Friday, 27 February 2015

American Reunion


Also Known As:
American Pie 4: Reunion; American Pie: Reunion
Year:
2012
Country:
United States…
Predominant Genre:
Comedy
Directors:
Jon Hurwitz… Hayden Schlossberg…
Outstanding Performances:
Rebecca DE MORNAY… Eugene LEVY… Seann William SCOTT…
Premiss:
Old friends reunite for a high school reunion.
Themes:
Alienation | Emotional repression | Friendship | Identity | Loneliness | Narcissism | Nostalgia | Sexism | Sexual Repression | Solipsism | Stereotyping | White culture
Similar to:
American Pie (1999)… Animal House (1978)… Lemon Popsicle (1978)… Porky’s (1981)…
Review Format:
DVD

Freud was Right: Sex is the Basis of White Psychology

The usual White infantile approach to sexual feelings made manifest by the White inability to communicate desires to others without the need for alcohol - exacerbated by the belief that sexual intercourse is merely an end in itself, rather than also a means to an end.

Skinny White girls are presented as the supreme subjects of male lust; revealing White sexual monomania and volitional lack of variety - despite the latter being the spice of life. It is almost as if Whites think spouting their sexual obsessions in public makes them feel better about being sexually-neurotic in private; helping Whites make their psychological problems actually seem normal and natural - at least to them.

The basis for truly satisfying sex is never explored nor dramatized; leaving the audience panting for the same satisfactions as the central characters - with just the same negative results.

The virtues of monogamy are also never spelled out. In any case, most here would be unable to fully apply themselves to serious relationships; having such meager personalities and characters.

Are White men so sexually-incontinent because of a lack of sexual ability? Or because they lack any genuine motivation to experience the breadth and the depth of sexual experience? Or is it the simple lack of opportunity inherent in a sexually-repressed culture?

That these characters have never grown up is a tad depressing - but only to be expected from a culture that believes people never really grow up but, instead, just get better at hiding their immaturity: Strengthening their defenses as a substitute for successful ontogeny. One can only conclude that the underlying problem here is a basic lack of human warmth - along with the lack of a genuine sense of humor.

A terrifyingly-mediocre sex comedy that is not as good as American Pie - and that wasn’t all that great. No wonder most pornography is produced and consumed by White males, if their sexual lives are anything as dull, as insular and as narcissistic as this.

Tuesday, 24 February 2015

Jeune & Jolie


Also Known As:
Young & Beautiful (2013)…
Year:
2013
Country:
France…
Predominant Genre:
Drama
Director:
François OZON…
Outstanding Performances:
Charlotte RAMPLING… Marine VACTH…
Premiss:
After losing her virginity, a teenager begins a secret life as a call-girl; meeting her clients for hotel-room trysts.
Themes:
Alienation | Coming-of-age | Courage | Destiny | Emotional repression | Ethnicity | Family | Guilt | Identity | Loneliness | Materialism | Narcissism | Original Sin | Political | Pornography | Self-expression | Sexism | Sexual Repression | Solipsism | White culture | White supremacy
Similar to:
Belle de Jour (1967)…
Review Format:
DVD

Once a Prostitute, Always a Prostitute

Summary: Fine Summation of White sexual disaffection.

Interesting film about the White male dislike of White women which successfully explores the fact that this leads White women to live double lives in order to have any emotional satisfactions at all.

The emotional dissociation from pleasure and the anhedonia of the characters are well-presented and explain why prostitution (like its sister activity, pornography) should be so prevalent in an allegedly sexually-liberated Western culture.

The central issue here, becomes not that ones daughter is a prostitute, but that she wants to discover what others fear and avoid: A full life. The fact that she has made a dangerous choice is irrelevant to the fact that she feels the need to make such a choice - despite the obvious, extra-cultural alternatives.

Marine VACTH’s character tries to understand why sex is a problem for Whites yet, in the process, merely discovers White male lust as a substitute for desire - from which she cannot discover her true feminine self; leaving her as anhedonic as before. As an actress, VACTH captures the duality of her character effortlessly - along with the baleful affects of the White need for a pornography from which Whites learn their sexual behaviors.

The problem with this film is that it does not roam outside its own culture to discover a better way for people to live their sexual lives; something Whites clearly believe is impossible since Whites do not believe they can learn anything useful from anyone not White; giving the clear sense, here, of characters trapped in a social abyss of their own making.


Sunday, 22 February 2015

Front

Also Known As:
Unknown
Year:
1976
Country:
United States…
Predominant Genre:
Comedy
Director:
Martin Ritt…
Outstanding Performances:
Andrea MARCOVICCI…
Zero MOSTEL…
Premiss:
A cashier poses as a writer through whom blacklisted talents submit their work.
Themes:
Alienation
Atheism
Compassion
Courage
Destiny
Emotional repression
Empathy
Free Speech
Friendship
Humanity
Identity
Justice
Loneliness
Loyalty
Narcissism
Personal
Personal change
Political
Political Correctness
Republicanism
Self-belief
Self-expression
Solipsism
Stereotyping
Totalitarianism
White culture
White supremacy
Similar to:
Witchfinder General
Review Format:
DVD

White Loneliness

Summary: Politically-Themed Comedy.

Excellent movie about the White inability to have Personal relationships with those they love - in case they lose the friends they already claim to have; choosing, instead, to have Political relationships based on those they can mutually hate. Such loneliness means wanting those one does not like - and who do not like one - to be some kind of forced friend.

This White sense of the alienation and loneliness Whites wish to inflict upon others is well-represented in political pressure being applied to help condemn ones true friends or face being blacklisted and unable to work in the entertainment industry. Ultimately, this leads to family-members denouncing one another: An attempt to undermine the very foundation of the institution of the family Whites pretend to be protecting through their anti-communism and then replace it with loyalty to the State as the highest social good.

McCarthyism, the basis for present-day (2015) Political Correctness, is evident in the emotionally-repressed nature of the witch-hunters compared with the personal warmth of the communists; making McCarthyism a kind of peculiar advert for the adherents of Karl Marx.

This White predilection for witch-hunts (eg, those frequently-directed at Muslims, Blacks, Jews, etc) to scapegoat Whites’ own failings, is well to the fore here - despite Whites’ frequent claims of cultural superiority to other cultures who do exactly the same. There is also a sense here that Whites’ believe true power comes from forcing others to prove a negative: That they are not a communists.

The central character begins as an apolitical schmuck with a cockamamie job who slowly comes to see the destruction of his friend’s lives and their sense of self-worth: He eventually has to decide what side of the political fence he really stands on. The only failing here is that this film does not have enough to say about the free speech the communist writers are being openly-denied.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form - provided you mention this Blog.
All other rights reserved.

Saturday, 21 February 2015

TETSUO:
The Ironman
(1989)

80%

Men Alienated by their Inventions

Aside from the occasional self-indulgent pretension, this is a startling body-horror movie of some brilliance. It is what the remake of The Fly was and what both Eraserhead, Bad Taste and Videodrome could have been if they had had the courage.

Focusing on the external bodily changes of the characters, it creates a metaphorical world in which Man has become his own machine as his own inventions begin to devour Him and take Him over. This movie also analogizes Westernized materialistic relationships that become mechanical through an obsession with sex.

Here, human beings do not sweat to cool down but to lubricate their moving parts from the outside. Their alienation is exemplified by gross bodily-transformations that border on the ridiculous. But the humor here is decidedly black in this tale of a Frankenstein who is both creator of the monster and the monster itself. The transformations - expressed in terms of ingesting and regurgitating from various bodily orifices - are stylistically reminiscent of the animations of Jan SVANKMAJER.


Friday, 20 February 2015

All's Faire in Love


Also Known As:
Unknown
Year:
2009
Country:
United States…
Predominant Genre:
Comedy
Director:
Scott Marshall…
Outstanding Performances:
Christina RICCI… Chris WYLDE…
Premiss:
Two rival Medieval shows vie for supremacy in the world of Renaissance Faires.
Themes:
Alienation | Coming-of-age | Compassion | Emotional repression | Identity | Loneliness | Materialism | Narcissism | Nostalgia | Personal | Personal change | Political | Political Correctness | Self-belief | Self-expression | Sexual Repression | Solipsism | Stereotyping | White culture | White guilt
Similar to:
Adventures of Power (2009)…
Review Format:
DVD

Oddly Original

Summary: Engaging & Affectionate Romantic Comedy about Cultural Superficiality.

Movie about the process of acting, itself, in that the various performers portray the differing levels of commitment to their roles that one would expect from historical re-enactors in real life.

The ever-petite Christina RICCI is her usual excellent self and perfectly complements the highly-tall and apparently-gormless Owen BENJAMIN.

BENJAMIN is, in fact, unhilariously-hilarious as he wanders around this movie acting like he is amazed that anyone would ask him to appear in a movie at all. It is as if his first impressions of being in a movie are being recorded for no good reason - other than posterity; as if he were watching the other performers from a distance rather than directly interacting with them - as would be the case in a more conventional movie.

Apart from the fact that there is no explanation as to why any Whites would ever choose to dress up as other people and start living an alternate reality (outside the acting field), this film is kind of brilliant - in an Adventures of Power sort of way.


Saturday, 14 February 2015

Carry on Emmannuelle

Also Known As:
Unknown
Year:
1978
Country:
United Kingdom…
Predominant Genre:
Comedy
Director:
Gerald Thomas…
Outstanding Performances:
Kenneth CONNOR…
Suzanne DANIELLE…
Premiss:
Sex-starved beauty cannot inflame her husband’s ardor. In frustration, she seduces a string of VIPs.
Themes:
Courage
Destiny
Emotional repression
Empathy
Free Speech
Humanity
Identity
Self-belief
Self-expression
Sexual Repression
Social class
White culture
Similar to:
Emmanuelle
Review Format:
DVD

She doesn’t want “Tom” or “Harry” - she wants “Dick”!

Summary: Good, clean sexy fun.

If not for the presence of the clearly-enjoying-himself Kenneth CONNOR & and the very game and immensely prick-stiffening Suzanne DANIELLE, this movie would not be much fun.

The problem throughout is a crisis of identity. Is it a typical Carry On, where sexual activity is hinted-at - via double entendre and innuendo - but never shown. Or, a Confessions- or Adventures of-type comedy where the fleshy couplings are more explicit? It cannot quite decide and falls a little flat by attempting a compromise between the two.

In a sense, this movie is not a veritable Carry On, since the attempt to change such a rigid formula could never really work because it relied on certain, unique, performers who could never be replaced. (In this, Carry on Emmannuelle had much the same problem as the Hammer horror movies; hence, their decline.) Unlike Bond or Dr Who, the producers of this movie discovered they could not change the leading players or style without hurting the franchise.

Not one of the best Carry Ons, yet still an agreeable way to spend some time with old friends who have given so much comedic pleasure to so many.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided you mention this Blog.
All other rights reserved.

Thursday, 12 February 2015

Jury II

Also Known As:
The Jury
Year:
2011
Country:
United Kingdom…
Predominant Genre:
Crime
Director:
Michael Offer…
Outstanding Performance:
Julie WALTERS…
Premiss:
Twelve men and women are called for jury service in the retrial of a man accused of triple murder.
Themes:
Alienation
Christianity
Compassion
Emotional repression
Empathy
Grieving
Guilt
Justice
Loneliness
Materialism
Narcissism
Personal
Political
Political Correctness
Sexual Repression
Solipsism
Stereotyping
White culture
Similar to:
12 Angry Men
The Jury
Review Format:
DVD

Whites Should Get Out More

Summary: Compelling. but empty.

As usual with this writer, he is good at addressing political issues but poor at dealing with character - almost as if he thinks politics has nothing to do with who people are.

The attempt to abolish trial-by-jury (to increase conviction rates) comes down to little more than greedy police officers and obnoxious politicians caring more about criminal convictions than actual guilt - with no attendant analysis as to the real reasons the UK police service has such a currently-low crime detection rate (29%).

The non-Black characters are little more than cyphers who (like the drama itself) possess no self-understanding - while the People of Color are merely chocolate-colored Whites. (As males cannot write convincing non-male characters, Whites cannot write convincing non-White ones.)

The emotional repression of Whites (which produces such writing) is only hinted at here, yet the culture-of-loneliness depicted is the main event. Whites find it so hard to find soul-mates that Exhibitionism is practiced alongside on-line dating in providing the solace of a good shag, yet the writing never explores this as an upfront issue - nor does it suggest solutions.

Such cultural inadequacy is not fruitfully explored here and, as the prosecution case lacks unambiguous evidence of guilt, so the case made by the drama itself (British Justice is a political tool of the vindictive & that not all Whites are hysterical fools) lacks the detail necessary to convince.

Lacking an intact humanity, non-Blacks continue producing psychologically-unintegrated and cowardly drama like this. Still, the first-rate acting holds the interest - along with the desperate desire to know what the jury’s verdict will be and whether the jury’s verdict is actually correct.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided you mention this Blog.
All other rights reserved.

Tuesday, 10 February 2015

300 Spartans


Also Known As:
Unknown
Year:
1961
Country:
United States…
Predominant Genre:
Historical
Director:
Rudolph Maté…
Outstanding Performances:
Diane BAKER… Donald HOUSTON…
Premiss:
Military spearhead of 300 soldiers battles an entire invading army.
Themes:
Communism | Courage | Destiny | Emotional repression | Family | Identity | Loyalty | Narcissism | Personal | Personal change | Political | Republicanism | Self-belief | Self-expression | Totalitarianism | White culture
Similar to:
300 (2007)…
Review Format:
DVD

With This or On This

Women of Britain, Say Go!

Summary: Weak history-lesson with rousing battle-scenes.

White propaganda expressed in expository dialogue of exceeding banality. Even though there are some fine actors here, the characters remain resolutely two-dimensional despite the best efforts of the performers.

The political simplifications of endlessly-stating that the Ancient Greek city states were endlessly disunited are designed to mask the attempt to make this film palatable to modern audiences by making the Asiatic Persians substitutes for the Asiatic Soviets; while offering no real insight into life in either circa 480 BC or 1961 AD.

The Battle of Thermopylae is handsomely-mounted (the only real reason this entertainment was ever produced) with large numbers of butch, hairy-legged Caucasian males dressed in battle skirts and ready to die for Sparta - along with the political delusion of a united Greece.

Diane BAKER is very fetching (with winning ways) and Ralph RICHARDSON does reasonably-well at making the indigestible dialogue sound convincing. But what makes this movie less than it could have been is the White belief that the Personal is Political; explaining why none of the characters possess a private life that is considered as important as their duties to the state.

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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.