Archives for posts with tag: anti-gay

Dragged Across Concrete














Rainer Chlodwig von K.




Pixar puts the spotlight on the squabbling, anthropomorphized emotions inside an eleven-year-old girl’s head in Inside Out, with Amy Poehler voicing Joy, the positive force who has a challenge in reining in the Fear (Bill Hader), Anger (Lewis Black), Sadness (Phyllis Smith), and Disgust (Mindy Kaling) of Riley (Kaitlyn Dias), a girl whose family moves to San Francisco, leaving her feeling alone without her friends back in Minnesota. The lightning-paced obnoxiousness of the action should please children, but the briefly glimpsed dream image of a bisected dog may be disturbing to younger viewers, while the death of Riley’s imaginary friend Bing Bong (Richard Kind) is likely to leave them feeling bummed.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Inside Out is:

4. Pro-family, perpetuating heteronormative tyranny.

3. Green. Riley’s eco-conscious mother is eager to recycle.

2. Pro-miscegenation. Riley’s mother, briefly irritated with her husband, muses, “For this, we gave up that Brazilian helicopter pilot?”

1. Homophobic tinfoil! “Congratulations, San Francisco! You’ve ruined pizza!” scolds Riley’s Anger in a moment only likely to fuel the heterofascist hate of the #Pizzagate conspiracy theory nerds by connecting homosexuality with pedophilia. “What kind of a pizza place only serves one kind of pizza?” Riley’s mother asks. “Must be a San Francisco thing,” she stereotypes.

Rainer Chlodwig von K.


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 Most disappointingly, Deputy Winston, the inscrutable party guy played by Giuseppe Andrews in the 2002 version has been replaced by a scar-faced bisexual deputy played by Louise Linton.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.

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days












Rainer Chlodwig von Kook


canyons poster





4.5 stars. Ideological Content Analysis indicates that The Canyons is:






Java Heat poster

















Ideological Content Analysis indicates that The Cloth is:












Michael Bay is a filmmaker famous for his slick style-over-substance approach to the medium, and in Pain and Gain, a vibrant, blackly humorous meditation on the American dream by way of an injection of style steroids gouged straight into the audience’s eyeballs, the Bay formula pays entertainment dividends.  Mark Wahlberg plays Danny Lugo, an ambitious bodybuilder with an unhealthy fixation on self-improvement.  He claims to approve of the meritocracy that has made America great, but unfortunately finds exemplars of Americanism in figures like Michael Corleone and Tony Montana.  Consequently, he sees crime and not legitimate business success as the most promising road to riches, and recruits fellow bodybuilders Paul (Dwayne Johnson) and Adrian (Anthony Mackie) to kidnap oily Schlotzky’s proprietor Victor Kershaw (Monk‘s Tony Shalhoub) in the hope of getting him to sign over to them his home and all of his possessions.

Mark Wahlberg is intense as musclebound loser Danny Lugo, and Dwayne Johnson, who demonstrated a knack for comedy even as a professional wrestler, here delivers a hilarious performance to rival Arnold Schwarzenegger’s versatility as an action hero equally adept at goofiness.  As with much of Tarantino’s work, Bay’s film constantly runs the dangerous risk of glorifying or trivializing its subject matter by making its criminals such funny and charismatic characters.  The misadventures of Wahlberg and company are so exciting, fun, and involving that someone could almost forget that these likable bunglers, for all their charm, are really just murderers and thieves.  In the end, however, those who do wrong are punished in this grotesque and shockingly true crime story based on events that occurred in Miami in the mid-90s.  The use of period-faithful tunes from C+C Music Factory, Bon Jovi, and Coolio give an added nostalgic kick to this punchy, pleasantly gross, and perfectly edited dark comedy.

4.5 of 5 stars.  Ideological Content Analysis indicates that Pain and Gain is:

11. Anti-gay.  Paul, seeing a warehouse full of gay sex toys, expresses discomfort with “homo stuff”.  He deals viciously with a gay come-on (see no. 4).  Danny makes a pejorative reference to “pickle-licking”.

10. Arguably anti-Semitic.  The oily, irascible Kershaw’s Star of David pendant hangs conspicuously as he prattles and makes a sleazy annoyance of himself at the gym.

9. Gun-ambivalent.  Men with criminal records have no difficulty buying weapons from an effeminate and masochistic gun dealer (and Stryper fan) who enjoys being stunned with a taser.  A Confederate flag hanging in his store is probably intended for this film’s purposes to associate gun ownership not with liberty, but with racism.  A woman attempts unsuccessfully to defend herself in her home with a gun.

8. Obesity-ambivalent.  As in Pitch Perfect, Rebel Wilson plays the shameless tubby sexpot.  Other tubs of lard are featured in the film strictly for gross-out humor and audience derision, however.

7. Misogynistic.  Apart from one character, women are in the main represented in Pain and Gain as sluts and slobs.

6. State-skeptical.  Miami police are at first uninterested in investigating Kershaw’s story of how he was kidnapped and dispossessed, citing his Colombian origins as cause for skepticism.  They later admit their mistake.

5. Anti-drug.  Steroids render Adrian impotent.  Paul blows his cut of the loot on cocaine and starts to lose what limited wits he has.

4. Anti-Christian.  Paul’s religious beliefs, which vie with his cocaine problem for possession of his soul, make him susceptible to manipulation.  His professions of Christian devotion constantly clash with his criminal projects and outbursts of violent temper.  Furthermore, the judgmental attitude he derives from his faith finds expression in his belief that he might cure Kershaw of his Judaism.  A homosexual Catholic priest compliments Paul’s physique and tries to put the moves on him.

3. Pro-slut/pro-miscegenation/anti-racist (i.e., pro-yawn).  Adrian, a black man, marries Robin (Wilson), a fat white woman, who recounts at their wedding how her racist grandfather had warned her against black men.  (Ironically, the grandfather’s advice proves to have been valid at least in Adrian’s case.)  Nasty interracial dancing disgraces the screen.  Kershaw, half Colombian and half Jewish, likes Cuban women.

2. Immigration-ambivalent.  Victor Kershaw is the old type of coarse but fiercely entrepreneurial immigrant who through his own talent and efforts has become wealthy.  Two Slav women are depicted as oversexed ditzes.  The fact that one of these entered the country illegally through Mexico highlights America’s border insecurity.

1. Capitalist.  The unsung protagonist of Pain and Gain is Kershaw, the self-made man who, while less handsome and likable than his victimizers, is in the right in seeking lawful revenge against Lugo and his collaborators.  Lugo believes in the American dream and understands that meritocracy plays a role in this; but like others who would redistribute wealth, he is motivated by envy and spite.  This derives from his mistaken notion that all people are equal at birth, the implication of which belief for his type of mentality is that unequal distribution of wealth must be some kind of injustice if two people’s apparently equal origins and efforts result in inconveniently unequal outcomes.  Ed Harris represents the private sector positively as a private investigator who comes to Kershaw’s aid when police fail to act on his client’s allegations.

[UPDATE (8/14/13): A Christian YouTuber offers his disapproving observations on Pain and Gain‘s detrimental cultural significance here.]

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.

deer crossing

A scabrous, wilfully unpleasant film, Deer Crossing wallows in the worst that humanity has to offer.  Perhaps best described as Bad Day at Black Rock meets I Spit on Your Grave, Christian Jude Grillo’s paranoid death trip into the redneck post-apocalypse that constitutes the U.S.A. outside New York, L.A., and Chicago (at least in the minds of those who live in New York, L.A., and Chicago) is a marginally recommendable film for one outstanding reason: K.J. Linhein’s Zeus-like portrayal of the granddaddy of all sadistic white trash antagonists, Santa-bearded superhick Lukas Walton.

So over-the-top it has to be seen by any admirer of things ludicrously compelling, the characterization dares to evoke what foul thing might have been spawned the night Dan Haggerty got drunk, hogtied Wilford Brimley, pumped him full of heroin, and had himself a high old time.  Lukas is basically Democrats’ idea of the typical Republican: a hulking, hairy, overalls-clad figure from distant antiquity who licks his chops at the thought of oppressing women and children and runs amuck in benighted cultural wastelands like Texas and Alabama; a gun-toting rapist and hater of all humanity, but especially African-Americans, and who will destroy us all if he/it is not stopped.

Deer Crossing takes up with old Lukas after he captures and reconditions city mother Maggie Chancelor (Laura L. Cottrel) and her young son Cole (Kevin Fennell) as the playthings of his inscrutable, primitive whims after they hit a deer on the highway and fatefully crash their car in Lukas’s neck of Deliveranceland.  Eight years will pass before the father, Dr. Chancelor (Warren Hemenway), receives evidence that his missing wife and child may still be alive.  If they are, does he want to know?  If so, his son will have lived more than half of his life in a milieu altogether removed that of Dr. Chancelor.

Is Deer Crossing a contribution to the environment vs. genetics debate or just a greasy middle finger directed at every cowboy hat in sight?  At times the film seems deadly serious; but then Lukas Walton will lope into view and elicit a laugh with his hillbilly hijinks.  The exaggerated quality of the characters and situations is constantly at odds with what seems to be Deer Crossing‘s desire to be taken in earnest.  Sunless, despairing, and silly, but also entertaining, the film is a kind of One-Eyed Jack whose belches and mumbled obscenities invite interpretation.

Christopher Mann, who stars as Detective Derrick Stanswood, seems comfortable in the role of the black man hated because he thrives.  Pinhead himself, Hellraiser‘s Doug Bradley, appears as Sheriff Lock, who – odd for a rural Pennsylvania lawman – sports a futilely wrestled British accent.  Among the other locals are callous cowboy-hat-and-eyepatch-wearing homosexual racketeer Randy (Tom Detrik) and drug-peddling madam and hairdresser Gail (Jennifer Butler).  Ernie Hudson, meanwhile, collects a paycheck by showing up in a couple of scenes as Captain Bailey.

3.5 probably overly generous stars of a possible 5.  Only the most tenebrous sense of humor is likely to endure, let alone enjoy, Grillo’s study.  Ideological Content Analysis, meanwhile, indicates that Deer Crossing is:

7. Anti-Christian.  A cross is visible on a sweaty redneck’s tacky shirt as he sodomizes a male prostitute.

6. Anti-drug.  Lukas keeps Maggie doped so he can have fun with her.  Sheriff Lock is an addict.

5. Anti-marriage.  If your spouse becomes a vegetable, it’s just a depressing hassle.  Better is when they go missing, particularly if there’s a mistress waiting in the hospital wings to become wife #2.

4. Anti-gay.  Because sodomy in the world of this film is the province of sexually inadequate white males and self-loathing backwoods hicks, it is evil and a symptom of moral rot.

3. Black supremacist.  If not for competent cops like Detective Stanswood and Captain Bailey, police departments across the country would be run by goofy, giggly white imbeciles like Detective Kushman (Phil Eichinger).

2. Animal rights militant.  Maggie should have watched the road and never hit that deer.  Her ordeal is her punishment, nature’s manifest wrath in hillbilly form for the sacrificial albatross.  Rural hunting traditions are transformed into the pointless stabbing of a rabbit trapped in a box.

1. Anti-white male/anti-redneck.  Deer Crossing admonishes city-dwellers that, not far outside their small pockets of civilization are seas of woods infested with “inbred, mullet-wearing motherfuckers”.


Russia, the West, and the world


Farawaysick for a High Trust Society...

Fear of Blogging


Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective


| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭


Just another site


Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism


Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress
