Last Exorcism (2010)

RATING:	60%
FORMAT:	DVD

(Image: http://metropolis.co.jp/)

The Alleged Need for Exorcism

1. Christian erotophobia manifesting itself in the repressed outpourings of young girls;
2. an empty White culture that believes in anything because it believes in nothing; nature abhorring a vacuum;
3. a desperate attempt to prove the existence of God because the necessary faith is lacking;
4. any number of unresolved psychic issues;
5. frustrated White supremacy bottled-up and expressing itself in psychic disturbance and rage;
6. anger at a deep emotional loss; &
7. Christian fundamentalism.

Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Noughts & Crosses (2001)

RATING:	80%
FORMAT:	CD - Audio book

(Image: http://www.amazon.co.uk/)

Clever look at White supremacy which reverses the norm; placing Blacks at the top of the alleged racial hierarchy.

All of the aspects of Institutional Racism are listed (eg, White laziness, stating ethnicity of Black criminals but not White, judging people by who you are not who they are, Police harassment, White loneliness, assuming Blacks are always lying, White attempts at constant surveillance of Blacks, etc) and some of the more important ones are explored in some detail - especially the poorer quality education for Blacks along with the White assumption that Blacks are uneducable, anyway.

It partly fails because it posits an equality of suffering that simply does not exist. Racists have the greater stress, caused the constant paranoid fear of Black revenge. It even suggests Blacks are more prone to suicide because of White supremacy - even though this is not borne out by self-murder statistics.

Where it scores is as a great primer for teenagers on how racism works and, especially, how it can so easily lead to emotional repression from not wanting to rock the boat and the lovelessness of being told who to love and, more importantly, who not to.

Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Behind Convent Walls (1977)

RATING:	80%
FORMAT:	DVD

(http://www.themoviedb.org)

Lust Bottled, Breaks the Bottle

Because Christianity is a religion impossible to practice, it was inevitable it became the principal author of White hypocrisies and the religiosity that makes atheists and agnostics feel entirely justified.

Here, cockless and love-starved White women are confined to a convent despite having no real religious faith. Many are consigned to the nunnery by parents who wish to offload their unmarried offspring and persuade them to take the necessary vows before understanding what unhappiness these will produce.

(http://fenixclub.com)

A classic White male sex-fantasy of a concentration of horny virgin girls - dying for cock - who are only too eager to open their legs for any male able and willing to service them; while also enjoying Sapphic and masturbatorial pleasures. Men enter the convent via secret passages; they climb the walls; the delivery man gets his end away; and, they pretend to be servants of God (religious tutors) - all to get their hands on, and their pricks in, lustful young female flesh.

(http://www.pulpinternational.com)

By deliberately denying themselves a full human life, White Christians become obsessed with the pleasures they pretend to deny themselves. They claim this is what God wants - either via the enthusiastically-manipulated dildo that allegedly falls from Heaven or the belief that fornication is a sin.

Such self-hating confusions lead to the anger attendant upon a life half-lived and the dictatorial desire to try to ensure everyone else is also just as unhappy and for the same reasons. But the audience can see quite clearly that all these girls need is a good seeing-to and they will be as right as rain: The essential moral of this story.

Director Borowczyk’s style is appropriately fetishistic and surrealist - with streak of double-entendre humor a la the Carry On team. He sees sex in Boccaccian terms as a pleasure in its own right - unlike the Roman Catholics he successfully lampoons here. As in the movie The Devils, the suppression of sexual feelings leads to psychological death; explaining the common White conflation of Eros with Thanatos that Borowczyk frequently critiques.

Only the inevitable birth of a child - from all that frantic shagging - offers any hope for love-starved Christians.

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Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

This is Spinal Tap (1983)

RATING:	80%
FORMAT:	DVD

(http://www.the-frame.com)

White culture, being insular, is always ripe for mockery - as proves to be the case here.

Smart parody of the British musical scene of the 1960s-80s with musical-instrument playing US actors offering realistic English accents and the correct English idiom to send-up popular music combos such as The Beatles, The Rolling Stones and The Animals.

Where this movie really scores lies in its depiction of what happens when Whites appropriate a Black musical form and then proceed to do it to death. Because they never invented the particular musical style, they do not really understand it and so do not know when to move on to the next big thing.

As this so-called rockumentary progresses (actually a mockumentary), we see a White Heavy Metal band on the way down, commercially, not only because their talent is markedly mediocre - and they refuse to accept this simple fact - but because they are out of date and lack the innovative ability to capture the changing zeitgeist.

But herein lies the problem with this movie. If it had really gone into why White popular culture is so lackluster it could have moved from being mere parody to becoming a brilliant satire. There is a wealth of colonialist comedy material for a White music form that steals from Black Americans, regurgitates it for White Americans - mostly by Brits - and then expresses a certain resentment at those Whites who make the most money from it; while the music’s originators move on to pastures new; making less money than those who copy them.

White popular music is shown here as more of a confidence trick on the public than a culture expressing itself with clarity because it has something to say. But this is rather a superficial look at a music group - and a culture - that refuses to grow up; remaining mired in endless cultural repetition and psychological immaturity.

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Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Extremely Loud & Incredibly Close (2011)

RATING:	60%
FORMAT:	DVD

(Image: http://www.flicksandbits.com/)

An essentially and emotionally-dishonest film about grieving that is both self-indulgent and whining. This makes for good political propaganda, but weak, one-sided drama.

The reason Whites find 9/11 so difficult to come-to-terms with is because they refuse to face-up to the reason the event occurred in the first place; meaning they always stop thinking clearly before reaching the final moment of self-awareness and self-acceptance.

Trying to present the drama from the point-of-view of a child is a moral cop-out; compounded by the fact that the adults here also claim 9/11 made no sense, when they really do know better than they pretend because everyone truly knows where their own shoes pinch.

Despite the claim - made explicitly here - that we have to face our fears, Whites refuse to accept what all ethnic minorities in White cultures do: That terrorism is a direct response to White supremacy - domestic and foreign. The multicultural nature of the casting does not evade this central issue since Whites know perfectly well that it was White culture being attacked - and no other. Now Whites know what it is like and like it they do not.

This White attempt to share pain never works because ethnic minorities do not feel the same pain for the same reason, since the latter possess a greater understanding - from experience - as to why anyone would wish to attack an Institutionally-Racist country like the USA.

Minorities also know that one of the worst characteristics of White culture is that when Whites are successful, they do not share their success with non-Whites. So the attempt at pain-sharing is merely a hypocritical desire for the special privileges inherent in White supremacy: That pain is for other people.

To accept all of this - honestly - would mean Whites having to face the basic underpinnings of their culture, as well as the fact that the War on Terror is not a Clash of Civilizations, but the terrible revelation that Whites lack a civilization worthy of the name.

There is no insight here into either traumatic loss or the openness of childhood. A great pity since there should have been a treasure trove of humanity here rather than the obvious White propaganda we are presented with. Slaughterhouse Five it ain’t because this movie thinks a hug is the ultimate expression of the human soul.

All the performances here are excellent and engaging - even the not-terribly-precocious leading boy. But without the shared humanity necessary for great drama, this is no more than a coyote-like whining at the moon where White people say their emotions in words rather than express themselves in anything approaching a universal human language. A drama suggesting the dying days of a Western culture that is pretty on the surface but empty inside.

Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

HISTORY ON THE PAGE:Adventures in Black British History (2012)

RATING:	80%
FORMAT:	Book

(http://www.amazon.com)

Good primer for Black British kids about the contribution of Blacks to British history that White history books tend to ignore. The chapters on Roman Emperor Septimius Severus and Crimean War nurse Mary Seacole are particularly instructive in this regard.

The style is simple and easy-to-absorb and written as if the two child protagonists are actually experiencing the events recounted. Not being as dry-as-dust as history books usually are, this one should be a hit with young children eager to learn about their heritage.

The only real problem is that there is too much of an attempt to characterize the little children in the stories that the balance between their needs and interests often outweighs the facts being imparted.

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Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.