Archives for posts with tag: totalitarianism

Circle

Feminist diversity cheerleader and global elitist Emma Watson stars in the near-future technological cautionary tale The Circle as Mae Holland, who goes to work for a Google- or Facebook- or Microsoft-like tech giant headed by the deceptively down-to-earth Eamon Bailey (Tom Hanks) and finds it an altogether more sinister affair than the mere professional advancement she had expected. The film is more satire than suspense, its nightmare scenario of a progressive social media company assuming the de facto function of government being too close to today’s reality to do much to shock the audience. Watson is, as always, pleasantly watchable, and colorful little character parts are nicely drawn by the supporting cast, which includes Karen Gillan, Bill Paxton, Glenne Headly, and an understated Patton Oswalt.

Three out of five stars. Ideological Content Analysis indicates that The Circle is:

3. AltMedia-skeptical. After a character dies onscreen, an anonymous social media poster claims that the death was faked – a critique of the trend for alienated and insular internet-dwellers to assume the use of crisis actors in any significant event.

2. Luddite! People behave better when they are being watched, the Circle determines, and “Secrets are lies” becomes its mantra. In addition to its Orwellian scenario, the movie is critical of people’s reliance on social media for interacting with their fellow humans. In one scene, Mae suggests to her old friend Mercer (Ellar Coltrane) that he should text her later to arrange a time when they can meet. He points out that they could just do that now, while they are face to face, which puzzles her. “I’ve never been touched by someone who loves me,” an anonymous commenter confesses, illuminating the alienation and cost in terms of real-life social capital that the internet represents for some users. A social media clusterfuck later leads to one character’s demise. Qualifying the criticism, however, director James Ponsoldt claims in one of the Blu-ray features that the megacorporation at least “means well”.

1.Anti-White. Mae (of course!) finds herself drawn to a hyper-intelligent black computer genius named Ty Lafitte (John Boyega), who (of course!) is the actual inventor of the innovation that has made the Circle so powerful. Perhaps unintentionally, however, the filmmakers’ attempt to create a seamlessly multiracial milieu contributes to the movie’s sense of claustrophobia and paranoia, with annoyingly intrusive Circle zealots Smith Cho and Amir Talai being noteworthy in this regard. In addition, there appears to be a reference to much of the anti-white power elite’s antinatalism when one character observes that, “No one at the Circle has kids.”

Rainer Chlodwig von K.

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in [almost] 30 Days

DAY THIRTY

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A Brave Heart profiles the unusually malformed Lizzie Velasquez, a woman with a rare syndrome that prevents her from gaining any weight. Velasquez, whose mind is perfectly normal despite her irregular outward appearance, achieved an unwanted notoriety some years ago when a meanie uploaded a video of her to YouTube and titled it “The World’s Ugliest Woman”. Not one to be discouraged, Lizzie parlays her unique experience into a popular YouTube channel of her own and a career as a motivational speaker. She remains a sympathetic if not particularly interesting protagonist until she decides to become a Washington lobbyist. Shots of the inspired faces of women as they listen to Lizzie speak can only maintain the audience’s interest for so long. ICA’s advice, consequently, is to watch Braveheart again instead.

2 out of 5 stars. Ideological Content Analysis indicates that A Brave Heart is:

3. Liberal. A meet-and-greet with war-pig Hillary Clinton leaves Lizzie in giddy shivers. She goes to Washington to promote the Safe Schools Improvement Act, an Orwellian bill designed to implement a federally enforced system to track and record the slightest microaggressions of white males being processed through the government indoctrination complex. Though she never says so, one gets the impression that Lizzie and her fellow anti-bullying activists would prefer to censor the internet of all of its incarnations of “hate“.

2. Multiculturalist. A veritable cornucopia of the vibrant bounty that is the U.S. awaits the viewer of A Brave Heart: The Lizzie Velasquez Story.

1. Christian, i.e., Jew-cultish. Such victimology porn – the fascination with the diseased, the weak, and the ugly – expresses a current of Jewish thought dating back to antiquity and stretching into the present plague of cultural Marxism. As manifested in the story of the smaller, less powerful David’s triumph over the physically more impressive Goliath, the special attention devoted by androgynous Jesus to the poor, the blind, the lame, the leprous, etc., and the tyranny-tolerant notion that the meek will inherit the earth, with attendant contempt heaped upon the beautiful and the mighty of body, intellect, and nation, this constitutes a civilizational disorder with plainly disastrous consequences for the pathologically altruistic and cuckolded countries of the West. Velasquez, being a Jew-worshiping woman and a deformed Mexican one at that, is what the Tribe would like whites to see as the ideal American citizen of the future.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FOUR

Pussy Riot

Daryl Hannah ought to be tarred and feathered for agreeing to narrate this piece of shit, positively one of the worst, most hideously ugly and unappealing documentaries of the decade. Perhaps best viewed as an inadvertent comedy, complete with Jewish handwringing about corruption and the need to uphold the Russian constitution, its robust aroma is made the more pungent by slapdash subtitles, bad acting, and tiresome samples of Pussy Riot’s monotonous, wailing “music”. During the course of this particolored cavalcade of tedium, the saints of Pussy Riot are likened to Elvis Presley, Joan Baez, John Lennon, Joan of Arc, and even Michelangelo – and without the slightest indication of irony.

The “evil man” Putin, on the other hand, is compared to Joseph Stalin, Tsar Nicholas I, and Francisco Franco, and repeatedly depicted as a “fascist”. “This is a country where people die from dissent,” charges Masha Gessen. Performance artist Oleg Kulik has the most sidesplitting lines of this circus, funnier for being delivered with the utmost earnestness: “We are in the heart of a Satan and the heart is beating. Black blood is pumping like oil. The girls have poked the devil’s eye and the devil screamed ‘I am God!’ And the girls say, ‘No, you’re not God. You’re the devil,’ so it’s an argument between them. Is he a devil, or is he a God? It is an existential argument.”

Another chuckle comes from the sight of young women in rainbow-colored terrorist ski masks accompanied by the assertion that a rising generation of young Russians has a “desire to live in a normal country.” “Thank you, Madonna! Thank you, Red Hot Chili Peppers!” the girls exclaim for the solidarity shown them by the American entertainment establishment. The group needs all the help it can get when faced with a dictator like Comrade Putin. One of the silliest statements in the film is the weepy telling of how the members of Pussy Riot “were arrested in a dark street in Moscow.” Imagine the shame of the thing! Arresting these world-famous artistes in a street that was not even properly lighted!

Pussy Riot: The Movement earns a star and a half for its unintentional humor. Ideological Content Analysis, meanwhile, indicates that this pile of Jew dookie is:

4. Pro-AIDS. Jewish faggot Masha Gessen, who has admitted that her advocacy of “gay marriage” has the purpose of destroying the institution of matrimony, is one of the wholesome voices of anti-authoritarian courage featured in the documentary. The Pussy Riot girls are also shown cavorting and howling about homosexual “rights”.

3. Anti-Christian. “Sexism, persecution, and torture” follow from church involvement in state affairs. The Russian Orthodox hierarchy is portrayed as corrupt, oppressive, and avaricious. The entire film celebrates the Pussy Riot sluts for their desecration of Christ the Savior Cathedral, which, one of the interviewees suggests, may come to be known to history as Pussy Riot Cathedral. Francis Carr Begbie of The Occidental Observer adds:

Pussy Riot is also supported — in a circuitous route — by the Soros-funded National Endowment for Democracy. Could it also be that support of groups like Pussy Riot is part of a parallel Jewish strategy of debasement and corruption of Christian morality? As Professor Nathan Abrams wrote, the very prominent Jewish involvement in porn was a result of the “atavistic hatred of Christian authority” and a desire to “weaken the dominant Christian culture.”  Is it so much of a stretch to view Jewish support of these groups as part of the same agenda?

2. Feminist/pro-slut, with Russia depicted as some sort of hell hole of sharia-style patriarchal totalitarianism where women are obligated to cover their heads in shame. “It’s an act of love among dead nature to show that there is at least something living in this country,” Kulik says of a public orgy in which one of the Pussy Rioters participated.

1. Zionist, smearing Putin and Russia in accordance with neoconservative aims. Pro-Israel Jew Senator Benjamin Cardin is spotlighted for his work in raising awareness about the gentile evil being perpetrated in Russia. The narration even tosses in a jab at Iran for alleged corruption. Interviewees, in addition to the disease-exuding Gessen, include Pussy Riot’s Jewish lawyer, Mark Feygin, and gallery owner Marat Guelman, who whimpers piteously: “Because now what we have, Stalin come back.” There is, too, an echo of “Holocaust” propaganda in Pussy Riot: The Movement’s characterization of Russian prisons as concentration camps where women are (so the story goes) fed stale bread and rotten potatoes, made to stand naked outside in the cold, and prevented from using a toilet. Jewish billionaire oligarch Mikhail Khodorkovsky is presented as a rival of Putin – perhaps the only politician who could lead Russia to freedom! – but those susceptible to such rubbish are advised to read what Ronald L. Ray of American Free Press has written about this parasite:

It is Russia’s President Vladimir Vladimirovich Putin, a former communist, who stands in the breach, while bankers and internationalists promote the likes of Mikhail Borisovich Khodorkovsky, a Russian Jewish oligarch with billions of dollars to use for the re-enslavement of the former Soviet Union. […]

Although convicted of tax evasion and moneylaundering—a conviction upheld by the European Court of Human Rights—Khodorkovsky has been portrayed by Western media and politicians as a “political prisoner” because he opposed Putin. He is the poster boy for the plutocratic fight against Russian nationalism and economic independence.

But according to a January 3 report in Germany’s National-Zeitung, even defenders of the 50-year-old multi-billionaire are forced to admit that his wealth is ill-gotten. In just 15 years, the young communist son of modest engineer parents amassed many billions of dollars under the aegis of former Russian President Boris Nikolayevich Yeltsin. He was one of a handful of Jews who were given free rein by Yeltsin to enrich themselves by gaining control of much of Russia’s wealth and politics […]

As Yeltsin’s energy minister, Khodorkovsky used his now-bankrupt privately-owned Bank Menatep, for shady real estate dealings and to purchase a controlling interest in the defunct Yukos Oil Company at a fraction of its value. The Yukos production division in Russia sold the oil at minimal profit to the distribution division, located in a foreign tax haven, which then sold the oil to American and Jewish interests at market rates. Khodorkovsky and his partners profited immensely and paid little or no taxes. When a local Russian mayor spoke out about Yukos’s refusal to pay taxes, a Khodorkovsky partner was implicated in the contract murder of the official.

Khodorkovsky was accused of stealing 200 million metric tons of oil from Russia—half the Yukos production—via his business practices. Thus, it was natural that, under Putin’s efforts to break the international bankster grip on Russia and regain control of natural resources, Khodorkovsky would be investigated for selling those resources out of the country.

Not surprisingly, Pussy Riot: The Movement executive producer Marianna Yarovskaya – clearly a principled crusader for truth – is a former employee of Zio-globalist operations Greenpeace and Voice of America. She was also the head researcher for global warming scare film An Inconvenient Truth. Unsurprisingly, too, given the group’s Jewish and globalist NGO connections, Pussy Riot has most recently thrown the weight of its tawdry celebrity wholly behind the “refugee” invasion of Europe.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1SU1s0g

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SIXTEEN

Red Army

Red Army tells the intriguing story of the Soviet hockey system – the players, the bureaucrats, and the sport’s utilization for patriotic propaganda purposes under Brezhnev. Star performers like Viacheslav Fetisov, whose reminiscences form the core of this exceptional documentary, contributed to the development of an intricate, distinctively cooperative hockey style as contrasted with the rougher, more individualistic Canadian-American model. While loved and idolized by their people, Soviet athletes, as Red Army makes painfully clear, did not enjoy the freedom and the celebrity lifestyle associated with sports in the United States.

A participant in the celebrated Miracle on Ice of 1980, Fetisov and his teammates went on to win the Soviet Union its sixth and seventh gold medals at the 1984 and 1988 Winter Olympics. Fetisov was beaten and harassed by authorities before finally being able to emigrate to the U.S., where he at first had difficulty adjusting to an unappreciative American system. In 1995 he was traded by the New Jersey Devils to the Detroit Red Wings, whom he helped to Stanley Cup victories in 1997 and 1998, largely through a recreation of the successful five-man formation, the “Russian Five” or “Russian symphony”, that had worked so well for the Soviet team.

One criticism of Red Army is that it treats the propagandistic agenda of Soviet sports culture as if this was somehow unique to the communist experience – as if sports in United States, for instance, do not convey the official myths of this decaying society. The U.S. distinguishes itself with the cultural Marxist flavor of its spectator sports, with team members of all different races, sexual orientations, and national origins coming together for a single purpose and teaching not pride in one nation or race, but multicultural meritocracy and allegiance to uniforms. “Spectator sports today is used as a perfume to hide the aroma of our decaying society,” writes Harrison Elings at The Occidental Observer. “It has ushered in an age of sports ritualization. It is used as an escape mechanism for a lost identity, an identity which now accepts and believes in the entrance and mixture of all races into all Western societies. It is Exhibit A for successful multiculturalism and interracial harmony and cooperation.”

5 stars. Ideological Content Analysis indicates that Red Army is:

3. Anti-materialistic. To its credit, Red Army does not stoop to glorifying the gaudy, gangsterish switch to capitalism in the 1990s. “Different mentality. Different culture,” Fetisov says in reflecting on his return to his formerly communist homeland. “We kind of forget about the patriotism. We [are] kind of ashamed [of] what we was before.” Furthermore, he confesses, “We lost something. We lost our pride. We lost our soul.” What Red Army neglects to tell the viewer, however, is just how Jewish the criminal Russian nineties were.

2. Zionist. Directed by a very self-consciously Jewish immigrant’s son, Gabe Polsky, Red Army is comparatively well-behaved in its cautious treatment of Vladimir Putin’s Russia, but the choice to include one particular clip from journalist Vladimir Pozner is very telling. “Much of the problems” – that is, in the Russia of today – “are still anchored in that [totalitarian] past,” he says, leaving to viewers’ imaginations what “problems” Russia has. This is something of a throwaway statement in the context of the full-length documentary, but crucial in the marketing of the film to the public, as millions of Americans have heard this remark about Russia’s alleged Soviet-Putin continuity “problems” in the widely seen Red Army trailer included on many 2014 Sony Pictures Classics releases. Asked by an audience member at a Toronto Film Festival Q & A why no Russian filmmaker had previously made a film about the Soviet hockey system, Polsky responded, “maybe because [of] some of the politics in the country, they might just – it’s not possible.” The insinuation of this vague reply is that Putinist Russia is some oppressive bastion of censorship preventing the production of intellectually satisfying hockey documentaries.

1. Pro-immigration, reinforcing the notion that immigrants have valid reasons for moving to the United States and attempting to find a better life. Fetisov, because of his high achievements and non-threatening genetics, presents an unusually appealing immigrant narrative. Some NHL personnel were wary of the sudden influx of Russian players after the collapse of the Soviet Union, and Red Army includes a sound bite from one such nativist who suggests the imports are stealing American jobs. This, however, the film implies, was just a form of bigotry that had to be won over. “They’re playing for us and they’re good,” one hockey fan exults after Fetisov and his countrymen hit their stride with the Detroit Red Wings.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1NV7Rcd

Carney

Boston University Film Professor Ray Carney

Independent-minded film critic Ray Carney is famous – or notorious – for his iconoclastic views on the cinematic canon and what he considers the true cultural and psychological significance of the movies. He has found himself opposed, however, not simply by critical orthodoxy, but by an academic establishment he paints as disturbingly authoritarian, ideologically regimented, and increasingly Orwellian in its capacities for surveillance – all contributing to what Carney characterizes as an intellectually “chilling” effect on the academic environment. Particularly corrosive to intellectual integrity, of course, are the ubiquitous demands and appalling crudities of cultural Marxism, now the de facto religion of the western intelligentsia and consequently de rigueur in university programs. In the following blog post, Professor Carney responds with well-reasoned indignation to the robotic calls for increased “diversity” and posits the existence of two kinds of diversity: superficial racial and sexual diversity of the type trumpeted by the professional victimological shakedown artists; and, naturally dearer to Professor Carney’s heart, an intellectual diversity and tolerance for the minority viewpoint that he would expect to find held sacred in a healthier, less unimaginatively degenerate academia.

http://insidebostonuniversity.blogspot.com/2013/03/real-diversityfostering-and-protecting.html

dredd-poster

After the nuclear holocaust, the ruins of America’s eastern seaboard are united under police state rule as Mega City One, a sprawling urban squalor infested with crime, with “only one thing fighting for order in the chaos: judges.”  One such judge is Dredd (Karl Urban), a man whose passionate dedication to law enforcement is so profound that his mouth is permanently frozen into a psychotic pout as he zooms around the city righteously blasting tattooed dopeheads.

In Dredd, the titular hero has an especially rough day on the job when, along with rookie partner Anderson (Olivia Thirlby), he finds himself locked into a ghetto megastructure (the overgrown futuristic equivalent of a housing project) and pitted against its masters, drug queenpin Ma-Ma (Lena Headey) and her minions.  The resulting adventure approximates The Running Man meets Escape from New York meets Assault on Precinct 13, with police woefully outnumbered against frightening futuristic odds.

With its charismatically grim avenger and pulsing electronic music, Dredd makes for a fairly slick glorification of authoritarian skull-cracking and high-tech fascism.  There remains in the public’s imagination a fascination and a seduction in quasi-vigilante cops after the Dirty Harry mold; Dredd, likewise, in its more macho moments, almost succeeds in lulling its audience into idiotic obedience in slavishly licking the iron heel.

An irony of Dredd‘s dangerous indulgence toward the police state, however, is its desire to depict iron-fisted government brutality as the solution to social problems which, though the script seems oblivious of the fact, are actually caused by the policies of precisely that glorious fascistic leviathan.  Manufacture and sale of drugs appear to be the major generators of wealth for the ghetto dwellers; but the state, through its prohibition of the people’s livelihoods and pastimes, has only succeeded in creating hellholes of systemic violence in which only the most vicious criminals and corrupt police are allowed to profit and thrive.  The exorbitant level of unemployment indicates that Mega City One’s Hall of Justice is probably doing its enlightened utmost to strangle other potentially productive areas of commerce, as well.

Dredd‘s budgetary constrictions rarely interfere with its considerable entertainment value.  The action scenes are adequate, the pace is consistently brisk, and the evocation of a grimy, dystopian future is sordidly picturesque and amusing if also somewhat half-baked.  Urban is quite watchable in the lead and Dredd lays a workable foundation for a potentially fun series of films down the road.

4 of 5 possible stars.  Ideological Content Analysis indicates that Dredd is:

7. Antiwar.  Nuclear conflict has destroyed most of America.

6. Pro-miscegenation.  It’s the progressive future, so it’s casual.

5. Torture-friendly.  Psychic interrogation may be more efficient, but an old-fashioned beating is also acceptable.

4. Multiculturalist.  The Chief Judge (Rakie Ayola) is black, as are representative medical professionals.  As in 80s vigilante films, street gangs, or at least the Ma-Ma Clan, are a multiracial affair (but one gang, the “Red Dragons”, is all Asian, apparently, and another group identified as “the Judged” is represented by a brown face).  In progressive acknowledgment of multiple intelligences, affirmative action is in effect in Hall of Justice human resources decisions.  Anderson, who has failed her qualification examination by a margin of three points, is given a chance because she is psychic.

3. Feminist/pro-castration.  Tough-as-nails Ma-Ma, formerly exploited by an abusive pimp, “feminized the guy with her teeth”, took over his business, and built a successful drug empire.  Humor is more than once milked from the idea of damaged or destroyed male sexual organs.  A thug is doomed from the moment he taunts Anderson, “Got any last words, bitch?”

2. Anti-drug.  Slow-mo, the illegal drug of choice in the futuristic ghetto, creates an experience of reality that moves at 1% normal speed.  It is evil for postponing the user’s inevitable progress into the glorious future.  Thus, conservatism or resistance to change is reimagined in Dredd as a narcotic addiction and an obstacle to big government new world order progressivism.

1. Statist/fascist.  Society, breaking under its own weight, needs to be protected from itself.  Search warrants, Miranda rights, habeas corpus, right to trial, and freedom from cruel and unusual punishment are annoyances that have, conveniently for the state, been discarded in Mega City One.  Statism gives itself the ultimate pat on the back with Anderson, the psychic judge who proves that the benevolently omniscient and omnipresent state, like Santa Claus before it, knows who is naughty and who is nice.  Gun control, too, receives an endorsement when, as with Bond in Skyfall, Dredd is shown at a disadvantage against lawbreakers’ superguns with high ammunition capacity and rapid fire action.  Citizens live in fear of “the gun, [and] the gang” (presumably with reference to the private and not the public varieties).

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