Låt den Rätte Komma In [Let the Right One In] (2008)

RATING:	100%
FORMAT:	DVD

(Image: http://charlottesfilmresearchblog.blogspot.co.uk)

An outstanding work of fiction that never betrays its premise for cheap shocks. Despite the literal absurdity of the basic premise, everything is portrayed as realistically as possible to utterly convince in what is, essentially, a puppy love story about friendship, loyalty and emotional rejection that - like the characters - blossoms amidst the brutality, the blood and the tenderness.

The child cast is superbly-talented and convey the loneliness and strangeness of the onset of puberty to perfection. The bullying, the serial-killing mayhem and the title make the point that one must choose one’s friends with care or always be in danger from those who choose not to make such a choice.

A better film about friendship than all the Harry Potters put together.

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.

Avengers Assemble (2012)

RATING:	40%
FORMAT:	DVD

(http://www.sky.com)

Caucasian Wishful-Thinking

Still smarting from the humiliation of 9/11, Whites continue to posit their anger as both righteous and fully justifying their desire for a revenge that mires them ever-deeper in White supremacy. Moreover, aliens (be they from outer space or from the Middle-East) always seem to favor New York City as their prime target.

The obsession here with technology evidences a classic White response to stress and cultural competition by claiming that their technology is superior – yet the movie itself admits otherwise. The movie admits that soldiers win wars not weapons, yet the weapons' fetishism here is endemic. One wonders why (White) humans would be needed at all, why not just let the machines (ie, the CGI SFX) fight it out with one another? Fewer lives would be lost that way.

Although it is claimed that the entire human race is endangered by (Thor’s brother) Loki, few non-Whites and few non-Americans are involved in the defense of the Earth. Clearly, Whites still see themselves as saviors, as they see their God, Jesus Christ and Adam & Eve as White. Non-Whites would certainly spend some time wondering if fighting with Whites were worth the effort (it never was in the past) or whether a separate battle should be fought against the aliens; especially considering the fact that non-Whites are treated as aliens by Whites, themselves. A single non-White performer is a mere token presence in a movie where violence and threats of violence are the only means of expression for any of the characters; rendering the drama rather monotonous.

The real issue here, of course, is the rationale for wanting to destroy the human race in the first place - and what human values are being preserved by The Avengers? None of these themes are made explicit in a welter of nationalistic patriotism and an over-reliance on humor to convince us to laugh at the White supremacy on show. Political allegories for a decline in the global power of Whites, that are no more than propaganda, makes for poor dramaturgy and always rather-too-obvious solace.

Only Mark RUFFALO offers a performance to relish in his interpretation of a man (Bruce Banner/The Incredible Hulk) struggling with who he is. Everyone else just presents the usual pretense that if you repress your emotions you can appear all-powerful. This strutting is meant to imply power, but mostly suggests narcissism - which no amount of self-parody can ever conceal. Nor are we spared the ever-present unoriginality (copying shamelessly from Captain Scarlet & UFO) of the story & plot and lack of characters for whom you can care.

A humorously-cartoonish movie that lacks the very conviction it claims does not exist in evil men, where hero-worship becomes more important than any true need for heroes or even the self-created political problems heroes appear to offer Whites protection from. White hero-worship is not about positive role models; it is childishly needing heroes to save Whites from their own fears and weaknesses: It is childlike dependency. This explains why there is so little variety in White superheroes and why these movies have nowhere to go dramatically.

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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.

High Fidelity (2000)

RATING:	60%
FORMAT:	DVD

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

The usual White whining about personal relationships as if Whites actually had worthwhile personal lives and were capable of emotional profundity in a world where Whites have the highest divorce rates. It is this pretense that produces the dysfunctional sexual relationships on show here; exacerbated by the desire to claim that such emotional failure is actually human nature rather than White nature.

The premiss of a business being run for the benefit of its employees rather than its customers is a brilliant setup for a self-obsessed White culture. Customers who want to buy recordings from a popular music store that the proprietor and his staff do not like means an inevitably-decaying business. The lack of self-respect is matched by the lack of respect for capitalist enterprise. Like a culture that rejects different people for no better reason than they are different. An accurate reflection as to the truly self-righteous nature of White culture yet which offers no insight into its own premiss. (The fact that this particular record shop also sells the obsolete LP format also speaks volumes [albums?] for people who live permanently in the past.)

Attempts at talking-to-camera humor only partly alleviate the strong sense of Whites trapped in the prison of their own self-involvement, narcissism and solipsism. The worst aspect of this entire farrago is the pretense that one has escaped this psychological jail to be able to create a criticism of the superannuated emotional rejects on show here. No such maturity or objective self-examination is on display here for a non-White audience to drool over. There is only neurotic need, confusing the personal with the political in the forlorn hope that public relationships will solace for the lack of personal ones, the alchemical desire to turn opinions into facts & and trivia-obsessed one-upmanship - as if talking about love was the same as actually experiencing it. The self-fulfilling prophecy nature of these failed relationships makes us realize that all the talk is just about getting laid without the guilt Whites feel when they get horny

The casting is very good but there is no chemistry between any of the actors; unintentionally-capturing the essential emptiness of the character’s lives - as they make mountains out of molehills by focusing on trivia to keep self-awareness at bay. But why should we care when the people we are requested to identify with are such boring cunts who cannot accept people as they are?

Like a Woody Allen movie, this tels us much more about its creators than it does about the human condition - and fuck-all about sexual love. A film about why Whites are so emotionally needy would have been far better than this - along with why they refrain from asking the question.

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.