Archives for posts with tag: UK









Rainer Chlodwig von K.










































He want to spread disease-oh in our mailbox.

For he himself suffers from a case of smallcox!

Osama kiss my ass! Osama bite my dink!

Osama go to hell! Osama get a shrink!

Osama says he’s tough, Osama says he’s brave.

Then tell me why Osama is shitting in a cave!






















Rainer Chlodwig von K.

Best Exotic Marigold Hotel

A chick flick truffle to induce salivation in women moviegoers made weak in the knees by tart, cockney-accented romantic comedy or who find the idea of an elderly Englishman dancing in his shower to the beat of “Le Freak” to be irresistibly hilarious, The Best Exotic Marigold Hotel is a slick but superficial offering sure to satisfy its target audience and annoy everybody else. Full of dry wit, spirited performances, and dramatic scenes that allow for a liberal range of hues of geriatric heart-tuggery, this tale of a gaggle of English geezers who retire to live out the remains of their lives in a ramshackle Indian hotel is a more than adequate vehicle for a strong and colorful ensemble cast that includes veterans Judi Dench, Tom Wilkinson, Bill Nighy, Penelope Wilton, and British bulldog Maggie Smith, who resembles Michael Caine in drag.

Ideological Content Analysis indicates that The Best Exotic Marigold Hotel is:

6. Pro-miscegenation and pro-gay. Graham (Wilkinson) has returned to India to see his old Indian lover, Manoj (Rajendra Gupta). As a sensitive gay man, Graham is naturally more desirable to Jean (Wilton) than her heterosexual husband (Nighy). Shameless tramp Madge (Celia Imrie) spends her time trying to meet a rich Indian husband. After a woman mistakenly gets into her bed, Madge, rather than being upset, reflects pleasantly, “That’s the most action I’ve had in weeks” (cf. no. 3).

5. New age. Douglas (Nighy) is impressed with the sense of peace he feels in an Indian temple. Hindi moaning features prominently on the soundtrack. The group disposes of one of its members in a spiritually piquant funeral pyre. The film generally does its best to perpetuate the idea of the East as the place where westerners can most successfully actualize themselves.

4. Anti-marriage/anti-family. Evelyn (Dench), a recently widowed housewife, has been left with debts by her controlling husband, who never communicated with her. The Ainslies (Nighy and Wilton) are both drawn to other people, and their union ends in separation. Hotel proprietor Sonny (Dev Patel) and the woman he loves (Tena Desae) must both oppose their families’ wishes in order to be with each other.

3. Feminist/pro-castration. Evelyn’s mannish haircut is a horror. The viewer is left with the impression that Douglas will become the mincing, tea-serving common law househusband of this former housewife, now a strong and empowered woman in control of her life (cf. no. 6).

2. Globalist. The film depicts business ventures sympathetically and gives a smiling human face to the phenomenon of Third World outsourcing of jobs.

1. Multiculturalist/anti-racist (i.e., pro-yawn). “Old habits die easier than we think” and “we must celebrate the changes.” Britain’s Third World influx, this film would have viewers believe, simply means more skilled professionals to serve the public interest. Wheelchair-bound bigot Muriel (Smith) is at first reluctant to be treated by a minority doctor, objecting to immigrants’ “brown faces and black hearts”, but comes to see the error of her ways in the light of Indian kindness. Sonny makes a show of Indian grace and genius with his florid speech and quotation of Shakespeare. The film opens itself to an accusation of insensitivity, however, when Douglas recommends a temple, but jokingly admonishes visitors to “maybe take a clothespin for your nose.”

Rainer Chlodwig von Kook

Board to Death B




Board to Death

4 out of 5 possible stars.


Ideological Content Analysis indicates that Board to Death is:









Rainer Chlodwig von Kook

Closed Circuit











Rainer Chlodwig von Kook


Trash and horror fans, do you know about the new Asshat podcast? Movie fans Newt of Double T’s Blog of Reviews and Nadia of Nadia’s Necronomicon chat about gore, satellite television, Mississippi race hatred, British juvenile delinquency, exorcism, Amish organized crime, heroin, Breaking Bad, corporal punishment for children, and all sordid and sundry points in between in this thrilling second episode of the program. Also, in his patently idiosyncratic “Ten Minutes of Fury” segment, the Fucker from Hell rants about how cultural conspiracy theorists are ruining Disney movies for kids!

All three contributors’ social views probably fall slightly to the right of those of the typical neo-Marxist university sexual degenerate and so do not meet with the full approval of the dread bastion of crotchety codgerism that is Ideological Content Analysis; but because they are friends of the blog, they nevertheless receive the prestigious ICA power plug with accompanying lousethyme achievement award. God’s peed, you bulk importers.

Viking Saga

Roving bands of foreigners ravage a seemingly helpless Britain, pillaging, raping its women, and humiliating or liquidating its men. No, this is not Woolwich in May of 2013, but the eighth century, when Norsemen subjected the island to terror even more frightening, at least in its immediate consequences, than that presented by the swarms of uncivilized welfare rats presently infesting jolly old England. Today the invaders are Third World rubbish of the British government’s own invitation, but during the Middle Ages an enemy threatened civilizational cataclysm by military means. Fortunately, back in those distant days, there were Englishmen sufficiently concerned with national survival to resist and struggle for the preservation of their culture.

The awkwardly titled A Viking Saga: The Darkest Day follows monk Hereward (Marc Pickering) as he makes his perilous way, attempting to elude the Vikings and get the Holy Book of Lindisfarne, a relic of great national and spiritual significance, to safekeeping at a northern monastery. During his journey Hereward is joined by the warrior Aethelwulf (Mark Lewis Jones) and Pictish woman Eara (Elen Rhys), who both have things to teach him about his responsibilities to his faith and his people.

The lead performances in this historical allegory, particularly Pickering’s, are passionate; and the mist-shrouded Welsh landscape, in combination with a constant sense of urgency and doom, contribute to A Viking Saga‘s air of earnestness of purpose. The artificial dialogue, always a challenge in bringing to life such a distant period, may strike some viewers as unnatural, and the film does show its budgetary limitations in the paltry smattering of actors purporting to represent a devastating Norse invasion force; but A Viking Saga is, on the whole, a better and more engrossing film than might be expected from its unfortunate title.

3.5 of 5 possible stars. Ideological Content Analysis indicates that A Viking Saga: The Darkest Day is:

10. Mildly feminist. Eara gets revenge for a rape and helps win the day.

9. Traditionalist/pro-family. “My people have used the land’s gifts for a thousand years,” Eara says. “My mother taught me as her mother taught her.”

8. Drug-ambivalent. A psychoactive plant causes Hereward to have frightening hallucinations, but this also results in his having a spiritually instructive vision.

7. Anti-capitalistic/anti-NWO. The invasion started with coastal trading, an allusion to capitalism and possibly also to the EU as sources of Britain’s degradation and loss of sovereignty.

6. Populist. “The church has seen to grow rich and fat while the country starves. Monks hold little respect in the wilds.”

5. Antiwar. The Vikings’ invasion, like so many wars, is motivated by gold and dreams of empire.

4. Conservative. Pathetic, pale-faced, defeatist victims of plunder, plague, and famine actually suffer from a mental disorder: self-loathing liberalism. “We must embrace the death He brings so we may sit at His side in paradise,” one of these medieval progressives explains.

3. Xenophobic and anti-immigration. A quotation from the Anglo-Saxon Chronicles at the film’s outset reads, “The heathens trampled on the bodies of saints in the temple of God, like dung in the streets.”  Black clouds are said to have brought this human pestilence. Alcuin of York “was victorious over the darkness of his time. We shall be victorious over the darkness that threatens to engulf our time.” (Italics added)  Unfortunately, trends today in the UK and Europe, with Islam the continent’s fastest-growing religion and soon to be the dominant faith in Britain, indicate that these storm clouds of the present will not be so handily dissipated.

2. Militantly Christian. A Viking Saga opens with naked monks, beaten and humiliated by Vikings, cringing, crying, and imploring God on a beach after being kicked out of their monastery. These are flabby, undignified men, unsuited to the task of protecting the faith. (“We have seen the bravery of the Saxons here. Men who would stain their church with the stench of their own piss rather than fight.”) “There are many ways to serve Christ, boy,” Aethelwulf tells Hereward. Lifting his sword, he asks, “Does it not resemble the cross?” “Become my wrath,” Christ (Gerald Tyler) says in a vision.

1. Nationalistic. “The book isn’t everything.” The violent defense of the island and nation comes even before Christ’s teachings. “Without their book, this nation would fall,” a Viking leader observes. The perpetuation of Christianity, then, is but a means to the survival of a tribal and racial identity. “The people of England are as precious as the Word.” Jesus is more than once called the “white Christ”.

Like the 1980 Australian prison film Stir, this 2011 British entry in the genre offers not simply another portrait of life on the inside for the convicts, but an example of how the daily stress of the job can affect the outnumbered guards or “screws”.  James D’Arcy stars as Sam Norwood, an Iraq war veteran and rookie prison guard whose choice of civilian occupation only exacerbates his post-traumatic battle flashbacks.  Under the bad influence of fellow guard Deano (Frank Harper), Sam turns to drinking and hard drugs and eventually finds himself the subject of a police investigation.  Even worse, when drug-related organized crime inside the prison threatens Sam’s professional and personal lives, his behavior becomes increasingly erratic.  Twisting the knife in him psychologically is criminally connected inmate Truman (Noel Clarke).

D’Arcy’s performance deserves much of the credit for making Screwed an involving experience, and supporting players Harper and Jamie Foreman contribute believable grit and an air of experience.  That Sam Norwood is such a deeply flawed protagonist may limit the sympathy he can command, but it also raises the stakes and therefore the suspense that his situation generates.  Viewers discouraged by Screwed‘s somewhat drab exposition are advised to give the film more time, as it improves and intensifies as it builds towards its frightening riot climax.  Some moments, such as Sam’s verbal exchanges with his wife, feel overly familiar; and much of the mumbled, whispered dialogue, a challenge compounded by the working class British accents, may also frustrate the American audience; but Sam’s story draws the viewer in as it deepens and the situations become more unsettling and urgent.  Not a bad little film, Screwed earns 3 out of 5 possible stars.

Ideological Content Analysis indicates that Screwed is:

5. Anti-feminist.  “Don’t you sweetheart me, ya fuckin’ prick,” a tough-talking female guard says before being put out of commission with a punch in the face.  Sex-based workplace discrimination would seem to be in order here.

4. Antiwar.  Wars inevitably send home thousands, not only of the physically wounded, but psychologically damaged and brittle young men.

3. Diversity-skeptical.  Minorities can contribute to law enforcement, but figure more prominently among the convicts.  “Please tell me he ain’t shaggin’ her,” one guard says at the sight of one ogre-like brown prisoner receiving a white woman visitor.

2. Drug-ambivalent.  The liquor and hard drugs run the risk of ruining Sam’s career and marriage, but smoking cigarettes, as he does in solidarity with Rumpole (Foreman) in one scene, is the philosophically manly thing to do.

1. Anti-state.  Guards must deal not only with the occasionally vicious convicts, but with the corrupt and antagonistic “guv’ner” or warden (David Hayman) who sometimes likes to target guards for internal investigation and persecution so as to be able to present himelf as a liberal reformer.  Some among the guards are also crooks in addition to engaging in unnecessary brutality toward the prisoners.


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