Archives for posts with tag: white trash

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

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road-to-the-well

Laurence Fuller plays a frustrated beta male desk jockey, Frank, who discovers that his girlfriend has been having an affair with his boss. Serendipitously, an old friend of his, handsome drifter Jack (Micah Parker), breezes into town and convinces his buddy to meet him for a few drinks at a night spot, where he also goads Frank to approach a woman (Rosalie McIntire) who catches his eye at the bar. From here, Frank’s life takes a left turn down a darker avenue than he ever knew existed, with Road to the Well developing into a fantastic, albeit eccentric, little thriller sustained by painful tensions and moments of unexpected strangeness. Only one superfluous scene broadly and condescendingly characterizing conservatives as “bigoted trash” taints what is otherwise a recommendable film, and writer-director Jon Cvack is to be commended. Barak Hardley is also worthy of mention for his portrayal of spoiled millennial man-child Chris, while Marshall Teague, glaring out of the screen from the other end of the masculinity spectrum, is also highly effective. For those interested, Road to the Well was recently released on DVD and VOD.

Four-and-a-half out of five stars. Ideological Content Analysis indicates that Road to the Well is:

8. Anti-capitalistic, with prostitution furnishing the film’s model of free enterprise. Undignified Frank continues to work for his company (in order to “build a cushion,” he says) even after learning his boss has cuckolded him. He despises his erstwhile friend Chris, however, as a “hoity-toity yuppie” – but it is possible also to read the envy hiding behind Frank’s feigned contempt for Chris’s material security. Jack is utterly dismissive of regular employment, and encourages Frank to call in sick. “I don’t work anymore,” he says.

7. Anti-war. An implicit parallelism emerges during a scene between a murderer and a military man. One character understands something about the other’s experience.

6. Judgmentally anti-slut. The wages of sin is death!

5. Pro-gay. A corny anecdote is told about a homosexual adolescent who shot himself after being bullied. A homophobic redneck landlord who makes light of his own son’s participation in the bullying is intended to represent the low standard of sophistication prevailing among opponents of sodomy. Frank’s exaggerated reaction to this insensitivity is, one assumes, meant to establish his character’s moral credentials.

4. Manospherean. Frank, over the course of the film, is taught by his experiences to man up and assert himself. “Everything is fine as long as you got some money and a nice piece of pussy” is Jack’s philosophy.

3. Anti-Christian. A chaplain (Teague) has lost his faith and become suicidal. “My faith? What the hell is that?”

2. Anti-marriage. “It’s like marriage is this weird construct we’ve made up for ourselves and handed down from generation to generation,” moans Chris, who is soon to be married. “It’s meaningless, right?” A committed relationship is “not exciting”.

1. Antinatalist. “It’s like they’re these tiny little animals and I’m responsible for ‘em,” Chris frets, imagining the prospect of fatherhood. “If I don’t change their diaper, then they just, what, sit in their shit all day? Or, like, if you touch their fontanelle, you’re like, touching their brain, and you got a dead baby. […] No thank you.”

Rainer Chlodwig von K.

cabin-fever-poster

This pointless reboot of the Cabin Fever franchise serves no purpose whatsoever apart from making a few cruddy shekels, as very little of value has changed since the original. Furthermore, most of the offbeat humor that was present in the first film is disappointingly missing from this comparatively straight-faced and innocuous remake. Most disappointingly, Deputy Winston, the inscrutable party guy played by Giuseppe Andrews in the 2002 version has been replaced by a scar-faced bisexual deputy played by Louise Linton. Curiously, like the first film, Cabin Fever ’16 also fails to exploit the comedic potential latent in the suggested premise of whether or not a character could survive a horror movie while only subsisting on beer. The leg-shaving scene is perhaps more horrific than in Eli Roth’s original; but, throw in a generic cast and some unappealing tattoos on one of the women, and what the viewer has is a passable but decidedly underachieving horror outing.

3 out of 5 stars. Ideological Content Analysis indicates that Cabin Fever is:

4. Luddite! One vacationer mistakes his video game experience for “years of training” for the handling of a firearm. Karen (Gage Golightly), preoccupied by her cell phone, has to be reminded to enjoy the outdoors.

3. Anti-gay, furnishing publicity for an abnormal lifestyle but presenting a comically grotesque example of a lesbian in law enforcement.

2. Anti-redneck (i.e., anti-white), offering the typically creepy depictions of backwoods European-Americans. The film fails to reference any other races’ parasitic roles in the world economy, but does refer to “hillbilly vampires”. One rustic local is dubbed “Deliverance”. A faded American flag visible at the rednecks’ dilapidated gas station would seem to connect white trash with the idea of America’s decline – possibly in connection with supposed wars for oil.

1. Anti-gun. Bert (Dustin Ingram), the least mature of the vacationers, brings an “assault rifle” and accidentally shoots a man.

Rainer Chlodwig von K.

Straight Outta Compton

In the opening moment of Straight Outta Compton, the street thug who would one day win fame as Eazy-E is seen retrieving a pistol hidden in a speaker in the trunk of his car. The image perfectly captures the unapologetic essence of Niggaz wit Attitudes, the hip-hop supergroup E would form with Dr. Dre, Ice Cube, DJ Yella, and MC Ren, and which famously made music that packed a nasty and influentially lethal punch. N.W.A. were the founding fathers of gangsta rap, and Straight Outta Compton traces their sordid story from inauspicious ghetto beginnings through celebrity, infighting, dissolution, and Eazy-E’s untimely demise from AIDS. Raw and angry but intelligent lyricist Ice Cube is portrayed in the film by his son, O’Shea Jackson, Jr., while the surprisingly mild-mannered Dr. Dre is played by Corey Hawkins. Jason Mitchell is believably street as the devious Eazy-E, and R. Marcos Taylor is positively savage as brutal Death Row Records kingpin Suge Knight. It is Paul Giamatti, however, who steals the show as the group’s super-sleazy Jewish promoter, Jerry Heller.

4.5 out of 5 stars. Ideological Content Analysis indicates that Straight Outta Compton is:

7. Pro-gay. Two women kiss during a threesome.

6. Sexist! “Life ain’t nothin’ but bitches and money.” Jiggly booties abound.

5. Anti-white. Eazy-E is afraid to tour the South, where rednecks are “waitin’ to lynch niggers”. He therefore insists on taking a machine gun with him on the tour bus. To its dishonor, Straight Outta Compton perpetuates the myth of the unprovoked police attack on Rodney King, thereby pouring more synthetic fuel onto the ongoing black radical agitation of the Obama years.

4. Pro-gun. In one crowd-pleasing scene, the N.W.A. boys grab their gats to scare away a disgruntled cuckold.

3. Pro-drug. The “chronic” reignites Dr. Dre’s genius after a bout of doldrums and rapper’s block. The War on Drugs, furthermore, is a hypocritical and oppressive failure.

2. Libertarian/anti-police. “Fuck tha police!” Racist white cops hassle Ice Cube and call him a “nigger”. “I’m the only gangster around here,” one of them tells him. Others, including one black cop, have the rudeness to slap hamburgers out of the rappers’ hands for no reason. “Fuck the law enforcement community,” Ice Cube challenges those who would censor the group’s message. “We got freedom of speech, man.” Striking a relativistic note, the film opens with a sound montage containing a snippet of Oliver North, reminding the audience of the American deep state’s role in the importation of the cocaine that would come to define the thug life glorified by gangsta rap.

1. Anti-Semitic! Straight Outta Compton does not flinch from the truth that Jews played a decisive role in taking gangsta rap out of the ghetto and thrusting it into white people’s living rooms. Heller appears as a stereotypically seedy and greedy Jewish wheeler-dealer and propagator of cultural degeneracy. In Straight Outta Compton’s funniest scene, Heller throws a fit when he hears Ice Cube’s post-breakup diss track “No Vaseline”, containing the line, “You let a Jew break up my crew.” “I’m callin’ my friends at the JDL!” Heller snarls, referring to the violent Jewish Defense League.

Rainer Chlodwig von Kook

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True Detective Season 2

The second season of HBO’s bleak series True Detective shifts the scene of the sickness from creepy gothic Louisiana to dystopian southern California, a setting with a more strikingly chaotic ethnic mix that lends itself to an exploration of race relations in America. The plot this time around concerns the intertwined lives and fortunes of vicious but decent-hearted gangster Frank Semyon (Vince Vaughn) and tortured and tarnished detective Ray Velcoro (Colin Farrell) and their investigation into the convoluted circumstances of a politician’s death.

Semyon

Vince Vaughn as Frank Semyon

True Detective presents a world of demographic horror, an America in which racial loyalties are nonexistent and fealty of any other kind is hard to come by. Whites, blacks, Mexicans, and Jews are all crooked. Mexicans, while distrustful and destructive of whites, also think nothing of killing each other, while whites, finding themselves marooned in an increasingly hostile and meaningless world, grasp at anything they can get. Race-based tensions nevertheless continue to simmer beneath the surface of several of the characters’ interactions. Semyon is a self-made man and a bigot, a walking contradiction who dislikes the changing demographics of the U.S. and seethes with an angry white man’s discontent but is also and at the same time cynically complicit in the smuggling of illegal aliens into his country.

Semyon is also an anti-Semite and calls Israeli gangster Osip Agronov (Timothy Murphy) a “KGB kike motherfucker”. True Detective is rather daring in identifying the true ethnic character of the “Russian” mafia. The series gives Semyon more than one moment of triumphant crowd-pleasing sadism, and it is significant that one of these is reserved not for one of the Jewish gangsters, but for an especially weaselly specimen of the Shabbos goy, or gentile who sells his treacherous services to the Jewish enemy. Leonard Cohen’s excellent theme song, “Nevermind”, is interesting in this context for featuring the lines “I was not caught, though many tried. / I live among you, well-disguised.”

Velcoro

Fred Ward as Mr. Velcoro

In another scene, Semyon pummels and then pulls out the teeth of a mouthy brown-skinned inferior (Pedro Miguel Arce) – content that serves as vicarious satisfaction for Caucasian viewers fed up with pretending to like their laughingly darkening world. Representing such viewers is Velcoro’s father (Fred Ward), a retired policeman who found he was no longer able to carry out his duties properly with the advent of the fuck-the-police zeitgeist that found its explosive expression in the 1992 L.A. riots. The U.S. as it presently stands is “no country for white men,” he observes as he enjoys a black-and-white Kirk Douglas movie. He is one of two aged policemen in True Detective who remarks that blacks’ intensifying hostility toward police made it increasingly difficult for them to do their jobs.

The audience, one suspects, is expected to feel a mingled contempt and sympathy for this old man who has given up on life and squanders what little of it is left to him getting high and living in a televised, mythologized past. A parallel character is the disgusting, whorish ex-dancer mother (Lolita Davidovich) of highway patrolman and ex-mercenary Paul Woodrugh (Taylor Kitsch). Like old Mr. Velcoro, she prefers the comfort of watching old movies to doing anything productive with her years of decline. Morally and physically decrepit, her narrow, nostalgic tribalism takes the incestuous form of a selfish attachment to her son, who clearly wants nothing to do with her.

True Detective also offers multiple examples of interracial relationships, but none of these is deep, lasting, or free of damaged trust. As one of the season’s other songs suggests, “There’s no future. There’s no past.” – an assessment that could easily apply to America’s multiracial experiment as depicted in these episodes. A feeling of imminent doom pervades not just the lives of the principal characters, but the life of the proposition nation. In one episode, Detective Velcoro visits the set of a cheesy post-apocalyptic action movie – a cartoon version of the American century taking shape around those dumb enough not to notice what has been happening. Indeed, the characters who survive the final episode are those who choose to flee the country – no livable future seemingly being available to them here.

Rainer Chlodwig von Kook

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Baytown Outlaws poster

Prospective viewers may be disappointed to discover that ostentatiously billed Billy Bob Thornton has only a potty-mouthed supporting role as villain Don Carlos in this violent ersatz-Tarantino concoction disingenuously passing itself off as genuine good ol’ boy entertainment. The film concerns the reckless redneck exploits of the Oodie brothers, Brick (Clayne Crawford), Lincoln (Daniel Cudmore), and McQueen (Travis Fimmel), as they rip through an array of ridiculous comic book adversaries to rescue a handicapped teenager (Thomas Brodie-Sangster) from Don Carlos’s clutches.

The Baytown Outlaws is lightning-paced and at times diverting, but too condescending and mean-spirited to squarely hit its target. Worse, its perpetrators (writer-director Barry Battles, is that your real name?) betray a disturbing moral confusion and an obvious disregard for human dignity and life, as typified by the scene in which one of the brothers accidentally shoots and kills a maid and says, “Oh shit. My bad, lady”, and then goes casually about his business. Flippant to excess, this one may appeal to ADHD-afflicted consumers of films of the Snatch or Cat Run type.

3 out of 5 stars. Ideological Content Analysis indicates that The Baytown Outlaws is:

11. Drug-ambivalent. Don Carlos abuses pills. Liquor’s antiseptic quality comes in handy during a medical emergency. “You want one of these?” Brick asks, offering a minor a cigarette after a battle and telling the boy, “You earned it.”

10. Ostensibly Christian. Brick wears a cross on a necklace, but this fashion statement would appear to be the extent of how his faith expresses itself. The Oodies claim with sarcasm to have been in church while they were actually out raiding a residence and exterminating its occupants. “This Is Our Song”, a southern-fried hip-hop tune that plays over the end credits, says, “Folks round here still believe in God” and “Tell the government to leave my check and church alone”. A cross tattoo on a hitwoman suggests that the Christian content of the film is something less than sincere, however.

9. Anti-police. Celeste (Eva Longoria) wants peace of mind, “something the cops can’t give me,” she says. Officers catching sight of the Oodies locked in rowdy highway warfare turn a blind eye and give no pursuit.

8. Anti-corporate. “I kind of look at my future empire as the Wal-Mart of bottom dollar retail crime,” Don Carlos explains to impertinent underlings who have approached him about a raise. “I need stockers and cashiers and mercenaries and mules.”

7. Localist/pro-vigilante. The sheriff resists federal meddling and even eschews the law itself, maintaining the Oodies as his personal vigilante squad to keep criminals off the streets and spare the court system the trouble.

6. Gun-ambivalent. A t-shirt reads, “If guns are outlawed, only outlaws will have guns.” The Oodies are poor poster boys for responsible handling of firearms, however, and kill several people by mistake.

5. Pro-immigration. Illegals are bright, talented, underappreciated professionals like nurses who, if given a chance, would be a boon to the U.S. What is more, they are whites’ intellectual betters. “Your ignorance is unbelievable,” a valiant wetback bimbo tells Brick when he says, “You’re a nurse. You oughtta be helpin’ people,” and suggests she become naturalized. “Your country doesn’t make it that easy for us,” she complains.

4. Black supremacist. The black sheriff (Andre Braugher) enjoys sassing and establishing his mental superiority and official authority over whites. “Just do what you’re told,” he scolds a deputy. In a scene that is seemingly intended to draw an ironic humor from racial role reversal in view of the hoses that were once turned on civil rights agitators, the sheriff unsmilingly sprays a white child with a garden hose for no apparent reason and tells him, “I don’t even know you.”

3. Family-ambivalent/anti-marriage. “This Is Our Song” includes the line, “God and my family is all I need”; but, with the exception of the Oodies’ mutual loyalty, the representations of family relationships in the film are derogatory. The Oodies have “no known mother” and the irresponsibility of their father, an abusive Ku Klux Klansman, necessitated their being transferred to foster care. Don Carlos is another negative father figure whose relationship with Celeste has ended in violence. “There goes the longest relationship I ever had,” McQueen reflects after he and his brothers dispatch a bevy of biker hitwomen.

2. South-ambivalent. “Welcome to the South, motherfuckers!” The Baytown Outlaws is something of a Trojan horse where the South is concerned, any regional pride it evinces being superficial and devious. Brick Oodie, who, along with his brothers, seems never to bother changing his clothes, always wears a sleeveless shirt bearing the Confederate stars and bars – but, as with his cross, more as a fashion object than as a proclamation of political philosophy. The hell-raising, empty-headed redneck, forever the film industry’s favorite image for the perpetually stereotyped southern white male, appears in The Baytown Outlaws as a kind of cute, quaint, grotesque curiosity, something like a dog to be petted and encouraged in its animal eccentricities, but also restrained by a master’s leash. The redneck can be an endearing type and useful as long as his wild ways are harnessed by a black representative of the state made wise by his sufferings during the struggle for civil “rights”. That one of the brothers, a brutish mute, is named Lincoln may be interpreted either as a sarcastic joke or as an indicator that progress is being made in the South and that northern dictators now vie with General Lee in the christening of white trash children. Alabama, it is observed, has its own pace but is “behind the times”.

1. Un-p.c. and repeatedly racist! The Baytown Outlaws is an exercise in what is termed hipster racism, which occurs when progressives knowingly appropriate stereotypes for their own putatively innocuous purposes and so expect a free pass for their playful, winking insensitivity. The Baytown Outlaws strains the confines of this classification, however, with its depiction of a group of Indian assassins who scalp their victims and shoot arrows. There is also a pack of vicious, foul-mouthed blacks, one of whom feels compelled to warn another, “This time, try not to hit the motherfuckin’ baby.” Other instances of political incorrectness include the use of “faggoty”.

Rainer Chlodwig von Kook

Dallas Buyers Club

Matthew McConaughey, who over the past few years has become one of this writer’s favorite actors working today, is the only reason to watch Dallas Buyers Club, the most recent attempt to subvert and metamorphose the American cowboy into a gay activism icon after the manner of Brokeback Mountain (2005). McConaughey stars as Ron Woodroof, a narrow-minded ne’er-do-well whose life changes forever – or, anyway, for what remains of it – after he is diagnosed with what Andy Warhol called “gay cancer”.

Jennifer Garner portrays a concerned physician, while Jared Leto munches the scenery as junkie transvestite Rayon, who becomes Woodroof’s business partner in the “Dallas Buyers Club”, a grassroots enterprise designed to provide AIDS sufferers with a healthier treatment alternative than the big pharmaceutical competition. Woodroof’s drive to prolong his life and combat the establishment’s market stranglehold is fairly compelling, but squeamish viewers are forewarned that the movie contains such tacky attempts at heart-tuggery as the sight of a sick, self-pitying transvestite drooling blood and whining “I don’t wanna die . . .”

4 out of 5 stars. Ideological Content Analysis indicates that Dallas Buyers Club is:

9. Anti-Christian. Woodroof dresses as a priest while attempting to smuggle drugs into the U.S. from Mexico. The image of an AIDS patient wearing a clerical collar is of course no sartorial accident and works as a barb directed at Catholic moral hypocrisy, so many priests being closeted homosexuals, many of whom are known to have succumbed to AIDS.

8. Anti-drug. Woodruff’s intravenous drug use, along with his inveterate whore-chasing, has put him at greater risk for contracting AIDS. Also, Rayon’s dope addiction only exacerbates his decline.

7. Anti-racist. One of the personal failings Woodroof must overcome is his racism, evidenced by his references to Asians as “chinks” and Saudis as “sand niggers”. As his drug procurement operation goes global, he learns to appreciate the profitability of doing business with foreigners. “I like your style,” he tells a Japanese doctor.

6. Feminist. In addition to overcoming his racism, Woodroof must also come to accept women’s contributions to the modern workforce. “I don’t want a nurse, I want a doctor!” he protests in one early scene.

5. Anti-redneck. The spectacle of a gun-toting “homophobic asshole” and piece of “Texas hick white trash” suffering from AIDS and lashing out in his agony as dignified professional women and minorities look on with contempt is pure political porn for liberals, the quintessence of their wishful thinking.

4. Capitalist. Dallas Buyers Club betrays a left-libertarian streak in its combination of social liberalism and celebration of the entrepreneurial spirit, attempting to illustrate how unfettered markets will serve both the small businessman and consumer. “I say what goes in my body, not you.”

3. Anti-corporatism. The IRS, DEA, and particularly the FDA appear as antagonists in the film, the cronyist footmen of big pharma monopolists looking to squeeze the competition. “Now that’s the shit that’ll rot your insides,” Woodroof avers, examining a package of meat in a grocery store. “What a surprise,” he then adds, “FDA-approved.” The FDA, Dallas Buyers Club alleges, merely functions as big pharma’s glorified street pushers.

2. Pro-gay. Through a business partnership that blossoms into a friendship, Woodroof learns to appreciate Rayon as an individual, and comes to appreciate the general plight of homosexuals as he succumbs to the disease they share. AIDS, as the great sexual-sociopolitical equalizer, almost seems to be the movie’s unsung hero. Demonstrating his transformation from homophobe to humanitarian, Woodroof in one scene grabs his bigoted friend T.J. (Kevin Rankin) and holds him in a headlock until he agrees to shake Rayon’s hand. Homosexuals appear as sensitive and nurturing throughout Dallas Buyers Club.

1. Pro-NWO. “Look at this place,” Woodroof muses, surveying the scene in a bohemian clinic south of the border. “Fuckin’ chinks, homos, herbs, hot nurses. You got a regular New World Order goin’ on here . . .”

Rainer Chlodwig von Kook

Wild poster

A career highlight showcase for star Reese Witherspoon, this freewheeling emotional odyssey into triumphant you-go-girlism concerns real-life tramp Cheryl Strayed, whose epic hike along the Pacific Crest Trail takes her from “piece of shit” and “hobo” to liberated and self-actualized piece of shit with an Oprah’s Book Club pick. As with all wilderness pictures, from Jeremiah Johnson to Rescue Dawn, there is an innate fascination to the scenes of Strayed’s one-woman struggle with the elements. The interspersed flashbacks to the unpleasant experiences that drive her to make her quest, however, are hit-and-miss, diminishing any sympathy this reviewer is able to muster for her. Laura Dern appears as Strayed’s long-suffering, cancer-ridden mother.

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

6. Drug-ambivalent. Wild sends mixed messages about Cheryl’s life as a heroin addict. Marijuana, however, seems to be a laid-back thing to do. Alcohol appears as a no-no, though, with Cheryl vomiting after some hard stuff. (see also no. 1)

5. Anti-Christian. Foulmouthed Cheryl utters multiple blasphemies.

4. Anti-redneck. The rural white male is a constant menace hovering in the gloaming of Cheryl’s consciousness, leering at her and making unsavory advances.

3. Pro-choice. Cheryl has an abortion.

2. New age, peddling mass market paperback mysticism that might have been cribbed from Sgt. Pepper’s Lonely Hearts Club Band. The film ends with Witherspoon reciting some philosophical gobbledygook about how nobody knows what leads to what – the scientific method, contrary to this reviewer’s mistaken impression all his life, turning out never to have been invented after all – life being one big mysterious journey, each seeming adversity or disastrous decision constituting a necessary step toward destiny’s fulfillment. People – and, by extension, societies – might as well experiment to their hearts’ content on this starry trek of objectively valueless existence.

1. Feminist. Wild celebrates the junkie-adulteress-intellectual as heroine. One of its many nuggets of womany wisdom is that divorces, unlike marriages, tend to be lasting. Regarding her serial back-alley extramarital humps and heroin habit, Cheryl apologizes to her nice-guy husband (Thomas Sadoski) but later confesses that she harbors no regrets about anything. Adrienne Rich’s poem “Power”, a favorite of the protagonist, furnishes Wild with its theme. Marie Curie’s “wounds”, Rich explains, “came from the same source as her power”. Witherspoon’s body, accordingly, appears with unsightly contusions and cuts throughout the movie, these presumably being the feminist stigmata symbolizing the suffering through which she has attained her “power”. In a parallel characterization, Cheryl’s mother is an abused wife who abandons her alcoholic husband and goes back to school for her education because, she says, she never felt like she was in the driver’s seat of her own life.

Rainer Chlodwig von Kook

Oprah’s Bucks Club

Machete Kills poster

Rodriguez’s most recent contribution to the Mexploitation subgenre, Machete Kills is exactly the movie one would expect it to be: a shallow, self-congratulatorily hip, and hyperviolent celebration of Mexican ethnic pride and muscle-flexing Reconquista. Danny Trejo reprises the role of the righteous butcher who in this sequel accepts a presidential offer of American citizenship in exchange for stopping a cataclysmic missile strike on Washington. Machete Kills is sufficiently fast-paced to ward off snores, but the cartoonish tone and the flippant approach to the violence keep it from generating any emotional interest or genuine suspense. One hopes for the sake of the future of film that this big-budget B-movie brand of Tarantinoid, winking, self-aware exploitation fetishism has almost run its course.

3 out of 5 stars. Ideological Content Analysis indicates that Machete Kills is:

13. State-skeptical. “Justice and law aren’t always the same thing.”

12. Anti-military. Corrupt soldiers sell government-issue arms to a drug cartel.

11. Anti-family. A whore recounts how her father raped her. (see also no. 2)

10. Drug-ambivalent. Machete “don’t smoke”, but lights a bazooka like a bong. The drug cartels are his enemies.

9. Pro-miscegenation. Can anyone blame Miss San Antonio (Amber Heard) for being unable to resist Machete’s haggard, wrinkly, and humorless Aztec charms?

8. Anti-gun. Machete prefers blades. A campaign commercial associates Second Amendment advocacy with pork spending on military hardware. The principal villain, Voz (Mel Gibson), is a firearms manufacturer.

7. Globalist and war-ambivalent. “This isn’t about Mexico no more. It’s about the world.” Voz reveals he has installed puppet troublemakers in North Korea and Russia so as to pump government interest in his military wares. While there is truth in the notion that international bogeys are frequently manufactured as pretexts for war, Machete Kills endorses the neocon worldview to the extent that it accepts that Russia and North Korea are legitimately threatening to American national security. “Fuck world peace,” says Miss San Antonio.

6. Feminist. “Don’t call me sweetheart,” bristles Sartana (Jessica Alba) before gunning down a male chauvinist pig. Machete Kills milks the tired non-novelty of women acting tough and shooting their mouths and machine-guns, which here include weapons mounted on the bosom and crotch. Interestingly, the long tradition of sexual violence directed exclusively at the male genitalia finally seems to be coming home to haunt the feminists in the form of the sickening “pussy punch”. Only girls are allowed to play this dirty hand, however. (see also no. 2)

5. Anti-Christian. Voz looks forward to a day when “kingdom comes”. White supremacist Sheriff Doakes uses expressions like “Amen” and “Hallelujah”. Assassin the Chameleon (a shapeshifter portrayed at different points in the film by Walter Goggins, Cuba Gooding, Lady Gaga, and Antonio Banderas) drives a truck called the “Holy Roller”, with kitschy religious knickknacks on the dashboard. “Preach it, Sister,” says villainess Miss San Antonio.

4. Anti-white. Whites – surprise, surprise! – are the bad guys. Those who, like Sheriff Joe Arpaio, concern themselves with America’s sovereignty and security, are represented in Machete Kills by the likes of the dopey Minutemen-like “Freedom Force” and Sheriff Doakes (William Sadler), who calls Mexicans things like “taco” and “beaner”. Voz plans to abscond into outer space with a load of Mexicans to serve him as slave labor. Blonde beauty and secret agent Miss San Antonio lives up to her hair color and turns out to be a traitoress. The decision to cast Mel Gibson, with his off-screen baggage of accusations of anti-Semitism and bigotry, as supervillain Voz reinforces the anti-white/anti-racist theme.

3. Pro-amnesty. Machete is Mexico, observes President Rathcock (Charlie Sheen), who by offering citizenship to Machete is in effect endorsing the wholesale naturalization of everybody south of the border. “Even Jesus couldn’t get through that damn wall.” Sadly, many of the ignorant dupes who see this movie will probably be led to believe that there actually is a wall protecting the U.S. from turd world invasion.

2. Anti-human. The title says it all, with enough red splattering to paint a barn. In addition, Miss San Antonio in her pageant speech endorses “a woman’s right to choose.”

1. Razist. “You fucked with the wrong Mexican.”

The Howling poster

The Howling (1981)

National Socialists have traditionally appropriated wolf imagery as an expression of their movement’s fierceness, masculinity, and pagan mystique. Hitler’s first Eastern Front headquarters was named the Wolf’s Lair, and Werwolf was the name the Nazis selected for a German guerrilla resistance force during the waning phases of World War II. White nationalists of today will sometimes refer to themselves as werewolves, as well. A close reading of Joe Dante’s horror hit The Howling (1981), however, may convince viewers that Jews are the ones who deserve the mantle of the wolf.

Ilsa She Wolf of the SS

Lupine-themed pop Nazi iconography

“Signed his work,” explains television news producer Christopher (Dennis Dugan), with reference to the gruesome clues furnished by the artistic creations of a murderous maniac – and, as it turns out, a werewolf – in dialogue suggestive of what may be The Howling’s ulterior intention of cluing viewers into the nature of its Hollywood provenance by way of a revelation of method.

The madman is Eddie Quist (Robert Picardo), a sexual pervert stalking anchorwoman Karen White (Dee Wallace). The latter, in an attempt to help police capture Quist, agrees to meet him in an adult video shop, where he lures her into a private booth, activates a sadomasochistic sex loop, announces his intention to possess Karen’s body, and then proceeds to transform and to reveal his true physical nature – that of a wolf.

Dee Wallace

Dee Wallace as Karen White

Thus, in this crucial encounter, key subtext is set into motion. Quist is in his element when surrounded by filth and shows a pronounced interest in pornography – an industry dominated by Jews – and he also seeks to dominate Karen, a character who is significantly beautiful, blonde, surnamed “White”, and a representative, furthermore, of her local news media – another Jewish near-monopoly. Karen’s employer at Channel 6, Fred Francis (Kevin McCarthy), would seem to be one of the last of the WASP old boys’ club.

Picardo

Robert Picardo as Eddie Quist

A search of Quist’s apartment reveals obsessive drawings of monsters (i.e., autobiographical deviant art) and newspaper clippings illustrative of his resentful preoccupations with violence and Christianity. Two visible headlines from articles on his walls read, “The Dismembered Corpse in the Burned Out Church” and “Weird Case of the Murdering Messiah”. Murdering or murdered? Either way, the headlines speak to Quist’s sense of Jewish supremacy and hatred of gentiles.

Appearing as a guest on Channel 6 is a pop psychiatrist, Dr. Waggner (Patrick Macnee), who advises his audience of the benefits to be had from slackening their moral standards when he says, “We should never try to deny the beast, the animal within us.” Psychiatry, of course, being another field famously lorded over by Jews hostile to the traditional ways of Christendom. Dr. Waggner, like Quist, has designs on Karen White, and – using the pretext of her post-traumatic stress resulting from the meeting with Quist – invites her to his rustic retreat, suggestively named the Colony, for what is supposed to be group therapy along with her husband, Bill (Christopher Stone).

Elisabeth Brooks

Elisabeth Brooks as Marsha Quist

The Colony, unfortunately, is a forested den of werewolves, among them folksy locals Charlie (Noble Willingham), Erle (John Carradine), Jerry (James Murtaugh), deceptively friendly sheriff Sam (Slim Pickens), and shapely seductress Marsha (Elisabeth Brooks), a quintessential scarlet woman who sets about dissolving the bonds of Karen’s marriage by making herself aggressively available to Bill. Marsha’s love shack in the woods is adorned by pelts, which – with their six points of paws, head, and tail – abstractly approximate elongated Stars of David.

Pelt of David

Pelt of David

“Karen, you’re really gettin’ paranoid,” Bill accuses when his wife confronts him about his infidelity. “I know,” he says sarcastically, “it’s all a big conspiracy as far as you’re concerned.” Bill’s tactic, then, is to attempt to distract from the fact that he has plainly sold his soul and his services to the alien by smearing his accuser as a “conspiracy theorist”. Sound familiar?

Karen’s new Colony acquaintance Donna (Margie Impert), also a crypto-werewolf, lets slip a hint of her hidden identity when she and Karen happen upon a mutilated cow. “Oh, Jesus,” she blurts with embarrassment, to which Karen automatically tacks on “Christ”. It is Karen, and not crypto-werewolf Donna, who identifies Jesus as the Messiah and not a head of slaughtered cattle.

Donna and Karen

Donna (Margie Impert) and Karen (Dee Wallace)

An isolated redneck community might seem an unlikely representation of Jews, if not for their legendary prowess at passing themselves as common whites. “Your classic werewolf can change shape anytime it wants, day or night, whenever it takes a notion to. That’s why they call ‘em shapeshifters,” explains occult bookseller Walter Paisley (Dick Miller). “Silver bullets or fire,” he goes on. “It’s the only way to get rid of the damn things. They’re worse than cockroaches.”

Joe Bob Briggs

“That’s why they call ’em shapeshifters.” An example of the crypto is John Irving Bloom, who made a career as ersatz good ol’ boy Joe Bob Briggs

The strength of the wolf is in the pack. A single Charles Schumer or Dov Zakheim might pose no threat to the United States; but taken together, as an organized infestation, Jewry comprises a nearly unbeatable hydra. “A secret society exists and is living among all of us,” Karen duly warns her viewers when she returns to television. “They are neither people nor animal, but something in between.”

The less-than-sympathetic and decidedly utilitarian view this secret order of carnivorous creatures takes toward the goyim is made explicit during the scene in which they reveal themselves. The script is worth quoting at this pivotal juncture:

     Jerry: It was a mistake to bring her to the Colony.

     Erle: We should have stuck with the old ways. Raising cattle for our feed. Where’s the life in that?

     Charlie: The humans are our cattle.

     Erle: Humans are our prey. We should feed on them, like we’ve always done. Screw all this “channel your energies” crap.

     Dr. Waggner: But the danger of exposure! We need this shelter to plan! To catch up with society! Times have changed and we haven’t! Not enough.

     Marsha: Shut up, Doc! You wouldn’t listen to me! None of you! “We can fit in,” you said. “We can live with them!” You make me sick.

True to the bookseller’s lore, the werewolves prove to be vulnerable to silver bullets and fire – which is, of course, to say Holocaust – when gentile news producer Christopher, presumably following in the imaginary footsteps of Julius Streicher, rides to the rescue and burns the lot of the flesh-devouring good-for-nothings alive in their barn-synagogue of Satan.

Marsha, the Zionist Werewolf Whore of Babylon, is seen to be the only survivor of this horrible Howlocaust, and one can only assume that she will now be more bloodthirsty than ever, an assumption corroborated when she gazes into the camera and orders a hamburger – specifying that it be cooked rare. The Howling’s end credits then roll over a close-up of the sizzling hamburger patty – a macabre reminder of the final significance of what is meant by “goy cattle”.

“Rare.”

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