Archives for posts with tag: spiritualist

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWELVE

Ouija

Kevin Tenney’s Witchboard (1986) remains for this reviewer the definitive horror treatment of the Ouija board phenomenon; but those wanting more in the same vein could do worse than last year’s Ouija, especially considering that Ouija board movies have never constituted a particularly robust or prolific genre. There is nothing very original in Ouija, but that is not necessarily bad. The first elegant hour or so of this spooker conforms to teen horror expectations well enough and is comfortably suspenseful in its attention to the conventions, with star Olivia Cooke and her friends finding themselves visited by an unknown force after attempting to contact recently deceased pal Shelley Hennig through the titular spirit-conjuring game.

The last half hour suffers from too much onscreen revelation, with CGI frights taking the place of the great unseen – the bane of far too many Hollywood horrors in this age of digital effects – but the relative strength of the first portion still makes Ouija marginally recommendable for less-than-demanding admirers of the genre. Cooke looks good and is tolerable in the lead, but cute and creepy character actress Lin Shaye, who also energized a memorable scene in the same year’s The Signal, is more worthy of mention for a puny but pivotal role as an insane asylum patient with some inside information.

[WARNING: SPOILERS]

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

3. Insensitive! The idea that evil can and ought to be destroyed in a furnace may offend Chosen viewers of delicate sensibilities.

2. Multiculturalist. Bianca Santos plays the token Latina friend. Black mourners at blonde bimbo Hennig’s wake demonstrate that she was a decent person. Nona (Vivis Colombetti), meanwhile, puts in a good word for supernatural Mexican folk wisdom.

1. Ambiguously anti-family. Hennig’s house is haunted by the spirits of a little girl (Sierra Heuermann) and the spiritualist mother (Claudia Katz) who tortured her by stitching her mouth shut. It turns out the little girl was even more monstrous than her mother, who apparently was justified in performing this highly irregular surgery, while the mother’s other daughter, played by Shaye, is also a devilish lunatic. The biggest mystery about this family, which lived in the house in the forties and fifties, is why there was no father in the home. Was he a casualty of the war or did he abandon his wife and children? Is the mother’s frightful grotesquerie a commentary on the plague of single motherhood, or on the uncaring men who abuse them? The meaning of Ouija’s portrayal of the family hinges to a large extent on these unanswered questions; but Ouija with no uncertainty seeks to cast doubt on the idea of the perfect atomic age family as glimpsed in the vision of Norman Rockwell and various television sitcoms. This is a pathological past, in comparison with which the multicultural and erotically permissive present is normal and salutary.

Rainer Chlodwig von Kook

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Magic in the Moonlight

With Magic in the Moonlight, degenerate Jewry’s auteur laureate Allan Konigsberg (alias Woody Allen) returns to his beloved Jazz Age and to the theme of the enchantment in life and love that began to preoccupy him sometime around A Midsummer Night’s Sex Comedy (1982) – as well as to the contested existence of God, a subject that has obsessed him throughout his career. Colin Firth plays a celebrity illusionist invited to debunk spiritualist Emma Stone. The results, pleasantly enough, are quintessential Woody – witty, romantic, and generally wonderful. Blu-ray was invented to showcase Emma Stone’s immaculate, strange, and exquisite face. Highly recommended.

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that Magic in the Moonlight is:

6. Anti-family. Stone’s father abandoned her.

5. Class-conscious. “Unlike you, we’re members of the working class.” Emma Stone’s character comes from a much humbler background than those who patronize her services as a spiritualist.

4. Racist! Firth refers to Stone’s “confused black little criminal’s heart”. Konigsberg is hereby sentenced to make amends by appearing in Tyler Perry’s next Madea vehicle.

3. Anti-Semitic! “Hoodwinking is what we do,” confesses the hero’s trusted Jewish magician colleague Burkan (Simon McBurney), who presents himself as an exposer of hoaxes but turns out to have been a conman himself and a traitor to his friend. He is motivated, he concedes, by “envy and resentment”.

2. Redpilled. Stone rejects fawning, ukulele-strumming beta male suitor Hamish Linklater in favor of masculine, dignified Colin Firth.

1. Agnostic. “I think Mr. Nietzsche has disposed of the God matter rather convincingly.” Or has he? Maintained throughout is a tension between protagonist Firth’s rational understanding that spirituality is a fraud “from the séance table to the Vatican and beyond” and his simultaneous longing for some transcendence. Is it true that “happiness is not the natural human condition”? Is willful ignorance really bliss? “You were much happier when you let some lies into your life, Stanley,” Konigsberg seems to want to suggest with Magic in the Moonlight.

Rainer Chlodwig von Kook

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