, presumably with reference to the federal government. A visit to the site of Camp Harmony, part of Uncle Sam’s system of WWII Japanese internment camps, resurrects the specter of a belligerent, racist, authoritarian state. Later, when a conflict arises between federal law and the needs of the Seattle task force’s investigation, Sarah (Sarah Lind) asks, “You know this violates half a dozen federal laws?” “Rules went out the window when they tried to kill Gates, right?” Juliet bristles. “I hate to rationalize breaking the rules,” Sarah replies, “but, yeah, you’re right.”

5. Diversity-skeptical. Seattle is racially and politically polarized. “These people, the good and the bad,” says filmmaker Savon (Byron Chan), “are products of the environment that the government created.” “But do you understand that none of this is interesting to people like me?” Juliet sasses back. “And if your audience doesn’t consist of us young white Republicans, uh, you’re not really gonna get the advertisers, right?” Savon objects, saying, “An investigative piece is made as food for the brain – not for advertisers’ dollars”, to which Juliet snaps, “Yeah, well, I guess my brain just doesn’t, uh, eat what your restaurant is serving.” (see also nos. 1 and 3)

4. Anti-slut/anti-miscegenation. A ditzy hedonist (Annette Tolar) lets a black thug (Matt Ward) stuff dope in her mouth. “One of these and your whole world will change,” he says as he removes his pooplike finger from her lips. The pair dances briefly until she collapses, foams at the mouth, and dies. Street Wars would seem to be more tolerant of white guy/Asian girl hook-ups, however. “It’s so sexy when you get all technical like that,” Gates (Kyle Cassie) tells Sparks (Elizabeth Thai).

3. Conservative. Street Wars features a caricature of a left-libertarian social justice weenie in the annoyingly named Savon, a documentarian making a propagandistic film about the homeless with the cooperation of local authorities. Savon, an Asian nerd with a pretentious British accent, is convinced that a legacy of government oppression of minorities and the poor is to blame for society’s woes. Tough cookie Juliet identifies as a Republican.

2. Anti-drug. Few will envy the brain swelling, dementia, convulsions, and death.

1. Racist! Seagal’s black lackey (William “Big Sleeps” Stewart) calls him “Boss”. “Did you see that?” Sarah asks after Seagal has subdued a mulatto culprit on the run. “That was like trying to corral a monkey on crack!”

 

 

 

 

 

 

 

Rippedpublicans: Where the Action Is!

 Randbo

Rand Paul is

PAUL RANDBO

“Do we get to wonk this time?”

“You don’t seem to want to accept the fact you’re dealing with an expert in political warfare, with a man who’s the best, with guns, with knives, with his bare hands. A man who’s been trained to ignore polls, ignore weather, to live off the land, to eat things that would make a Democrat puke.” – Campaign Manager Col. Trautman

 

Scarf Face

Chris Christie is

SCARF FACE

“You wanna fuck with me? Okay. You wanna play rough? Okay. Say hello to my little fork!”

“What makes you so much better than me? What do you do? Kill people? Shut down bridges? Real contribution to human history, Christie! What makes you think you can be a president? You don’t even know how to be a good governor!” – Mrs. Scarf Face, Elvira Hancock

 

The Tedinator

Ted Cruz is

THE TEDINATOR

“I’ll roll back.”

“All right, listen. The Tedinator’s an infiltration unit: part man, part machine. Underneath, it’s a hyper-alloy combat chassis, microprocessor-controlled. Fully armored; very tough. But outside, it’s living human tissue: flesh, skin, hair, blood – grown for the cyborgs.” – Future Pundit Kyle Reese

white_house_down

Magic Mike himself, big badass Channing Tatum, stars as a Capitol policeman and would-be Secret Service agent who gets his chance to play at the real thing when he and his daughter (Joey King) tour the White House on precisely the day real-life Obama disser James Woods, the devious head of White House security, plans to stage a coup d’etat to unseat President Django, played by Jamie Foxx.

It is appropriate that the opening credits acknowledge a company called Mythology with this lightweight production, considering how White House Down is nothing if not an encapsulation of liberals’ mythologized view of an idealized President B.O., the scholarly man of peace who could solve all of America’s problems if only given enough cooperation and tax revenue. President Django, suitably enough, makes His first appearance in a three-helicopter formation symbolizing the Trinity of His Godhead.

The film follows the basic template of the Die Hard franchise, with a bloodied, battered Magic Mike, complete with soiled wifebeater and an imperiled loved one among the hostages, jumping, running, and dragging himself through historic bedrooms and the obligatory elevator shaft like a younger, sexier, generally less interesting John McClane.

The action is decent, if unoriginal, though there is an admitted joy to the scene of the mild-mannered, bespectacled President Django getting unchained on the White House lawn and hanging out of the window of His chauffeured car with a rocket launcher. James Woods brings a necessary seriousness to the film, while gorgeously quirky Maggie Gyllenhaal, wasted here in the role of a Secret Service bigwig, is at least enjoyable to ogle.

3.5 of 5 possible stars. Ideological Content Analysis indicates that White House Down is:

9. Anti-tobacco. President Django is not a smoker.

8. Anti-Christian. Prominently featured terrorist Killick (Kevin Rankin) has a cross tattooed on his chest.

7. Pro-miscegenation. Magic Mike’s daughter has a crush on President Django.

6. Anti-racist (i.e., pro-yawn). Right-wing white nationalists naturally play a part in the coup.

5. Feminist and anti-marriage. Magic Mike’s daughter not only protects the President, but saves the world from nuclear holocaust. Maggie Gyllenhaal is a strong, self-assured, and independent woman with no need of a man. Her ex-husband was an “asshole”.

4. Egalitarian. President Django deploys a folksy anecdote to explain how poverty causes crime.

3. Antiwar. Refreshingly, White House Down vilifies defense contractors and poo-poos the fearmongering about Iran’s nuclear capabilities. Undermining this show of pacifism, however, is the President’s favorable attitude toward drones.

2. Crypto-Zionist. Conspiratorial mastermind Woods is a fanatical neoconservative bent on destroying Iran. White House Down points the finger not at Israel, however – that country receiving mention only as a signatory to a Middle East peace treaty – but at vague “corporations” and a nebulous “military-industrial complex” with which President Django must grapple. In addition, the implosion of the Capitol dome from a fire inside the building corroborates the official story obscuring the implosion of the Twin Towers and WTC 7, thus diverting attention from any possible Israeli involvement in the 9/11 attacks. Magic Mike’s daughter wears a shirt depicting a squid or octopus to show her solidarity with the forces of the New World Order.

1. Statist. A few bad apples may exist, but government, as personified or deified by Lincoln aficionado President Django, generally has America’s best interests at heart. Racist mercenary Killick, in addition to his cross tattoo, sports an anarchist circle-A on one of his arms. Also demonized are anti-government hackers of the Wikileaks and Anonymous varieties.

Assault-On-Wall-Street-Dominic-Purcell

Prolific writer-producer-director Uwe Boll, best known for notoriously reviled horror films like House of the Dead (2003) and Alone in the Dark (2005), now taps into understandable populist rage at the crony capitalist establishment with the depressing Assault on Wall Street. Powerfully built Dominic Purcell, something of a poor man’s Clive Owen, stars as down-on-his-luck security guard Jim Baxford, who, after losing his job and his wife (Erin Karpluk) following her protracted illness and financial anxiety suicide, decides to diversify his portfolio with a little vigilante vengeance directed at the seemingly untouchable high-rollers and bankster exploiters he holds collectively responsible for his personal tragedy.

Purcell is adequately tough and earnest, if not particularly interesting, in the lead; but it is in two key supporting roles that Assault on Wall Street shows true inspiration in casting. An aging John Heard is the perfect choice to play number one on Baxford’s hit list: selfish, nihilistic toxic investment CEO Jeremy Stancroft. Even greasier, however, in a role one wishes had been expanded, is uber-oily Eric Roberts as money-grubbing attorney Patterson. Roberts has aged, if not quite gracefully, then fascinatingly, with a uniquely silverfish-like screen presence that ideally lends itself to high villainy. Other familiar faces in the cast include Keith David, Edward Furlong, and Michael Pare as Baxford’s buddies Freddy, Sean, and Frank.

Assault on Wall Street is a decent rental, but may disappoint vigilante fans by spending too much time (nearly an hour) on the humiliating build-up and not enough on the retribution so temptingly advertised in the title. Consequently, it earns a modest 3.5 of 5 possible stars.

Ideological Content Analysis indicates that Assault on Wall Street is:

11. Pro-police. Cops are depicted as human types who share in the general plight and sympathize with Baxford’s mission.

10. Anti-slut. “I’m gonna get an STD from this sandwich,” Frank teases a waitress. Corporate bigwigs consort with whores.

9. Christ-ambivalent. While a preacher attempts consolation, mouthing, “God visits us with many mysteries in life,” Baxford rather takes to heart more militant Biblical passages such as, “He trains my hands for war” (cf. nos. 1 and 7)

8. Marriage-ambivalent. Baxford’s marriage is a devoted one and would, if not for her illness and his financial worries, be happy. Friend Frank’s wife, however, is a cheater.

7. Antiwar. Baxford is a veteran forgotten in his time of need by the country that used him. In reply to the idea that violence is not a solution, a caller to a radio program asks, “Isn’t violence the official solution in Iraq and Afghanistan?” (cf. nos. 1 and 9)

6. Postracial, with blacks and whites interacting as friends irrespective of racial differences. And to demonstrate that his is an equal opportunity beef, Baxford even liquidates a few blacks along with the many white guys in suits and ties.

5. Drug-ambivalent. Baxford smokes philosophically and his friends are enthusiastic drinkers. “Let’s go get some alcohol, make the pain go away.” Baxford, in the wake of his personal ruin, is invited to “watch the game and do some serious drinkin'” for therapeutic purposes. But a man is claimed in a news report to have died in a “drunken accident”.

4. Anti-state. The cronyist statist quo, or the “plutocratic capturing of American politics”, transcends Republican vs. Democrat squabbles, with Bill Clinton, George W. Bush, Chris Dodd, and Alan Greenspan getting name-dropped as culpable players. At a lower level of weaselliness, Assistant D.A. Marwood (Barclay Hope) insensitively brushes off Baxford’s concerns. That Baxford is able to purchase military wares from a black market gun dealer (Clint Howard) militates against the notion that government-mandated gun control is effective or enforceable. Betraying the movie’s mixed messages about the place of government, however, is the fact that deregulation is also blamed for the ’08 collapse.

3. Anti-corporate. “The real fuckin’ criminals –  they’re downtown [i.e., on Wall Street].” Goldman Sachs, MF Global, Cerberus Capital, JP Morgan, and Lehman Brothers are among the outfits that receive negative product placement.

2. Anti-capitalistic. “System’s rigged, motherfucker.” Told “Fuck you,” a banker calmly replies, “That’s a fair response, I suppose.” Free market talk conceals an “anything goes mentality”. “The rich still get richer and the poor get poorer.” Stancroft justifies his misdeeds with a social Darwinist outlook. “That’s the free trade system, my friend,” he says. “That’s capitalism.” “There’s not a person on this earth who’s worth over a hundred million dollars that came by that money honestly.” The film also evinces a naive sympathy for the homeless, juxtaposing their plight with the ease of the leisure class.

1. Pro-vigilante. Baxford is his own law, but also a people’s fury, and wears an Anonymous-reminiscent white mask for the final killing spree.

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