Archives for posts with tag: They Live

snowflake

Realized through a mixture of live action and computer-generated animation, this Spanish-produced film follows the fortunes of Snowflake, the world’s only albino gorilla, who as a child is taken by force from her parents in Spain’s colony of Equatorial Guinea and sold to a zoologist, who gives Snowflake to his daughter Wendy (Claudia Abate) as a pet. Wendy and Snowflake become bosom companions, but Snowflake’s life is again upturned when Wendy’s father deems her too old and troublesome to be kept as a pet and sends her to live instead in a zoo with other gorillas.

Unfortunately for Snowflake, the papa gorilla is prejudiced, takes an immediate disliking to her, and would rather his two children, Petunia and Elvis, had no association with her. Snowflake is understandably ashamed at being different, and sets out with friendly red panda Jenga to find the Witch of the North (Elsa Pataky), who can turn Snowflake into a normal, black gorilla so she can fit in with her peers. Meanwhile, the evil and superstitious Dr. Archibald Pepper (Pere Ponce) has designs on Snowflake’s heart, not in the emotional sense, but as an ingredient in a potion he hopes will give him eternal life.

Children will enjoy this simple story, the innocent Snowflake being an impossible heroine to dislike. The animation ranges from tolerable to excellent, and the jokes, of the “monkeying around” variety of wordplay, are hit-and-miss; but the film is sufficiently fast-paced to keep both young and old from falling asleep. Voice-over actors in the English-dubbed version include Christopher Lloyd as the goofy Dr. Pepper, David Spade as zen-aspiring red panda Jenga, and Keith David as the father gorilla. Surprisingly, the English version even includes an allusion to David’s role in John Carpenter’s alien invasion classic They Live, when, aping (no pun intended) Roddy Piper’s character in that film, he says, “I do two things: eat bananas and kick butt. Looks like we’re almost out of bananas.”

Jenga sums up the movie’s lesson when he says, “At the end of the day, being yourself always means being a little different.” In addition to the prevailing messages of tolerance and self-esteem, young audiences are also reminded of stranger danger and of the value of family. Mildly gross humor includes nose-picking, with cartoonish violence fairly frequent. Potentially objectionable moments include Dr. Pepper chasing Snowflake with an axe and brandishing a machete as he threatens the beautiful Witch of the North, “You won’t be pretty when I’m done with you.” Mothers may also want to be aware of one borderline raunchy scene in which Jenga, understandably eyeing the Witch’s shapely rump, observes, “Ooh, you know I might be missing out on some stuff with all this purification.”

3 of 5 possible stars. Ideological Content Analysis indicates that Snowflake the White Gorilla is:

11. Class-conscious. Dr. Pepper, though wealthy, is a miserly tipper.

10. Media-critical. Media reliability is implicitly questioned when a news broadcast about Snowflake erroneously uses footage of Petunia instead.

9. Pro-police. Cops, after catching Pepper, flash peace signs.

8. Secularist/skeptical. Reason is more valuable than superstition or new age spiritual notions of karma and meditation, Jenga’s jargon stock-in-trade.

7. Animal rights militant. Hunters, ivory collectors, and other victimizers of animals are depicted negatively.

6. Anti-colonial. Just as progressivist wisdom dictates that the Third World must liberate itself from its western masters (even when, as in the case of Equatorial Guinea, this invariably results in terror, tyranny, and a degraded standard of living), it is part of Snowflake’s coming of age that she separates from her adoptive family of humans and self-actualizes among her own kind. (To the extent that the representative of the colonized country is an animal, the film is perhaps unintentionally racist.)

5. Multiculturalist/pro-wigger. Jenga, making the racial subtext of the film explicit, says, “She wants to be black, you moron. It’s actually not uncommon in teenagers.” Snowflake and friends, during the end festivities, do a negroid dance to kiddie hip-hop. Jenga sassily calls Snowflake “girlfriend”.

4. Mildly feminist. Snowflake is tough and adventurous. Wendy’s mother, though the typical homemaker of Franco’s traditionalist Spain, perhaps hints at the advantages of sexual equality and women in the workplace when she observes, “It’s not easy living off of one income.”

3. Arguably irreligious, specifically constituting a coded attack on Catholicism. Dr. Pepper derives his outmoded superstitions from an ancient Latin text full of arcane lore and prescriptions, and his devotions include the lighting of candles on an altar. His beliefs and his yearning for eternal life are psychologically unhealthy “childhood hangups”, the viewer is told. Jenga mocks him and possibly alludes to Jehovah’s Witnesses when he says, “Shouldn’t you be going door to door telling people about your weird obsession?” The Witch of the North, looking into Dr. Pepper’s favorite book and seeing what it has to say on the subject of white gorillas, objects, “Oh, my God, that must be a mistake.” Religion, Snowflake the White Gorilla teaches, must be bent to accord with social progress. Subversively, the Witch is the more likable character.

2. Pro-family. Families, though not perfect, are generally useful and loving units. Wendy, thinking she might die, reflects, “I should have been nicer to my parents.”

1. Pro-miscegenation and anti-racist (i.e., pro-yawn). The film ends with a white gorilla/black gorilla kiss. A red panda may also have the hots for a human.

In the future, fast food companies, faced with flagging sales, seek to reestablish their market hegemony through parasitic mind control.  Their ploy works so well in the experimental market of Russia that the nation’s ideal of beauty itself has been manipulated, so that obese replaces svelte as the desired body type.  Only one man, Misha (Ed Stoppard), has the visualized insight to unravel the aggressive marketing’s workings.  He can actually see the balloonlike monkeys riding everybody’s backs, including those of his wife and son.  The phantom swells like a cartoonish erection until the host has satisfied its demand by visiting the fast food restaurant associated with it, resulting in a population of zombie-like junk food addicts.  Misha, a visionary marked from childhood for a special destiny, devotes his life to destroying the fast food market by fighting branding with branding of his own.

Branded clearly sees itself as being somehow highly original in its exposure of how the public’s tastes and perceptions are largely dictated from sinister corporate boardrooms.  Had the films The Stuff, They Live, Happy Hour, and Wag the Dog never been made, Branded might claim some slim excuse to exist.  Coming when it does, however, Branded only pats itself on the back for restating with the addition of computer-generated monsters and even less convincing profundity what every intelligent person in the audience already knows.  What might have worked as a twenty-minute satirical short film ends up overstaying its welcome by about eighty minutes, with the vague emotional flatness of Misha’s character and his relationship with wife Leelee Sobieski hardly helping to humanize what amounts to a wearying feature-length joke.

Ideological Content Analysis indicates that Branded is:

6. Anti-police.  Officers beat Misha unnecessarily as they arrest him.

5. Anti-Christian.  Misha, in a scene played for humor, turns to God only after being tortured by a debt collector.

4. Anti-family, with no positive examples.

3. Statist.  Misha ludicrously expects his government to outlaw all advertising – and it does!  That Branded sees government as an antidote to brainwashing or as somehow removed from the world of marketing is indicative of its simplistic naievety.  Freedom of expression in this film is transformed into something predatory that must be stamped out to preserve human dignity.

2. Anti-obesity.  Branded purports to reveal a nightmarish future world in which most people are fat, neglecting to notice that this is the society in which viewers already live.

1. Anti-corporatism (i.e., pro-yawn).  Rather than providing you with products you actually want, McDonald’s et al, Branded would have you believe, have been brainwashing you all these years.

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