Archives for posts with tag: social justice warrior

Brad's Status

(((Ben Stiller))) plays Brad Sloan, a disenchanted white [sic] liberal who feels “real pain” at the thought that he, as an idealist running a charity-oriented NGO, seems to have accomplished so little in life as compared with his college buddies who have gone on to become wealthy entrepreneurs. “The world hated me, and the feeling was mutual,” the protagonist helplessly kvetches. This and his talented musician son’s process of selecting a university plunges Sloan into a midlife crisis that brings him into confrontation with his own progressive ideals. (((Austin Abrams))) appears as the son, Troy, who just wants to get through the ordeal without being endlessly humiliated by his father’s displays of insecurity. Brad’s Status is nothing special, but may be fun for Stiller fans.

3.5 out of 5 stars. Ideological Content Analysis indicates that Brad’s Status is HIV+ and that the film is:

8. Anti-gun. Brad’s wife expresses her anxiety about mass shootings.

7. Drug-ambivalent. A little blond boy is shown snorting cocaine. (cf. Office Christmas Party) He is described as a “spoiled little monster”, but the moment is supposed to be humorous.

6. Pro-gay. Brad is upset at not having been invited to an old college friend’s gay wedding.

5. SJW-ambivalent. The apprehension that children today may become “entitled and pretentious” is accompanied by a vignette of a little girl chastising her father for being “so cisgender”. (cf. no. 1)

4. Pro-miscegenation. Brad’s vision of his son’s future successes includes a black love interest. His wealthy friend Billy (Jemaine Clement) is shown cavorting on a beach with two Polynesian women. A later fantasy sequence echoes this moment when Troy is seen frolicking with a pair of Asian girls (one East and one South).

3. Class-conscious. “You don’t get rich like that by being an eagle scout.”

2. Pro-family. “Isn’t it crazy,” Brad muses to his wife (Jenna Fischer), “how we made this kid and he’s this brilliant, amazing person?”

1.Anti-white. The movie’s representative hedge fund manager is not too surprisingly not a Jew, but a legally embattled white man (Luke Wilson) with the quintessentially WASPy surname Hatfield. “You’re a white kid from the suburbs without a sob story and you’re not even a legacy,” Brad admonishes his son about his chances of getting into Harvard. “We’re the underdogs here.” White viewers may be inclined to sympathize with what Brad is saying, but one suspects that the screenwriter’s intent is to make the character seem unreasonably self-pitying. Indian coed Ananya (Shazi Raja) later scoffs at his “white privilege” and “male privilege” problems. To her, his petty concerns evoke “the history of colonialism […] and the oppression of women and the fucking-up of the environment.” In a seeming endorsement of this character’s perspective, the movie concludes with Brad being moved by her performance of a violin solo from Dvorak’s “Humoresque”. The entitled white guy, by being obliged to shut up and listen to minority brilliance, is moved to a tearful emotion.

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!

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

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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