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Dawn_of_the_Planet_of_the_Apes

Here is a worthy addition to the venerable Apes franchise. Like the original Heston classic, Dawn of the Planet of the Apes is by turns poignant, thought-provoking, and unintentionally humorous in telling the tragic story of what befalls humanity in the wake of its decimation by a simian flu and the resulting collapse of civilization.

What little remains of Bay Area humanity lives together in downtown San Francisco, led by capable ex-soldier Dreyfus (Gary Oldman). The civilizationally ascendant apes, led by intelligent chimpanzee Caesar (Andy Serkis), inhabit the forest surrounding the city, unaware that humans have survived the plague.

When a chance encounter and death bring the two mutually resentful species into conflict, members of both groups believe their continued existence is at risk. At stake in this exciting installment of the franchise is whether peace is possible or full-scale war between the two tribes is an inevitability.

4.5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that the symbolism or subtextual resonance of the ape/human relationship in Dawn is variable, changing in meaning from scene to scene, so that a single comprehensive interpretation is impossible. Anecdotal analysis follows, however, yielding the following diagnoses:

4. Multiculturalist. All races live together in harmony in progressive post-collapse San Francisco. The diverse makeup of the human element, including blacks, softens the association that racially insensitive viewers are likely to draw between apes and blacks. That parallel is exploited, however (see no. 3), and the abstract sense that the apes are akin to the teeming anthropoid scatology constituting the world outside the West – and, increasingly, the West itself – is also unavoidable. (cf. no. 1)

3. Anti-gun. With the planet essentially set back to zero, the original sin that disrupts this new potential Eden is not the eating of fruit, but the bearing of arms. Carver (Kirk Acevedo), a character who bears a suspicious resemblance to George Zimmerman and who, given his Anglo name, is presumably supposed to be some kind of “white Hispanic”, sets the plot in motion when he panics and shoots a (no doubt angelic) chimp in the forest. Apes, at first hopeful of peaceful relations, confiscate and destroy a few of the humans’ guns. Carver later disobeys Caesar’s terms of cooperation by sneaking a gun into ape territory, putting a baby chimp in danger and alerting emotionally susceptible moviegoers that the guns in their homes are a multitude of dead baby tragedies waiting to happen.

2. Green. It is man’s energy dependency which brings him into conflict – in this case, with apes – when Dreyfus determines to get a power plant operating again. No alternative energy is available, viewers are told, the implication being that, had America’s government, in its wisdom, been allowed to invest more of its tax booty in clean, green energy alternatives, the humans’ post-apocalyptic plight might have been avoided.

1. Crypto-Zionist. The misleading notion that the American energy appetite – lust for oil, for instance – is responsible for drawing the country into its conflicts abroad only serves to distract from the reality that it is the Israel lobby, not hootin’, hollerin’ Texas oil barons, who have exercised a Svengali-like influence on American foreign policy in recent decades.

More interestingly, the climactic sequence of Dawn of the Planet of the Apes invites an interpretation according to which the humans, led by Dreyfus, are Jews, and the apes are the primitive gentile hordes. As this interpretation would have it, the climax of the movie presents a kind of encrypted dialogue between two competing Zionisms. Some explanation may be necessary for the uninitiated in matters Judaic as to why goyim might be cast as apes. What too few gentiles understand is that Talmud-taught Jews hold non-Jews to be subhuman, their word for a gentile woman, shiksa, meaning an “unclean animal”. The Yiddish slur goyim, furthermore, is used synonymously with “cattle“.

The name of the human leader, Dreyfus, calls to mind the notorious Dreyfus Affair, which, as Jewish history would have it, constitutes one of the most rabid episodes of anti-Semitism in the history of Christendom (practically the entire history of Christianity being a mere buildup to the “Holocaust” if Jewish historian Raul Hilberg is to be believed). The name Dreyfus, then, suggests a Zionist martyr, as do his words and actions in this momentous sequence.

Toward the end of the film, the simian army has taken control of San Francisco, with bloodthirsty ape usurper Koba* (Toby Kebbell) and his followers occupying a downtown tower as headquarters. Dreyfus and his fellow human-Jews, unknown to the ape-gentiles, have planted explosive charges under the tower – a tactic clearly reminiscent of the Israeli Mossad‘s controlled demolition of the Twin Towers on 9/11.

Dreyfus, defending his decision to eradicate the ape-gentiles when fellow human Malcolm (Jason Clarke) expresses his horror and his hope that ape/human reconciliation is still possible, explains that he is detonating the tower in order to save the human race (i.e., Jews). His position, in other words, is that every ape-gentile must die so that Jew-humans might survive. He then proceeds to explode the tower, himself along with it, considering his act of mass murder a selfless martyrdom. The actual result of his action, however, is that full-scale conflict between ape-gentiles and Jew-humans is now a permanent feature of their inextricable histories. Ape-gentiles will always be hostile and on the defensive from now on because the vindictive Jew-humans can “never forget”.

The Jewish screenwriters of Dawn of the Planet of the Apes appear to intend for their film to function both as a symbolic cover-up for the Jews in subliminally excusing them from principal responsibility for America’s wars of intervention – and, for the tuned-in members of the audience, as a warning to the hardcore terrorist Zionist establishment represented by such figures as Adelson, Netanyahu, Silverstein, Chertoff, Zelikow, Kissinger, Zakheim, Krauthammer, Kristol, Perle, and the rest of the Talmudic rats responsible for the Jew World Order under which gentiles are currently dying and suffering unnecessarily. Push too hard, they caution, and you might just give away the game.

*”Koba”, whether coincidentally or not, was the nickname of supposedly anti-Semitic Joseph Stalin (responsible for the “black years” of Soviet Jewry).

 

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Mia, a boring heroin addict (Fun Size‘s miscegenating tramp Jane Levy), is accompanied by her brother David (Shiloh Fernandez) and three other generic and foul-mouthed twentysomething friends to a remote cabin where they plan to support her as she attempts to kick the habit by going cold turkey.  Unfortunately, waiting for them down in the cellar is a creepy satanic textbook bound in human flesh, which one of the the dummies (Lou Taylor Pucci, looking like a live action Mr. Van Driessen) naturally opens and reads aloud, unleashing a gaggle of nasty beings that proceed to possess most of them in turn.

Evil Dead, as one might expect, is a more polished but less interesting film than its 1982 forebear.  Gone are the ratty, organic camera work and the distinctive claymation-style effects.  Gone, too, is most of the dark humor, as only the blackest of black sensibilities is likely to find anything funny about this new version.  No one can fault this Evil Dead for failing to deliver the jolts and gore, however, as buckets of the stuff are sloshed left, right, down, and onto the ceiling before the movie is over.  Superfluous more than actually bad, Evil Dead lacks the rugged individualism of the original, but should satisfy even the most jaded gorehounds in the audience.

3 out of 5 stars.  Ideological Content Analysis indicates that Evil Dead is:

6. Multiculturalist.  A token character of color (Jessica Lucas) has been added to the cast of demon fodder for this remake – two if white Hispanic Fernandez counts.

5. Gun-ambivalent.  Mia warns that no one should ever have touched the articles brought up from the cabin’s basement – among which are a shotgun and shells.  One character falls prey to a demon as a result of reaching for the gun, but the weapon also comes in handy toward the end.

4. Anti-family.  In the film’s opening scene, a father burns his possessed daughter alive and shoots her in the head to save her soul.  David spends most of the film coping with his afflicted sister, his affection for her being a hindrance rather than an asset.  His insane mother is waiting for him in Hell.

3. Anti-gay.  Demonic attack more than once takes the form of a slimy lesbian come-on.

2. Christian, sort of.  Like The Collection, Evil Dead is rife with the sadomasochistic Christian iconography of spilled blood, bodies transfixed with nails, and spiritual purification by fire and torture.  Evil Dead is certain to tingle the spines of the superstitious among its viewers, striking the fear of the unholy into them.  (See also no. 4)

1. Anti-drug.  Whereas Ash (Bruce Campbell) of the first film must rise from wimpdom and assert his manhood against what can only be described as a pack of demonically PMS-possessed college bitches, David in the new Evil Dead faces off against an allegorical type of demonic possession that most notably parallels or expresses his sister’s drug addiction.

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