Archives for posts with tag: review

Shot Caller

The grim crime drama Shot Caller completes a trilogy from director Ric Roman Waugh that began with 2008’s Felon and continued with 2013’s Snitch. The story follows in nonlinear fashion the metamorphosis of an investor (Nikolaj Coster-Waldau) who, after a drunk driving accident, is sentenced to prison, where assumes a new identity as “Money”, a hardened and brutal criminal. Money’s conflicting loyalties to his country, himself, his family, and his Aryan prison gang are tested when after release he is tasked with illegally selling a cache of AK-47s from Afghanistan. Location shooting and intensely invested performances in all of the roles – with particularly high marks going to Coster-Waldau and Lake Bell, who plays his wife – imbue Shot Caller with an uncomfortable authenticity and hoist it over the top as a must-see prison movie. Welcome echoes of Breaking Bad are audible, too, in the elements of drugs, white nationalist thugs, Albuquerque locations, and the central character’s transformation from straight-laced dork to crime lord.

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

[WARNING: POTENTIAL SPOILERS]

4. Anti-drug. Drinking and driving destroys Money’s life and kills one of his friends. The balloon-up-the-ass mule transport method of selling dope in prison also works wonders at deglamorizing the subject.

3. Anti-war. Casualties are referenced, and there is also the sense that military service facilitates a veteran’s transition into gang life, with the war being brought home in more ways than one. Shot Caller is careful, too, never to glorify its violence, always depicting it as abrupt and unpleasant.

2. Anti-racist. With suspected Israeli agent Haim Saban producing, it should come as little surprise that Shot Caller, whatever its authenticity, joins the ranks of films like Green Room (2015) and Imperium (2016) in seeking to keep an outmoded and negative incarnation of white nationalism foremost in audiences’ minds. While Money’s respectful relations with black investigator Kutcher (Omari Hardwick) demonstrate the possibility of interracial cooperation, the racial orientation of prison gangs is revealed to be based on self-interest rather than on genuine love of one’s own people, with whites and blacks alike victimize their own in the course of the film. There is a probably unintentional humor and irony in the fact that the white gang member, Shotgun, who turns out to be a police informant is played by Jewish actor Jon Bernthal.

1.Race-realist. Notwithstanding the foregoing, Shot Caller is perfectly honest about the racially self-segregating nature of prison populations as microcosms of human behavior in all multiethnic societies. “It doesn’t matter what yard you go on; it will be segregated by race, period,” the movie’s director concedes in his audio commentary. “That’s a fact.” Shot Caller’s world is one in which a man decides to join the ranks of either the warriors or the victims – and only the latter stand alone.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Advertisements

It Comes at Night

A plague has decimated the United States, plunging the population into anarchy and reducing living standards to the bare rudiments. Rather than offering a panoramic view of the cataclysm, however, It Comes at Night opts instead to tell this story on an intimate level, with a minimal cast, and through the interactions of two families trying to survive in a forested wilderness.

Joel Edgerton lives in a remote house with wife Carmen Ejogo and son Kelvin Harrison. The death early on of the mother’s father, played by David Pendleton, serves as a reminder of the family’s continued vulnerability to the mysterious pestilence even in their isolation and haunts the remainder of the film.

New tensions are introduced when another family, headed by Christopher Abbott, enters their lives. Edgerton never completely trusts Abbott’s motivations, and lonely and sensitive Harrison finds himself drawn to Abbott’s attractive wife, portrayed by Riley Keough.

Highly effective moments of paranoia reminiscent of John Carpenter’s remake of The Thing enhance this morose and often oppressive horror drama, tipping this review in favor of a recommendation. 4 out of 5 stars. Ideological Content Analysis indicates that It Comes at Night is:

3. Anti-gun, with firearms contributing to a tragic denouement instead of successful home defense.

2. Pro-miscegenation, with Edgerton married to a black woman and helping to raise her black son (it is never clear whether Harrison is supposed to be Edgerton’s biological or adopted son, but he looks too dark-skinned to be the former). The film includes a dream-turned-nightmare fantasy scene in which Keough grotesquely straddles and smooches the congoid boy before spewing black plague-slime into his face. Perhaps inadvertently, the scene conveys the temptation to miscegenation as well as the sense that there is something wrong and unnatural about it.

1.Borders-ambiguous. Writer-director Trey Shults has said that It Comes at Night is fundamentally about “fear of the unknown”; and one expression of this in the film is instability created by the unexpected presence of an outsider. Viewed microcosmically, It Comes at Night can be interpreted as an allegory about the immigration debate and the popular call for a wall and strong protectionist measures. Christopher Abbott, who plays the stranger, has some Italian ancestry, but could easily read visually as a mestizo. His character enters the lives of Edgerton and his family when he breaks into their home hoping to find supplies – he is, in other words, illegal and undocumented – but is allowed to move into the house with his wife and child after winning Edgerton’s trust with successful food-for-water barter. His presence, tolerated on pretexts of mutual economic benefit and universal compassion, also represents a threat to Edgerton’s family’s domestic security, however; and, just as Mexicans entering the United States have brought with them illnesses such as highly virulent strains of tuberculosis, Abbott and his family carry with them the risk of plague contagion. Perhaps endorsing this reading is Shults’s description of the climactic sequence as a “Mexican standoff” and his confession during his commentary on the film that, “I was reading books on genocide and thinking about, like, us as humans, you know, and how long we’ve been on this planet and that […] ingrained in us is tribe mentality, you know, and, like, basically, these two families are these two tribes.” The inability of the two men to maintain a peaceful collaboration is treated as a tragedy, but one that could have been avoided if their paths had never crossed – if, for example, Edgerton’s home security precautions had been more thoroughgoing and Abbott had never been able to break into his home in the first place.

Rainer Chlodwig von K.

Circle

Feminist diversity cheerleader and global elitist Emma Watson stars in the near-future technological cautionary tale The Circle as Mae Holland, who goes to work for a Google- or Facebook- or Microsoft-like tech giant headed by the deceptively down-to-earth Eamon Bailey (Tom Hanks) and finds it an altogether more sinister affair than the mere professional advancement she had expected. The film is more satire than suspense, its nightmare scenario of a progressive social media company assuming the de facto function of government being too close to today’s reality to do much to shock the audience. Watson is, as always, pleasantly watchable, and colorful little character parts are nicely drawn by the supporting cast, which includes Karen Gillan, Bill Paxton, Glenne Headly, and an understated Patton Oswalt.

Three out of five stars. Ideological Content Analysis indicates that The Circle is:

3. AltMedia-skeptical. After a character dies onscreen, an anonymous social media poster claims that the death was faked – a critique of the trend for alienated and insular internet-dwellers to assume the use of crisis actors in any significant event.

2. Luddite! People behave better when they are being watched, the Circle determines, and “Secrets are lies” becomes its mantra. In addition to its Orwellian scenario, the movie is critical of people’s reliance on social media for interacting with their fellow humans. In one scene, Mae suggests to her old friend Mercer (Ellar Coltrane) that he should text her later to arrange a time when they can meet. He points out that they could just do that now, while they are face to face, which puzzles her. “I’ve never been touched by someone who loves me,” an anonymous commenter confesses, illuminating the alienation and cost in terms of real-life social capital that the internet represents for some users. A social media clusterfuck later leads to one character’s demise. Qualifying the criticism, however, director James Ponsoldt claims in one of the Blu-ray features that the megacorporation at least “means well”.

1.Anti-White. Mae (of course!) finds herself drawn to a hyper-intelligent black computer genius named Ty Lafitte (John Boyega), who (of course!) is the actual inventor of the innovation that has made the Circle so powerful. Perhaps unintentionally, however, the filmmakers’ attempt to create a seamlessly multiracial milieu contributes to the movie’s sense of claustrophobia and paranoia, with annoyingly intrusive Circle zealots Smith Cho and Amir Talai being noteworthy in this regard. In addition, there appears to be a reference to much of the anti-white power elite’s antinatalism when one character observes that, “No one at the Circle has kids.”

Rainer Chlodwig von K.

American Made

Barry Seal’s life has become the stuff of legend. And much of that legend owes itself to the manner in which his life ended. Seal was killed on the evening of Feb. 19, 1986, machine-gunned in his automobile by agents of the Medellin Cartel, his former employers. There were photos taken of his bullet-riddled body in his car.

His violent and bloody death created headlines and nightly news stories throughout America. In fact, one can say that his murder gave him a higher profile in death than he had in life. And because of the unusual circumstances of his murder — more properly called an assassination — his life now has become the fodder of legend.

Because of all the legerdemain that has sprouted up about Seal, it is not easy to separate fact from fiction. The current film about Seal, American Made, does not even try. In fact, it attempts to expand legend into myth. It then plays that myth for fast-action scenes, tongue-in-cheek comedy, and a plot line that moves as quickly as bowling pins falling during a ten-strike. Whatever the failings of director Doug Liman’s movie, it is hard to imagine someone being bored by it.

Read the rest:The Charmed, Doomed Life of Barry Seal

Monster Trucks

Somewhat surprisingly, given that this is a Cuckelodeon production, Monster Trucks is a mostly child-friendly and fun adventure film. Distractingly cute young costars Lucas Till and Jane Levy star as high school students who find themselves caught in the middle of a corporate conspiracy when they discover a tentacled, subterranean creature that lives on oil (a literal gas-guzzler!) and enjoys embedding itself under the body of a truck like a hermit crab. Rob Lowe appears as the head of the nihilistic oil company that, through unscrupulous drilling practices, has inadvertently brought these creatures to the surface and now seeks to apprehend them, with Thomas Lennon toadying in a comic supporting role. The film is endearing, the digital animation is brilliant, and even adults should be entertained by this one.

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

5. Inclusive, allowing diverse token gimp Danny Glover to take part in the heroics.

4. Class-conscious. The male protagonist’s chief rival at school is a “rich boy” with fancy wheels.

3. Family-ambivalent. The hero’s absentee father is an untrustworthy drunkard, but the troubled young man’s reconciliation with his mother’s rugged beau does at least leave him with a responsible male authority figure at home. The teen male and female leads join hands as they witness the touching reunion of a monster family, the implication being that they will be inspired to marry and start a family of their own.

2. Anti-corporate. Townsfolk, while recognizing that their small community’s economy is dependent upon Terravex’s presence (“All the money in this town comes from Terravex Oil”), also resent the inordinate and quasi-governmental clout that the company wields. “The company I work for employs everyone in this town – and that includes you,” a corporate representative arrogantly informs the sheriff. Company scientist Thomas Lennon also admits to falsifying environmental reports. (Subverting the anti-corporate messaging, however, is the film’s product placement for brands like Beanitos and Chrysler).

1.Green. The problems begin with a sin against nature – “like the earth got mad and let something bad out”. Had Terravex – which, as its name indicates, molests the earth – taken more care not to disturb an unfamiliar and misunderstood ecosystem, it could have avoided its hour and a half of difficulties. Somewhat disappointingly, it seems not to have occurred to the writers what a godsend the existence of oil-gobbling monsters would be in the case of an oil spill. More likely, an oil concern would want to keep such potentially useful creatures on retainer rather than try to destroy them. There is, too, something not quite kosher from an environmentalist perspective about the idea of turning America’s gas habit, visualized by the creatures’ appetite for oil, into something cute, cuddly, and endearing, albeit cartoonishly monstrous.

Rainer Chlodwig von K.

Cure

“Help! Let me out of this shitty movie!”

I’ve developed such an iron stomach when it comes to digesting rotten movies that it really says something when it takes me multiple sittings to make it all the way through one, as happens to have been the case with A Cure for Wellness. This plodding Judaic dud concerns a corporate creep (Dane DeHaan) who travels to Switzerland to retrieve an insane executive who is reportedly recuperating in a mysterious clinic. Switzerland essentially being a piece of Germany, the place is naturally being run by crypto-Nazi perverts with all sorts of deep, dark European secrets. Boringly perverted director Gore Verbinski and his collaborators are so determined to give the setting and characters an air of coldness and clinical inhumanity that these qualities, unfortunately, end up attaching themselves to the film itself, making it about as appetizing as a gore popsicle. Even the effort to liven things up with would-be shocks like sadistic dentistry, eels in a toilet, masturbation, and incestuous rape only make the movie more of a yawn-inducer. Even the Blu-ray menu is irritating, with its horror movie cliché of a little girl’s monotonous singing. Throw in the fact that this is yet another mean-spirited production of Israeli intelligence asset Arnon Milchan (opening with a shot of skyscrapers, to boot) and A Cure for Wellness goes straight into the biohazard bin.

2 out of 5 stars. Ideological Content Analysis indicates that A Cure for Wellness is:

3. Assimilationist, showing the inspiring ability of blacks and Indians to ape European dress and mannerisms.

2. Judeo-capitalist, casting a financial criminal as the protagonist.

1. Anti-white and pro-miscegenation. Early in the movie, a white woman makes a reference to a “twelve-inch” black penis, suggesting congoid sexual superiority. The pathology of a racially homogeneous community is conveyed by icy-eyed Europeans whose sterile paleness is amplified by their all-white wardrobe. National Socialist notions of racial hygiene are parodied as a form of isolationist inbreeding. The protagonist learns that the clinic occupies the property of a nobleman who determined that the only woman pure enough to bear him a child was his sister. Sad to report, we have now actually plumbed the cultural depth at which audiences are sufficiently debased to tolerate the casual horror of a father (Jason Isaacs) sticking his hand up his daughter’s crotch and then sniffing his fingers for the camera. Hitler is never explicitly referenced, but the entire backstory of fiendish medical experiments and fields full of emaciated corpses are intended to evoke the specter of the persecution of the Jews. A Cure for Wellness functions as “Holocaust” revenge porn, with the viewer expected to exult in the sight of a sheltered European girl (Mia Goth) cleaving her father’s skull with a shovel and riding into the night on a bike with the evilly grinning New York crook who has rescued her from the Swiss ethno-dystopia.

Rainer Chlodwig von K.

Shallows

Blake Lively plays Nancy Adams, a medical student who, following her mother’s death from cancer, treks to the same beach in Mexico that her mother visited while pregnant with her. Hoping to enjoy a little sentimental surfing, Nancy instead finds herself the victim of a shark attack and ends up stranded off the coast on a rock as the hungry monster circles her. The Shallows is an okay survival movie and goes by pretty quickly, the dramatic limitations of its essentially one-person story notwithstanding.

3.5 out of 5 stars. Ideological Content Analysis indicates that The Shallows is:

7. Propertarian! A would-be thief is physically removed by the natural order.

6. Pro-gun, if a flare gun counts.

5. Christ-ambivalent. Both good and bad Mexicans are shown with crucifixes.

4. Green. Sony Pictures hopes for “a greener world,” according to an end credits statement. Thinking of the environment rather than herself, starving Nancy opts to help an injured seagull rather than eat it. A hook lodged in the shark’s mouth could be interpreted as an indication that a revenge is being exacted by nature against humanity for some previous wrong.

3. Feminist. Nancy survives on her own, with little to no help from men. The film’s director, in one of the Blu-ray extras, claims that the shark is female; but the creature’s connotative presence onscreen is that of a predatory male, a giant, angry phallus pursuing a woman against her wishes. Poisonous jellyfish, with their dangling tentacles, mimic a threatening swarm of sperm cells that Nancy must avoid. End credits appear over shots of reddened surf, the menstrual coloring celebratory of the avoidance of pregnancy. Instead of raising a family, she will pursue a career as a physician. Her mother, it may be worth noting here, has been punished with cancer and death for procreation. Alternately, The Shallows can be read as a torture porn film masquerading as a women’s empowerment trip. Nancy’s tattoo and bizarre earring mark her as a typically damaged and self-mutilating young woman of her generation – and her carefree display of her body is sure to incense the girlfriendless members of the audience.

2. Anti-racist. The viewer is teased into fearing for Nancy’s safety as she rides in the company of a Mexican stranger, Charlie, on her way to the beach. So friendly is this man that he even refuses to accept money for the ride. Likewise, two young Mexican surfers are employed as red herrings of a sort. They make no attempt to molest the beautiful, solitary gringa, and her brief apprehension that the pair might steal the bag she left on the beach turns out to be unfounded. The only negative portrayal of a local in the film is a drunkard who does, in fact, intend to make away with her belongings. Recent news out of Mexico suggests that The Shallows is probably overly kind in its depiction of this Third World country’s hospitality.

1. Anti-white. The “shallows” of the title are, of course, the waters around the beach; but this word could also refer to those naïve, bumbling Americans who, like Nancy, expect there to be Uber service in rural Mexico. White is associated with death. The antagonist in the film is a “great white”, and the stinging jellyfish glow white at Nancy’s approach. An exception is the wounded seagull, whose company Nancy comes to enjoy. Weak, dysfunctional whiteness, it seems, is the only acceptable kind.

Rainer Chlodwig von K.

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.

space

The appropriately odd-looking Asa Butterfield is cast as Gardner Elliot, the first human being born on Mars, in an ultimate emo romance fantasy that might just as well have been titled The Perks of Being a Mars Baby. The loneliest teen in the universe, Gardner, orphaned when his astronaut mother (Janet Montgomery) dies giving birth to him, is restricted to the planet of his birth because his heart and bones, having developed in the gravity of Mars, are unsuited to life on Earth. Consequently, he lives and mopes among the scientists living on Mars but strikes up a touching internet correspondence with Tulsa (Britt Robertson), an alienated high school girl living back in the States. Eventually, after surgical modifications allow Gardner to make to journey to Earth, he of course rejects being grounded by NASA and hatches a plan to escape, meet Tulsa, and track down his father, about whom he knows nothing. Robertson is too attractive to be convincing as a high school outcast, but does create a tear-jerkingly irresistible chemistry with Mr. Butterfield, who is perfect as the quintessential socially awkward Gen-Z outcast hothouse flower. Gary Oldman, too, is commendably present as the complicated elder statesman of the Mars program. A sweet film, and heartily recommended to angst-ridden teens of all ages.

5 stars. Ideological Content Analysis indicates that The Space Between Us is:

5. Class-conscious. Blue-collar Tulsa steals a BMW, confident that the presumably wealthy owner can afford the loss.

4. Family-ambivalent. The horror of Sarah Elliot’s childbirth scene is arguably antinatalist; but the film is largely concerned with the hole left in young people’s lives by the absence of conventional family structures.

3. Green. The exposition suggests that the likelihood ecological catastrophe on Earth could serve as a motivator for colonization of other planets. Wind turbines, meanwhile, illustrate the availability of alternative energy sources.

2. Capital-ambivalent. Sam’s Club, Tulsa explains, is like shopping a million stores at once with a trillion dollars to spend. In other words, she appreciates the cheap goods that neoliberalism has made available to the consumer. Gardner becomes ill during a visit to Las Vegas, however, when he is confronted with the dark side of globalization. Gaudy imitations of world cities thrown together in one neon hodge-podge disorient him and prompt him to observe that these things are not supposed to exist side-by-side. During this same sequence, Gardner appears to be horrified at the sight of a mulatto child.

1. Sexist! The Space Between Us seems at first glance to be promoting feminism with its depiction of a valiant female astronaut leading a trailblazing Mars expedition. It quickly undermines this deception, however, by having her turn out to be secretly pregnant, demonstrating that men and women bring different liabilities to the workplace.

Rainer Chlodwig von K.

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

ars erga excellentiam

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Author of Good Books about Bad People in Strange Times

Bre Faucheux

News, Thoughts, & Tangents

DESERET NATIONALIST ASSOCIATION

NATIONALISM | POPULISM | IDENTITY | HERITAGE

Historical Tribune

The Factual Review

The Roper Report

Billy's Balkanization Blog

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!

Floating-voter

A topnotch WordPress.com site