Richard Spencer and Mark Brahmin discuss James Cameron’s films The Terminator (1984) and Terminator 2: Judgment Day (1991). Readers may want to compare this pair’s very insightful commentary with my remarks on Terminator: Genisys (2015).
The Ideological Content Analysis 30 Days Putsch:
30 Reviews in 30 Days
DAY TWENTY-EIGHT
In a series of events with which the fans of the original Terminator will already be familiar, futuristic human resistance leader John Connor (Jason Clarke) sends his own father (Jai Courtney) back through time to 1984 to save his mother before a Terminator cyborg (CG-rejuvenated Schwarzenegger) can kill her before she conceives the destined savior. Terminator Genisys then proceeds to overturn the audience’s expectations by having Reese arrive not in the 1984 of the first film, but in an alternate, already altered reality in which Sarah Connor (Emilia Clarke) has already been toughened by years of tutelage from “Pops” (geriatric Schwarzenegger), her own personal cyborg sidekick and father figure. Genisys, an Orwellian app to be launched in 2017, turns out to be the catalyst for the rise of the machines. The plot gets a lot more convoluted than this, and none of the time travel gobbledygook makes any sense; but fans of the franchise ought to enjoy it, its sinister purposes notwithstanding.
4 out of 5 stars. Ideological Content Analysis indicates that Terminator Genisys is:
3. Feminist. Sarah Connor in this movie is already a battle-hardened warrior woman. She resents Reese’s presumption that she is in need of his protection; and, in fact, it is she, not Reese, who utters the famous line, “Come with me if you want to live.”
2. Zionist. In the bleak future sampled in the exposition, humanity is confined in camps, given arm-barcodes, and exterminated. The term “final solution” even occurs in the script, so that human resistance in Terminator Genisys is understood subtextually to serve as the avatar of holocaust-fearing organized Jewry. Awakening European racial consciousness is equated with the quest of a totalitarian order of genocidal robot supremacy. This is the future that must at all costs be prevented. (Skydance Productions, which made the film, is run by Jews David Ellison, Dana Goldberg, and Jesse Sisgold.)
1. Pro-choice and anti-white. Jew-killing robot armies of whites will never be able to serve their purpose as long as they are never born. Terminator Genisys, consequently, is greatly concerned with promoting Euro-American childlessness. Thirty years of cultural collapse spanning the first film and this one can be read between the lines. Whereas, in the first entry in the series (made in the decade following the Roe v. Wade decision), the Terminator is an antagonist – an abortionist sent from an inhuman future to preemptively terminate Sarah’s pregnancy – this same soulless, robotic abortionist (or one with identical facial features) has, in Terminator Genisys, become a perverse father figure to Sarah, who enlists his help in killing her son, John Connor, who, Sarah discovers in this installment, has become a corrupted collaborator of Skynet in the yet-to-be. One of the major action sequences in Terminator Genisys features Sarah driving a symbolically passengerless school bus – signifying the white race’s decadent demographic decline – in her desperate rush to evade and/or destroy her own posterity. Once freed from the horror of her son’s bleak destiny, Sarah can enjoy sexual freedom and happiness with Reese because, as she puts it, “Now I can choose.” Additionally, the necessity in the film of preemptively assassinating a future savior can be read as expressing a Jewish wish that Christ had been aborted.
Rippedpublicans: Where the Action Is!
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
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
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
With a reach that far exceeds its grasp, this science fiction cheapie from Andrew Bellware suffers from grandiose ambitions notwithstanding its frequent mocking self-aware campiness. Android Insurrection opens with an informational spiel about the wonders of robotic labor-saving devices which have supposedly ended war and other human struggles, but then follows this with a matter-of-fact but ominous litany of caveats about robotics safety that sound like the scary side effects at the end of a prescription drug commercial. Set in the twenty-third century, after North America has been reduced to desert and artificial intelligence has turned against humanity, the plot concerns a mission to retrieve a set of pretty, pink-haired androids from an underground research facility guarded by spider-like killer robots.
Based on an “original” story by Nat Cassidy, Android Insurrection bears obvious resemblances at various moments to such films as The Terminator, Alien, Hardware, Crash and Burn, and even Star Wars with the inclusion of light-sabers. These comparisons, alas, do Android Insurrection no favors and only serve to highlight its pitiful poverty by contrast. The effects, while often better than amateurish, seldom interact convincingly with the living performers and thus minimize the intended impact of the action sequences.
Momentary suspense is accomplished with the suggestion that one character on the team of robot-fighters may be a robot herself; no serious attempt is made to capitalize on this potential interest-hook, however, and the remainder of the story meanders with little sense of purpose or worthwhile stakes for the viewer. The acting, too, is inconsistent, and occasionally detracts from what might have been a more seriously committed and convincing film instead of a video document of paradoxically over-ambitious Generation X underachievement.
2 of 5 possible stars. ICA’s advice: see Cherry 2000 again instead.
[WARNING: POTENTIAL SPOILERS]
Ideological Content Analysis indicates that Android Insurrection is:
5. Antiwar. Nuclear weapons appear to have lain waste to the planet.
4. Feminist/pro-slut. Approximating slasher “final girl” structure, Android Insurrection provides one noteworthy survivor in Foxwell (Virginia Logan), a tough, nosering-sporting, midriff-bearing Generation-X chick who wields a phallic EMP grenade with panache.
3. Racist! Fulfilling wacko survivalist and paintballer fantasies of a vanilla dawn, Android Insurrection, contrary to evident demographic trends of today, depicts a future America populated almost entirely by young, attractive, gun-toting white people, with only one light-skinned Hispanic cutie (Juanita Arias) to complement the otherwise pure, creamy uniformity of the gene pool. A Hitler-mustached, German-accented nerd named Bellware (after the director, but played by David Ian Lee) gives the combat team its orders. Undesirables, we can only assume, have been eradicated through a perfection of the AIDS virus or some other nefarious eugenics coup. Android fifth-columnist agents among the city-dwelling humans (see no. 2), meanwhile, are to be granted “special protections” – clearly an insensitive reference to the necessary progress of affirmative action in the present “post-racial” age.
2. NWO-alarmist. The most interesting portion of the film may be the epilogue in which an artificial intelligence informs citizens that it is now in control and that, moving among them, undetected, are sleeper agents, secret robots, who could even be their friends and family members, and who at the proper time will move to implement the policies of the new order. Among the robot commandments are that humans of “subnormal” and “supernormal” capacity are, Procrustes-wise, to be sent to a state facility “for modification”.
1. Neo-Luddite. Technology is evil. Your toaster hates you and will destroy you if you allow it.
With influences ranging from Scanners to The Terminator, Rian Johnson’s new film Looper nonetheless succeeds in being highly original and might best be described as a time travel western or sci-fi gangster film. Crime organizations of the 2070s are in the habit of disposing of unwanted people by sending them back in time to be executed by “loopers” in the 2040s. Joe (Joseph Gordon-Levitt) is one such looper working in Kansas and finds himself in a terrible predicament when faced with the option of either assassinating his future self (Bruce Willis) or disobeying his boss (Jeff Daniels) by letting himself run free. Complicating matters still further is the intention of the older Joe to assassinate a young boy, Cid (Pierce Gagnon), who will grow up to be the Rainmaker, the mass-murdering mutant mega-crimelord who wants Joe and all the other loopers erased. The boy’s mother (Emily Blunt) naturally tries to prevent this from happening and wonders if young Joe, who shows up on her farm, is someone she can possibly trust.
Futuristic films rarely instil hope, and Looper‘s predictions for human society fit nicely into this tradition. Looper keeps its forecasts relatively modest by movie standards, with a few technologies and other developments having changed dramatically, while other aspects of society – not to mention all of humanity’s failings – remain remarkably the same. 10% of humans do manifest a mild telekinetic mutation, however, which plays into the Rainmaker origin story. The Great Recession appears to have settled into an ongoing American decline, with systemic unemployment creating vagrant gangs and making people with money intolerant of the poor. China is the ascendant power, and with the dollar apparently having lost all value, gold, silver, and yuan are the preferred forms of payment. Joe is planning to emigrate after saving enough money, and is learning French toward that end, but his boss, who has lived in the future, advises him to forgo France for China.
With a plot revolving around strategic child murder, Looper is strong stuff, not to be dismissed as fantastic escapism, and is arguably a meditation on the ethics of abortion. The older and presumably wiser Joe wants Cid dead to save his own and his wife’s future life, while young Joe, a junkie and whoring materialist, is divided by his loyalty to himself and to his boss, his new knowledge of potentially preventable future horrors, and his revulsion at what he sees himself attempting to do to correct the situation. If time travel allowed Abraham Lincoln, Lenin, or Hitler to be located and neutralized as children, would the future outcome of the action justify their preemptive murders? This is the problem Looper addresses.
The story can be disorienting, and Looper may not make complete sense even according to its own logic, but the ideas are important, the vision compelling, the direction certain, and the acting almost uniformly accomplished and affecting. Bruce Willis, after appearing in the excellent Twelve Monkeys, now has two very memorable time travel films to his credit, while Joseph Gordon-Levitt can add one more to his recent string of high-profile roles in action winners. Pierce Gagnon turns in a remarkably intimidating child performance as the future Rainmaker, and writer-director Rian Johnson identifies himself as a talent to watch in the years to come, with Looper easily earning 5 of 5 possible future star outcomes.
Ideological Content Analysis indicates that Looper is:
6. Anti-drug. A psychedelic eye drop trip almost results in a young boy being run over. Joe is an addict and more than once is depicted going through withdrawal sickness. The film is cigarette-ambivalent, however. In one scene, Emily Blunt sits on her porch and mimes the smoking of a cigarette, as if she’s given it up and misses the naughty ritual. While cigarettes appear to be equated with hypodermic needles and eyedrops as an addiction, smoking is still, in the classic Hollywood tradition, also the mandatory film noir post-coitus convention.
5. Pro-miscegenation. Joseph Gordon-Levitt’s flirtations with a black waitress are punctuated by lurid shots of cream billowing in his cup of coffee. He leers lasciviously at Chinese women before marrying one of them as Bruce Willis.
4. Gun-ambivalent. One particular murder is appalling, but gunplay can be horrific or thrilling depending upon the target. In one montage of mob hits, machine gun fire actually provides the percussion to the accompanying music.
3. Arguably anti-capitalist and egalitarian. The silver currency evokes the Judas story, with a montage alternating mob executions with shots of silver bricks being neatly stacked, seemingly equating the profit motive with treachery and murder. The lives of the poor are increasingly worthless as income inequality has broadened.
2. Feminist/pro-slut. Emily Blunt’s character is a single mother who also manages to run a farm by herself. Her telekinetic ability is stronger than that of the men who have used that tactic to try to impress her, and she knows how to handle herself with a shotgun and even doctor a man after she’s shot him. Who needs some presumptuous penis mucking up her life to be a good, protective, and affectionate mother?
1. Pro-life/pro-bastard. Looper can leave the viewer in no doubt as to its attitude toward innocent human life. Only after they grow up and join criminal organizations do humans become entertaining machine gun target galleries.
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