Thursday 30 October 2014

Ausgesperrten

Also Known As:
Wonderful, Wonderful Times
Year:
1980
Country:
Austria…
Predominant Genre:
Comedy
Drama
Author:
Elfriede Jelinek…
Outstanding Performances:
None.
Premiss:
The sins of the fathers are visited upon a new generation too disaffected to understand the source of its inarticulate rage.
Themes:
Alienation
Destiny
Emotional repression
Grieving
Identity
Loneliness
Narcissism
Political Correctness
Pornography
Self-expression
Sexism
Social class
Solipsism
Stereotyping
White culture
White guilt
White supremacy
Similar (in Plot, Theme or Style) to:
Clockwork Orange
Review Format:
Book

Although written in a difficult and allusive style, this is an excellent book about the present (2014) decline of White culture.

The novel focuses on four White cultural and psychological constants: Xenophobia, emotional repression, sexual perversion & living in the past. Although written in the third-person, the book gains power by revealing what Whites actually think when they behave badly. In this, the characterisation is superb.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (Esthetics) is included: E-mail notification requested. All other rights reserved.

Wednesday 29 October 2014

War & Peace

Also Known As:
Unknown
Year:
19724
Country:
United Kingdom…
Predominant Genre:
Drama
Director:
John Schlesinger…
John Davies
Outstanding Performance(s):
Anthony HOPKINS
Premiss:
The impact of war on five families.
Theme(s):
Compassion
Destiny
Empathy
Evolution
Friendship
Humanity
Identity
Loyalty
Mercy
Personal change
Political Correctness
Redemption
Self-expression
Social class
Totalitarianism
White culture
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

A variable quality cast - some of whom perform theatrically as if unaware of close-ups - still do not ruin this great tale that manages to comprehensively capture all of human life.

Yet the drama - as a whole - does not sustain its superb start: The length of the book defeats the tv screen as the Russian steppes defeated Napoleon and Hitler.

The real problem here, despite the compulsive nature of this mediocre adaptation of a superior soap-opera, is that there is no genuine sense of Russian culture. One is limited to the universal aspect of the drama as the adapter is forced to find analogues with English culture to give it any cultural life at all. But the fit is not right; making this a story that could just as easily be located in the West as it could in the East; accepting the universality of its many themes while denying their cultural specificity.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (Esthetics) is included: E-mail notification requested. All other rights reserved.

Tuesday 28 October 2014

1968 Tunnel Rats

Also Known As:
Tunnel Rats
Year:
2008
Country/ies:
Canada
Germany
Predominant Genre:
War
Author(s)/Director(s):
Uwe Boll
Outstanding Performance(s):
None.
Premiss:
Suicide squads of a special kind.
Theme(s):
Alienation
Destiny
Emotional repression
Empathy
Humanity
Identity
Narcissism
Personal change
Redemption
Solipsism
White culture
White guilt
White supremacy
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Mature, well-balanced Vietnam War movie detailing the grim affects of a grim war upon both sides of the conflict. Interestingly, this plays more like a horror movie than a war film that, in the 18-certificate circumstances depicted, is more than appropriate.

As usual with representations of this particular war, the flawed politics of all overtly political (ie, non-defensive) wars is implied throughout, since the emphasis here is on graphically-pointless deaths. Stylistically, however, the claustrophobia of the tunnels - in which much of the action takes place - contrasts somewhat badly with the blandness of the land battle scenes. Fortunately, there are not too many of the latter.

A cast of unknowns does very well in the claustrophobic confines of the bomb-evading tunnels built by their enemies: Many of which are cleverly designed as booby-traps and decoys. These rats convince the audience of their extreme bravery in descending into tunnels about which they can possess little fore-knowledge. Yet the characters are less important in this movie than the over-riding theme: Mutually Assured Destruction. Impossible to see how the US (or anyone else) could ever have won such a war.

There are lessons here, too, for Whites current War on Terror in the highlighting of the essentially permanent nature of warfare in human life, as it proceeds from attack, counter attack, counter counter attack, etc – in perpetuity.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Monday 27 October 2014

Electra Glide in Blue

Also Known As:
Unknown
Year:
1973
Country:
United States…
Predominant Genre:
Crime
Author(s)/Director(s):
James William Guercio
Outstanding Performance(s):
Robert BLAKE
Premiss:
A short motorcycle cop gets his wish and is promoted to Homicide following the mysterious murder of a hermit.
Theme(s):
Alienation
Christianity
Compassion
Destiny
Empathy
Friendship
Humanity
Identity
Loneliness
Loyalty
Mercy
Narcissism
Personal change
Self-expression
Snobbery
Solipsism
Stereotyping
White culture
White supremacy
Similar (in Plot, Theme or Style) to:
Easy Rider
Review Format:
DVD

A kind of flip side to Easy Rider from the point-of-view of the police.

Here corruption is endemic as an emotionally-repressed way of life - past its sell-by date - begins to crack from the hippie drug culture onslaught.

The impotence of many police officers comes from a well justified feeling that they are not popular or doing a worthwhile job even if they were. That judging suspects by appearance is more important than by the evidence.

The performances are impeccable and the feeling of this being a modern day Western is well contrived.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Sunday 26 October 2014

Twelve Monkeys
(1995)

Also Known As:
12 Monkeys
Year:
1995
Country:
United States…
Predominant Genre:
Science-Fiction
Director:
Terry Gilliam
Outstanding Performance:
Madeleine STOWE
Premiss:
In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet.
Themes:
Alienation
Compassion
Destiny
Empathy
Friendship
Humanity
Identity
Loneliness
Loyalty
Mercy
Personal change
Self-expression
White culture
White supremacy
Similar (in Plot, Theme or Style) to:
Jetée
Review Format:
DVD

Superb film about moral responsibility and doing deals with the devil.

The plotting is well-integrated with the movie’s thematic concerns and is cleverly-structured to bring these out to best effect.

The direction and acting are first-rate and we see only what we need to see - the rest is left to our imaginations; imaginations fired-up by the story. Here, actors act without the need for much dialog; yet say all that needs to be said.

An above-average time-travel movie where the hero is not trying to avert a manmade biological disaster but, instead, seeks its origins – so it will not be repeated.

However, the film’s two endings do not so much suggest ambivalence – as desired – but a failure of dramaturgical nerve. They never fully deal with an inherent paradox: Reverse time travel is part of the historical record, yet people in the future secretly wish to change that very history even though it has already been written - like trying to avoid crying over spilt milk by never spilling the milk. Still, the film does interestingly explore – via vivisection – issues of living in the past as neurosis and the scientists’ desire to evade moral responsibility for the consequences of his work.

The subtle central romance shows Madeleine STOWE at her best; complementing this visually-imaginative romp with startling acting, a Christ-like martyrdom and the ostensibly-absurd idea that the mentally-ill are sometimes time travellers.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.co.uk) is included: E-mail notification requested. All other rights reserved.

Saturday 25 October 2014

Sexualität im Kulturkampf

Also Known As:
zur sozialistischen Umstrukturierung des Menschen;
The Sexual Revolution: Towards a Self-Governing Character Structure.
Year:
1936
Country:
Austria…
Predominant Genre:
Non-fiction
Author:
Wilhelm Reich…
Best Performances:
None
Premiss:
PART I: “Analyzes the crisis of the bourgeois sexual morality” and the failure of the attempts of “sexual reform” that preserved the frame of capitalist society (marriage & the family).
PART II: Reconstructs the history of the sexual revolution that took place with the establishment of the Soviet Union since 1922, which was then later opposed by Joseph Stalin.
Themes:
Sexual ethics
Original Sin
Personal change
Self-expression
White culture
White guilt
White supremacy
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
Book

Why Whites Need Erotophobia

Reich claims White sexual neuroses derive from a lack of sexual gratification due to its suppression by the authoritarian state; characterized best by a capitalism based on the patriarchical family system.

“Conservative, sex-negative moralism” includes:

  1. Lifelong monogamy: “Compulsive marriage”;
  2. suppression of infantile sexuality - the primary cause of sexual perversions later in life;
  3. lack of candid sexual education or sexual freedom for adolescents;
  4. persecuting homosexuals;
  5. condemning abortion;
  6. legalized marriage.

The suppression/repression of White sexuality and the resulting creation or intensification of sexual neuroses is a cyclical relationship that constantly results in more power for the authoritarian state. The authoritarian state’s motive is to preserve its economic structure through the continuance of the patriarchal family as its primary social unit. The family is essential to capitalism because it preserves itself to the next generation.

Bourgeois ideology demands that White adolescents, having reached sexual maturity, be repressed by sexual abstinence. To justify this privation - the basis of pubescent unhappiness - unscientific justifications are made. Anthropological, cross-cultural studies have shown that this does not happen in many contemporary societies which do not have a marked patriarchal ideology (an ideology pushed by technologies like intensive agriculture & mechanization) which are therefore termed “primitive” by Whites. (Anthropologists who have studied such people include Bronislaw Malinowski [The Sexual Life of Savages in North-Western Melanesia], Ploss-Bartels, Havelock Ellis, Hans Meyer [the Wahehe & Wossangu]).

The active effort to obstruct White pubescents from starting to engage in sexual activity includes keeping them from finding the information they need to understand their sexual issues. So-called sex education is practically always a work of deception which focuses on biology while concealing excitement-arousal, which is what interests the young most; while hiding the fact that all their worries and difficulties originate from unsatisfied sexual impulses.


Because White culture is insular, Whites refuse to accept the real reason for their sexually repressed state - the same kind of evasion Reich engages in here. His Communist, anti-bourgeois family rhetoric obscures the fact that he says little about why these structures exist. In this he is like modern Feminism.

Sexuality poorly repressed unsettles some families; well repressed, it unsettles the whole world.

White culture is primarily based upon White supremacy: It is the fons et origo of White identity for lazy whites. This can only work if Whites are in the majority in any given geographic location. Thus, Whites favor majoritarian democracy when in the majority (eg, the USA & Great Britain), but not when in the minority (eg, apartheid South Africa & Hong Kong). Both practices ensure Whites retain power.

Politics is not the only area of human life Whites must treat hypocritically. White sexuality must be repressed to ensure that Whites only breed with Whites to ensure the continuation of Whites as a politically-dominant variety to compensate for their global lack of numbers. Moreover, because Whites possess recessive genes, any interbreeding with non-Whites produces offspring not white enough for Whites to consider politically acceptable - even if these offspring can be socialized as Whites into accepting Whites as superior. The latter indoctrination might not work, so it is better for Whites to avoid any and all miscegenation as a preventive of the decline of White supremacy.

The White need to continue benefiting financially and psychologically from the privileges inherent in White supremacy; while evading the guilt feelings produced by automatically benefiting from the sufferings of others; requires that Whites segregate themselves. Similarly, Roman Catholics ensure the domination of Christianity - as a religious and political force over the lives of 1.6 billion humans - by abjuring contraception to ensure many more Catholics are born than any other religious or political group.

It is important for Whites, therefore, to ensure non-Whites are considered ugly and Whites the most beautiful (eg, Loaded & FHM, but not Miss World since most women are not White and so Whites are less likely to win); that they are considered less intelligent (eg, The Bell Curve & IQ testing, generally); that they are considered dangerous (eg, immigration controls & police harassment); that they are considered in need of help from Whites (eg, foreign aid & Third-World charity); that they are considered less competitive &/or athletic (eg, Whites focus on sports Whites can win, not boxing or running, but tennis & cycling - thereby disparaging-by-omission non-White achievement).

The above is designed to make non-Whites unattractive as friends or breeding partners; forcing Whites to repress their need for friendship and sex into a need for friendship and sex with White supremacists; forcing them to be with those not necessarily of their choice, but those who are socially-acceptable to other Whites - ie, parents, friends & their wider culture.

It is hardly surprising, therefore, that Whites have political relationships rather than personal ones; having sex with those they might not actually desire and friendships with those they might not actually like - all to avoid being socially ostracized; knowing full well that no other culture will accept such White rejects. This explains the popularity of Feminsist sexual politics as a subject of study in White cultures: White women are unsatisfied with their relationships with White men because their behavior toward them is more motivated by collaboration with White supremacy than it is by either genuine love or true lust. This also explains the prevalence of pornography, STDs, divorce, spousal abuse, adultery & infideltiy among whites: A basic inner dissatisfaction born of the inability to trust those whose motives may be more political than personal. The fact that Whites cling to White supremacy as the basis of their sense of identity, despite its inherent flaws, also proves them to be masochistic - as well as paranoid and schiozophrenic (the flip side of sadism).

Whites rarely experience choosing their friends or lovers, while being embarrassed by their emotions and nervous about the difficulty of choosing whom to desire, sexually and socially, since their sexual feelings and human empathy are repressed - because they must choose White - to avoid cultural rejection and social isolation. As the homophobe lives in permanent fear that they might be gay, the White lives in permanent fear that they might be equals of non-Whites and might even like them for friendship or sex.

Yet, emotions and lusts can never truly be repressed; hence, the Whites’ countervailing myths of Black sexual prodigiousness and excessive penis size - a conflict in the White mind that can only be temporarily relieved by overt White supremacy or permanently relieved by the renunciation of White supremacy. Obviously, the latter is very unlikely since it is evaded as a solution to White sexual unhappiness because of the lifetime of work it involves.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Friday 24 October 2014

Elementarteilchen

Also Known As:
Atomized; Elementary Particles
Year:
2006
Country/ies:
Germany
Predominant Genre:
Drama
Author(s)/Director(s):
Oskar Roehler
Best Performance(s):
Moritz BLEIBTREU
Christian ULMEN
Martina GEDECK
Franka POTENTE
Nina HOSS
Corinna HARFOUCH
Tom SCHILLING
Thomas DRECHSEL
Herbert KNAUP
Michael GWISDEK
Jasmin TABATABAI
Ulrike KRIENER
Uwe OCHSENKNECHT
Premiss:
Artificial reproduction of organisms without sexual contact.
Theme(s):
Alienation
Emotional repression
Grieving
Identity
Loneliness
White culture
White guilt
White supremacy
Similar (in Plot, Theme or Style) to:
Brave New World
Review Format:
DVD

O brave new world, / That has such people in’t

Somewhat dishonest look at the failings of White culture that cannot step outside of its own worldview to accurately critique itself: The usual White belief that only White problems matter. Whites’ love of science (& its attendant materialism) has been at the expense of happiness, religion and life, itself; hence, the soullessness of White culture. White sexual repression is the cause of the White need to dominate others; inevitably leading to wars of aggression and many other kinds of conflict. Inevitable then, that such repression would lead Whites to try to find another way of reproducing that did not induce guilt and shame; while holding out the Nazi possibility of White perfectibility.

Despite the excellence of the performances, the satire centering around emotionally-unfulfilling White childhoods does not bite as hard as it could (especially regarding the phony self-realization of Hippiedom) since those who made the film do not wish to bite the cultural hand that feeds them. It is, thus, an example of the very attention-seeking engaged in by many of its characters in their relentless search for a viable self. Yet, despite the worldview presented being essentially nihilistic and self-indulgent, this is still a worthy effort for all that.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Thursday 23 October 2014

Fire

Also Known As:
Unknown
Year:
1996
Country:
Canada
India
Predominant Genre:
Romance
Director:
Deepa Mehta
Outstanding Performances:
None
Premiss:
A simmering cauldron of discontent, with almost every family member living a lie. The marriages are emotionally empty, without love or passion.
Themes:
Alienation
Compassion
Destiny
Emotional repression
Empathy
Friendship
Humanity
Identity
Loneliness
Loyalty
Mercy
Narcissism
Nature
Personal change
Redemption
Self-expression
Sexual Repression
Snobbery
Solipsism
Stereotyping
Totalitarianism
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Rebels Without a Cause

A film that correctly points out that adherence to customs is little more than the response of a monkey to a bell. And that a sole reliance on traditions is a hopeless way to retain a culture in a desired given state. Nevertheless, this inherent wish to rebel against the past can so easily be conflated with a rebellion against duty and responsibility – both of which are far more important and far more serious. There is also the danger here that the flouted traditions are not replaced with something possessing more meaning; that one can be a rebel for being a rebel's sake.

Here, the old look on as the young flout the guidelines by which the old have lived all their lives. The Indian culture depicted becomes Westernized with all the benefits – wealth, improved standards of living, etc – and the disbenefits – materialism, seeing people as means to end rather than ends, etc. All of this is bound up in the story of two women having an affair because their respective marriages are unsatisfactory - on so many levels.

The cultural and political tensions shown here are endemic to all cultures since they must all adapt or die. And yet the purpose of tradition is precisely to avoid such adaptation. Those who resentfully follow custom are shown as seeking revenge on those who have the courage to flout them. The criticism of the Buddhist concept of abolishing desire to abolish evil is palpable since such a desire is itself a desire; albeit one that ultimately leads to emotional death – for only the dead are free of desire. The trial by fire shown here (taken from Hindu mythology) is that which reveals moral impurity if one is consumed by the fire; ones purity, if one is not.

The characterization is a little bland because the actors are, while the themes are not fully explored by the screenwriter. However, the style helps overcome some of these problems in helping us get under the skin of what it is to be a woman in a culture in rapid transit from Third to First World status.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Wednesday 22 October 2014

Dilemma

Also Known As:
Unknown
Year:
2011
Country:
United States…
Predominant Genre:
Comedy
Director:
Ron Howard…
Outstanding Performances:
None
Premiss:
A man discovers that his best friend’s wife is having an affair.
Themes:
Alienation
Christianity
Emotional repression
Guilt
Loneliness
Loyalty
Narcissism
Personal change
Political Correctness
Solipsism
White culture
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Holier Than Thou

The usual White whining from people who have yet to learn the adult requirement to separate the Personal from the Political. They find such activities as Christian marital fidelity difficult to manage since they as unknowing of others as they are of themselves.

Not particularly funny and the characterization is as flat as a pancake because the concept that Love and Friendship are based on Honesty is simplistic beyond belief.


Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute this posting in any format; provided mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Tuesday 21 October 2014

12 Years a Slave

Also Known As:
Unknown
Year:
2013
Country:
United Kingdom…
United States…
Predominant Genre:
Historical
Director:
Steve McQueen…
Outstanding Performances:
Lupita NYONG’O…
Sarah PAULSON…
Premiss:
A free man is abducted and sold into racial slavery.
Themes:
Alienation
Christianity
Compassion
Destiny
Emotional repression
Empathy
Friendship
Humanity
Identity
Loneliness
Loyalty
Narcissism
Personal change
Self-expression
Sexism
Sexual Repression
Solipsism
Stereotyping
White culture
White supremacy
Similar (in Plot, Theme or Style) to:
Black Snake
Mandingo
Review Format:
DVD

Divide & Conquer

Excellent film about how Whites got to be so White supremacist - the economic and psychological benefits so afforded. The creation of Western wealth is presented in such a matter-of-fact style that one becomes quickly convinced that Whites are so traumatized by their upbringings that they could never be anything other than violent European savages; looking for someone to blame for their own poor ethical choices. In this, the movie is a careful and full exploration of how Whites try to economically-pigeonhole Blacks into inferior social and intellectual positions in order to assuage the White fear of Blacks so created. This enables Whites to exploit Blacks more easily and helps prevent Blacks from being successful - which would make Whites resentful since it would prove Blacks equal.

What is so clever about this movie is that it details how Whites attempt to claim Blacks are fit only to be slaves; while living in permanent fear of slave rebellion - as absurd as sheep farmers living in permanent dread of their own flocks. Unlike actual livestock, Black slaves are the only property White slavers must keep under armed guard and whip (a tacit admission that slavery is neither natural nor normal); thereby trying to make the slaves feel the same fear of their masters as the masters feel for their slaves. The slavemasters here are as terrified of the hate they have engendered as Whites today fear Al Qaeda - and for the same reason.

The paradox here is that any Black anger over their ill-treatment is to be rigorously suppressed to ameliorate White guilt (in the same way Whites today claim Blacks play the non-existent Black Race-Card) - a guilt that would not exist if Blacks really were mere livestock. After all, no farmer feels guilt for penning, working & slaughtering cattle. This is carefully-emphasized by the enforced jollity of Blacks while dancing for Whites, in some scenes - designed to make the slave owners feel good, not the slaves.

The craven hypocrisy of the guilt-ridden helps create the false empathy of those who care for Blacks, but only as one would care for the financial loss caused by a damaged possession - not for a fellow human being. The false distinction between good masters and bad masters is created that only the most naive and ignorant would accept as valid; making this movie a far superior indictment of White culture than the usual White whining about how life is so much better now for the Blacks whom Whites still despise.

The many peculiarities of White culture are perfectly reflected here in the White preoccupation with conflating the Personal with the Political, such that all relationships become automatically political - eschewing the personal. This leaves no time for personal, egalitarian or trusting relationships since White activity is then solely-concerned with the making of money; hence, perpetual White anger and frustration at the paucity of their personal lives. Whites here rape Blacks to demand the love they cannot obtain from within the confines of their emotionally-repressed culture, family & friends, then howl with indignant rage after discovering affection cannot be forced.

This is a movie of ideas rather than characters, whose characters embody those ideas and carry them forward into our minds. What would ordinarily be a dramatic failing works so well here because - although the guest stars get little chance to develop their characters - the ideas are so fundamental to human life that only a zombie could fail to be moved by them. The actors and concepts are all ably aided-and-abetted by the director (the next Stanley Kubrick?) and the sumptuous photography of beautiful locations set amid such White-created human misery.

In real life, the lesson for Blacks here is that Whites can never be trusted. All Whites benefit from a White supremacy they claim to disown, no matter the many unprovable protestations they make about either not being personally racist or about not all Whites being racially-prejudiced. Such claims are unprovable because no-one can prove a negative (Whites never say who the non-racists are, what they look like or how to spot one, anyway; making this claim mere speculation) nor can one actually define oneself by what one is not or what one claims not to be - that is, after all, to define oneself as nothing or as neuter. Whites have merely moved from alternately wallowing in self-loathing and guilt to simultaneously floundering in both: A self-indulgence that shows no sign of abating.


Copyright © 2014 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided mention of this Blog is included.
All other rights reserved.

Monday 20 October 2014

Gamer

Also Known As:
Unknown
Year:
2009
Country:
United States…
Predominant Genre:
Science-Fiction
Director:
Neveldine/Taylor…
Outstanding Performances:
None
Premiss:
In a future mind-controlling game, death row convicts are forced to battle 30 sessions in order to be set free.
Themes:
Alienation
Compassion
Destiny
Empathy
Friendship
Humanity
Identity
Loneliness
Loyalty
Narcissism
Personal change
Self-expression
Solipsism
Stereotyping
White culture
White supremacy
Similar (in Plot, Theme or Style) to:
Unknown
Review Format:
DVD

Life is Not a Game

None-to-subtle look at the decay and joylessness inherent in contemporary White culture that indulges what it satirizes; while not being all-that-funny. The emptiness of such a culture is never presented as being anything other than inevitable - without any possible alternative; making this film part of the problem. Worse, a character revelation halfway through fatally undermines its premiss by making this a conflict of Good people versus Evil people rather than a conflict with the Evil inside Whites.

Whites are correctly presented as economic inadequates causing and presiding over an economy-without-innovation or hard work. White supremacy having failed to produce empires with economic longevity, Whites now try to enslave each other for maximum profit - in the desperate hope that other ethnicities will follow; thereby, creating a virtual fantasy world of White supremacy to compensate for its lack in the real world.

Imaginative production design and rapid editing cannot adequately detract from the essential emptiness of the proceedings, here. Nor does it successfully explain why Whites are so terrified of living that they would prefer to do so via a proxy computer screen. An exploration of this desire always to be within the womb and thus to avoid adult responsibility would have made a far better movie.


Copyright © 2014 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.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.