Archives for posts with tag: Spencer J. Quinn

avengers endgame

At Counter-Currents, Spencer J. Quinn reviews Avengers: Endgame and finds that it “amounts not just to a waste of time, but a profound waste of time: one that can be instructive and meaningful, but certainly not worth the three-hour, fourteen-dollar investment that the filmmakers are asking you to make”; while Trevor Lynch revisits Martin Scorsese’s The Aviator ,”a masterpiece, a work of tragic grandeur encompassing everything that made America both great and terrible, a biopic raised to the level of myth”; and Hugo Adrian considers “Neo as Jewish Messiah in The Matrix Trilogy” in another piece very much worth reading. (I have addressed related themes, albeit in less impressive depth, in my book Protocols of the Elders of Zanuck and in a 2015 post here at Ideological Content Analysis.) In episode 19 of Guide to Kulchur, Fróði Midjord, John Morgan, and Survive the Jive‘s Thomas Rowsell undertake a stimulating appreciation and dissection of the quasi-horror cult classic The Wicker Man, with Greg Johnson next joining Morgan and Midjord for further discussion of The Wicker Man on the latest Counter-Currents podcast. Over at The Unz Review, Max West ruminates on S. Craig Zahler’s epochal offering Dragged Across Concrete – reviewed by me here – as an act of “cinematic trolling”, also drawing on Jungian analysis for an understanding of the movie’s deeper sociological significance. Finally – last but far from least – Brandon Adamson expounds upon the galactic credits and dystopian demerits of Seth MacFarlane’s sci-fi series The Orville in his Autistic Mercury contribution “Cucked in Space”.

Rainer Chlodwig von K.

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

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Death Wish

By the early 1970s, Americans had begun to notice a change in their big cities. After the Civil Rights movement and the 1965 Immigration Act, the multiracial rot – the inevitable by-product of the Left’s ascendancy in the West – began to set in. Cities that were once clean, safe, and orderly became much less so in fairly short order. Americans were not complaining about muggings, rapes, and murders as much in 1960 as they were a decade and a half later. They also didn’t feel as if they were entering another country every time they walked three blocks to buy groceries.

The original Death Wish film, released in 1974, was, on one hand, a way to capitalize on these newfound feelings of insecurity and alienation which were perplexing the lives of millions of white Americans at the time. On the other, it did give legitimate, if somewhat oblique, expression to these feelings, so much so that the film quickly became iconic despite mostly poor reviews, and spawned four sequels over the following twenty years, as well as a big-budget remake that was recently released. The plot is straightforward: A solid citizen discovers that thugs have murdered his wife and raped his daughter in his New York apartment, and he then acquires a gun to take revenge on the streets as a vigilante. Given the film’s success at the box office, it is safe to conclude that many Americans, especially the white ones who fondly remembered a better past, strongly identified with such a character.

[Read the rest of Quinn’s review at Counter-Currents.]

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