Outpost: Black Sun ***1/2

In the opening scene of Outpost: B.S., an elderly gentleman (Michael Byrne) in a nursing home receives a visit from a young woman, Lena (Catherine Steadman), claiming to be his long-lost niece. Rather than embracing him, however, she turns insolent, grasps his hand, breaks his fingers, and even pilfers the old man’s ring. This, one assumes, is intended to endear her to the audience when the man is revealed to have been a Nazi, and social justice demands that, lest the Fourth Reich rise up and six zillion more Jews suffer another Holohoax, wheelchair-bound geezers must be physically abused.

Whereas this film’s predecessor, Outpost (2008), was an impressive exercise in modestly budgeted horror-action that benefited in macho economy from focusing on a gruff, totally male ensemble of seasoned mercenaries, this 2012 sequel shoots itself in the boot from the beginning by featuring a Jewish Nazi huntress as the heroine, thus injecting a dose of sanctimonious and emotional motivation into the franchise where none was needed. Something of the sense of suspense that drove the first film remains in evidence, however, as the bothersome Nazi zombies are on the loose again and conquering a constantly broadening swath of already war-torn Eastern Europe. It also becomes more entertaining once a British commando unit enters the story, contributing a brusque, confrontational snottiness.

The cast is fine and does what it can with the preposterous material. Catherine Steadman is pretty and hardly to be faulted for her annoying character’s uselessness to the franchise; however, the teaser ending, which suggests that she will also play the lead in the expected third installment, is somewhat disappointing for that reason.

[WARNING: SPOILERS]

Ideological Content Analysis indicates that Outpost: B.S. is:

9. Pro-family. Lena carries on a family tradition of Nazi-hunting and hopes to avenge relatives who died in the Holohoax.

8. Anti-military/anti-nuke. The term “military intelligence” is used sarcastically. Hovering over the whole mission, meanwhile, is the threat of a nuclear option that would probably not be efficacious in any event.

7. Anti-slavery (i.e., pro-yawn). A black soldier (Gary McDonald) winces at the sight of a chain and shackle.

6. Anti-state. The American spokesman for a “UN-backed task force” claims to be looking for chemical weapons, but actually wants to secure the Nazi superweaponry for his government. “Any government will pay any price” for the technology.

5. Anti-Slav. Scientist Wallace (Richard Coyle) claims to have been betrayed by Russian partners. “Don’t do time in one of their prisons. They’re cold,” he says, presumably with reference not just to their penal system, but to the Russian people themselves. Eastern Europeans are depicted as shady, sleazy, and suspicious.

4. Feminist. Self-reliant Steadman succeeds in throwing a monkey wrench into the Nazis’ plans.

3. Anti-Christian. One Nazi is named Christian Gotz, and a house with a crucifix conspicuously displayed on one of its walls turns out to have a Nazi zombie hiding in it. A map shows the concentric spread of the undead’s conquered territory in crosshairs, i.e., with a cross at its center.

2. Paranoiacally Zionist and Holohoax-alarmist. The movie industry, prescient of the day when the passage of time would render too ridiculous the idea of a geriatric Fourth Reich rising from the ashes to conquer the globe, has over the decades foisted on filmgoers such interesting (or not) innovations as the conventional Nazi zombie army in films like The Frozen Dead (1966) and Shock Waves (1977); cloned Hitlers in The Boys from Brazil (1978); vengeful and pitilessly boring Nazi ghost sailors in Death Ship (1980); the National Socialist moon colony in Iron Sky (2012); and now, most outlandish of all, the immortal runic unified field Nazi zombie army of the Outpost franchise. “Two days ago I still thought this was all about what these people [i.e., Germans and gentiles generally] had done,” Lena reflects. “But it’s not. It’s only ever been about what they were going to do.” “There’ll always be somebody else,” Wallace warns. Ironically, treacherous gentile Wallace turns out to have been working against Lena the whole time, hoping to acquire the Holy Grail of Nazi zombie-generating unified field technology not to destroy it, but to sell it back to the Nazis. Hilariously, once the deception comes out, Wallace’s black hair changes to blonde, revealing his truly evil nature.

1. Anti-German. Outpost: B.S. reduces the Teuton to what, in the paranoid and condescending anti-white progressive’s view, is his essence: a dead-eyed, lumbering, growling, killing machine bent on stabbing or cudgeling to death anybody unlike himself.

Rainer Chlodwig von Kook

Unbroken ***1/2

Council on Foreign Relations creature Angelina Jolie directs Unbroken , a.k.a. (as it shalt be known for the purposes of this cinematic exegesis) The Unbroken Passion of G.I. Goy, the Judeo-Christian fable of Olympic athlete Louis Zamperini (Jack O’Connell), his war service to organized Jewry, and his long and not particularly interesting tenure as a P.O.W. Equal parts war movie, survival story, and prison film, The Unbroken Passion of G.I. Goy’s most satisfying passage is the section in which Zamperini and two other survivors of a plane crash are stranded at sea for more than a month in a lifeboat. For the remainder of the film, Zamperini stoically endures forced labor and regular torture at the hands of the Yellow Peril. One might have expected something more engaging (or at least more divertingly offbeat) from screenwriters Joel and Ethan Coen, but what the audience gets is tolerable, if judged by the standards of neocon fodder.

3.5 out of 5 possible stars. Ideological Content Analysis indicates that The Unbroken Passion of G.I. Goy is:

4. Sodomy-ambivalent. Showing their solidarity with the globalist gay agenda, P.O.W.s put on a drag show. A pox on progressive internationalist Angelina Jolie, however, for resorting to the cookie-cutter homosexual villain type in the characterization of Commander Watanabe (Takamasa Ishihara). Shame on her and the Coen brothers for their clearly unreconstructed Hollywood hetero-fascism!

3. Pro-immigration. Zamperini serves as the poster boy immigrant son whose mother still speaks Italian. Bigoted Anglo-Saxon boys pick on him and call him a “wop”, unaware that he will go on to become a war hero and suffer his Unbroken Passion for all of their sins of WASP privilege. Even his underwhelming eighth-place finish in the 5,000 meter race at the Berlin Olympics is treated as an immaculate triumph for America, democracy, and equality, a companion feat to that of fellow diversifier Jesse Owens (Bangalie Keita), and the film actually attempts to give the impression that the crowd in Olympic Stadium is cheering for Zamperini.

2. Ostensibly Christian. Zamperini, initially an agnostic or atheist, is eventually moved by the Spirit to become the personal Jesus of his fellow P.O.W.s. In the triumphant moment of his Unbroken Passion, Zamperini is made to lift a cumbersome beam, the framing unsubtly calling to mind Christ’s bearing of the cross, after which he must stand crucifixion-like with it or be shot by the sadistic Jap-Romans.

1. Pro-war. The opening shot of The Unbroken Passion of G.I. Goy is a dreamscape of clouds accompanied by the singing of a chorus as of angels. Soon the angels materialize as American bombers doing the righteous bidding of FDR’s Yahweh-state. In The Unbroken Passion of G.I. Goy’s most laughable scene, a P.O.W. falls to his knees and weeps on hearing the news that FDR has died. Oh, no! God is dead! Yes, seventy years later, the Jew World Order is still cranking out stupid WW2 propaganda movies – in other words, hardcore porn for folks like the annoyingly coughing old Tea Party type who sat behind this reviewer and commented with a reverent and wistful air during the trailer for Selma that “if they hadn’t killed him, things’d be different today.”

Make no mistake: the tableaux of ruined Jap buildings and bodies is included not to evoke sympathy for the victims of Allied war crimes, but as a warning of what can be expected to befall any Eastern powers attempting to resist the will of ZOG. (Malaysian jet pilots, are you reading this?) The detail that the Japanese have beheaded some prisoners is no doubt intended to engender a subconscious psychological continuity between the viewer’s experience of the still highly marketable “good war” against nationalist Europe and Japan and the current money pit conflict against “ISIS” (Israeli Secret Intelligence Service?).

Rainer Chlodwig von Kook

Red Tails **

Exactly the trite, pedestrian, chest-swelling exercise one would expect it to be, this George Lucas production is just another entry in the unending cycle of films spotlighting Congoid-American achievement. These movies are always the same: mighty blacks encounter and overcome race-based adversity . . . sweeping, inspiring music soars . . . The End. This time the Hollywoodized achievers are the Tuskegee airmen, the first black aviators allowed to participate in combat – in this case, appropriately enough, against those immortal bogeybots and inhuman emblems of racism, the Nazis, who, of course, are in for a “good ol’ Georgia ass-whoopin’” when they encounter the Red Tails. These valiant warriors have not only to defeat the Germans, however, but must also vanquish racism on their own side.

Bryan Cranston, slumming in a thankless cameo, plays the military bureaucrat unwilling to give the brothers a chance. Cuba Gooding turns in a puzzlingly deadpan and colorless performance as Major Stance, and Terrence Howard is safely poker-faced as Colonel Bullard. Whether the other actors in the film are capable of much is hard to say, considering the humdrum (nonde)script with which they have to work. “War is Hell. What we’re doin’ is just boring as Hell,” one of the pilots remarks with candor. Red Tails is the sort of movie that will have viewers glancing at the clock fifty minutes in and groaning that the film, far from winding down for a landing, is flabbergastingly not even half-over yet!

There are, of course, the obligatory scenes in which black romantic prowess receives its due and in which central character Lightning (David Oyelowo) enters an officers’ club, the piano abruptly falls silent, and one of the evil bigots tells him, “This is a whites only officers club. You’re off the reservation, pal.” Most obnoxious, however, is the constant glorification of war and particularly of “killin’ Jerries”. Only genocidal blacks and the most self-loathing whites will exult in the flippant depiction of so much joy in human desolation. There is, too, an indication that the Red Tails take special delight in shooting down white fighters when one alludes to a German’s “bright yellow nose”, a suggestive reference not only to his plane’s paint job but also his lack of melanin. After so many computer-generated explosions and social triumphs, however, the viewer may not find himself stirred to multicultural pride by this cinematic backfire, so much as grumpily in tune with the unwelcoming white officer in the club who dismisses Lightning, saying, “Hey. Go home,” and throws in a racial slur for good measure.

2 stars. Ideological Content Analysis points Red Tails toward the hatefully segregated Crap Only facilities and indicates that this film is:

7. Pro-miscegenation. An Italian ditz (Daniela Ruah) blows a kiss to Lightning, who then woos her for the remainder of the film.

6. Ostensibly Christian. Smokey (Ne-Yo) carries a picture of “Black Jesus.” Whether this is simply to indicate that the historical Jesus was black or is instead a satirical jab at segregation, under which blacks require not only separate facilities, but also a deity of their own, only Black Jesus can say for certain. Not all of the pilots believe in the supernatural, however. (cf. no. 1)

5. Drug-ambivalent. Easy (Nate Parker) has a drinking problem. Smoking, however, gets a free pass, with Cuba Gooding working a pipe in picture 1940s style. Lightning smokes a cigar and Smokey appears to chew tobacco.

4. Statist. “You signed up to follow orders.”

3. Anti-racist and egalitarian. Skeptical whites are repeatedly forced to come to terms with the ability of blacks and say things like, “I guess there’s more to you coloreds than I thought.” The separate but equal doctrine extends to the military and receives a critique from Colonel Bullard, who, lobbying for more expensive equipment, says, “No more hand-me-downs. If you get us new planes, we can help your boys.”

2. Pro-war. The mutual mass murder politely termed war is as usual a noble enterprise, particularly when directed against unprogressive white men and when it serves as a vehicle for civil rights at home. The war effort even receives a spiritual endorsement: “Black Jesus, we thank you for bringing Red Squadron back home to us.”

1. Black supremacist. “We are on the side of God Almighty,” Red Tails boasts. “Hallelujah, the saints are marchin’ in,” proclaims one Red Tail as he enters the fray.