Freakonomics

Rating: 60%


(http://rocknrollghost.com)

Also Known As:

Unknown

Year:

2010

Country:

Predominant Genre:

Non-Fiction

Directors:

Outstanding Performances:

None

Premiss:

Collection of documentaries allegedly-exploring human nature through economics.

Themes:

Alienation | Emotional repression | Identity | Loneliness | Materialism | Narcissism | Personal | Political | Pornography | Republicanism | Science | Self-expression | Sex | Sexual Repression | Solipsism | Stereotyping | White culture | White guilt | White supremacy

Similar to:

Unknown

Review Format:

DVD

Witch Doctors ‘R’ Us

Summary: Caucasian intellectual lightweights punching above their weight.

As usual, Whites claim there is a secret side to everything and only they know what it is in their desperate bid to hold on to any sense of being world dominant: Welcome to the Twilight Zone. (It is also a rather desperate attempt at Economics imperialism to try and make economics appear more like a science than a philosophy by trying to hide its actually-political agenda.)

The claim that human behavior can be predicted if you know what someone’s incentives are is so simplistic that you kind of wonder if Whites love this kind of stuff because they are kind of stupid or because they are kind of intellectually-lazy. (Perhaps someone should write a book that says that beautiful women get more attention from men which, by the way, kind of proves that heterosexuality is normal!)

The claim that to understand something happening over time one needs to seek patterns is so obvious - given that existence is consistently-structured - that it beggars belief that anyone could believe that patterns do not exist and that there could be another means of determining reality. (That appearance can be used to hide a corrupt essence and actually encourage corruption if successful is similarly obvious.)

The only really convincing argument here is the rather smugly-put claim that legalizing abortion-on-demand in 1973 led to a strong correlation between that fact and the fact that 25 years later arrest rates across the US declined consistently - despite the fact that these figures are absolute totals, not per capita ones and that the removal of lead from gasoline could also be a contributory factor. Yet, since Whites believe Black people are criminal by nature, this would be an argument to force Black women to abort their unborn; suggesting its authors were KKK supporters - in principle, if not in fact.

Given that most economists study people’s economic behavior as if people were always rational actors, reacting to physical scarcity, Economics can never claim to be a hard science - like physics of chemistry. This movie tacitly admits this by being more of a sociological treatise than a look at the effect of economic incentives on people’s behavior. In truth, it is more of a book concerning Econometrics than Economics.

Is it really rocket science to claim there is a difference between correlation and causality? Just like Mein Kampf, Freakonomics is not a new way to look at the world, but an old White one in new clothes. Fantastic claims are made that are designed to blind one with science; hiding the hidden agenda the authors claim to lack: We know what’s what and you don’t - opinions masquerading as facts. A sad reflection on the value of college-tenured staff to their employers, given that they do not have to produce anything of any real or lasting value.

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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.

Innocence

Rating: 60%


(http://www.movie-roulette.com)

Also Known As:

Unknown

Year:

2004

Countries:

Predominant Genre:

Mystery

Director:

Outstanding Performances:

None

Premiss:

Inside an offbeat boarding school for young girls.

Themes:

Alienation

Christianity

Coming-of-age

Corporate Power

Courage

Destiny

Emotional repression

Friendship

Identity

Loneliness

Materialism

Narcissism

Personal

Political

Political Correctness

Pornography

Republicanism

Sadomasochism

Sex

Sexism

Sexual Repression

Solipsism

Stereotyping

White culture

White supremacy

Similar to:

Picnic at Hanging Rock

Prisoner

Secret Garden

Sheep has Five Legs

Truman Show

Village

Review Format:

DVD

Feet Never Touch the Ground

Summary: How Whites raise their female children.

Based on a White male feminist’s (inevitably-confused) understanding of sexual equality, this characterless, idea-based tale contains the same ambiguity regarding biological essentialism as it does of how White women are actually viewed by White men.

As a grotesque satire on the way in which White girls are actually raised, it only partially succeeds because of its equivocal attitude toward feminism - along with the voyeuristic nature of the enterprise. This scopophilia perfectly captures the sense that White women are to be most concerned with how they appear (to White men) and that their essential purpose is White male sexual pleasure and, in the process, breeding ever more Caucasians - as if there were a shortage of same or, worse, a declining White birthrate.

Despite its visual beauty, this film ultimately falls flat on its face in presenting White feminism as largely pointless in the face of White male lust, along with the latter’s need to achieve secure power over White women in order to experience some sense of sexual stability - no matter how false. This is because White feminists never suggest sleeping with men of different ethnic groups as a solution to White male chauvinism since they secretly delight in the sexism they experience: It gives them a chance to vent their hatred of all men and of one man, in particular - their fathers. The high, inescapable walls, here, are in the director’s paranoiac and schizophrenic mind.

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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.

Little Big Man

Rating: 100%



(http://kennyleguier.blogspot.co.uk)

Also Known As:

Unknown

Year:

1970

Country:

Predominant Genre:

Western

Director:

Outstanding Performances:

Premiss:

Jack Crabb, looking back from extreme old age, tells of his life being raised by Indians and fighting with General Custer.

Themes:

Alienation | Christianity | Coming-of-age | Courage | Destiny | Emotional repression | Empathy | Family | Grieving | Humanity | Identity | Justice | Loneliness | Loyalty | Materialism | Narcissism | Personal | Personal change | Political | Sexual Repression | Solipsism | Stereotyping | White culture | White guilt | White supremacy

Similar to:

Review Format:

DVD

Caucasians v. Human Beings

Summary: Brilliantly-Picaresque Genocide Comedy.

Superb satire on the emotional repressions, sexual hypocrisies, genocidal tendencies & lack of morality of Caucasians - endlessly-worried about what others think about them.

Tirelessly-demythologizing the Hollywood Western by carefully-revealing what lies behind the myths: Whites generating income by drastically-reducing the life-expectancy of members of other cultures.

Native-Americans know where the center of the Earth is because they are grounded as a People. The humor here is at the expense of Whites, who are shown more concerned with their individual appearance than with their individual identity. Richard MULLIGAN, as Custer, brilliantly-represents this White malaise produced through Whites possessing a disrespectful culture that can only express itself in degeneracy and desecration.

“
Whatever else you can say about them, it must be admitted, you cannot get rid of them... There is an endless supply of white men, but there always has been a limited number of Human Beings.”

Old Lodge Skins (played by Chief Dan George). Little Big Man (1970).

Here, the White world is portrayed as the source of chaos; explaining the widespread White mental illness on show here. To be accepted as White, one is required to become as mad as they; to become human, one must battle Whites. This White inability to see people as they really are is reflected in a recurring motif of many of the White characters not recognizing each other after years have passed since seeing one another. It is almost as if Whites really do all look alike - even to each other. A dearth of individuation caused by the combination of a lack of a substantive culture and an unwillingness to see beyond the ends of their noses.

Inevitably, then, since this movie perfectly-portrays the White penchant for killing defenseless women & children in total wars of annihilation, it then becomes a historical analogue for the White imperialism of recent decades.

Faye DUNAWAY is excellent as the sex-starved wife of a coitus-fearing Christian preacher who calls her adulterous lover ‘filthy’ & ‘dirty’, calls out for help when he is lying between her legs, yet cannot wait for him to come inside her. Chief Dan GEORGE is superb as the visionary Indian who sees the writing on the wall for the continued existence of the Red man and is amusingly-resigned to their fate. Richard MULLIGAN is staggeringly-funny in an over-the-top performance as the chronically-neurotic General Custer; allowing us to see all the more clearly the Heart of Darkness within. Like Colonel Kurtz in Apocalypse Now, his only dream is the dream of all death-worshipers: Experiencing death through murdering others in the hope they will never have to experience it first hand; thereby overcoming their fear of death through the figurative pulling-off of flies wings. This is never a satisfyingly-authentic experience for anyone, however, precisely because it is second-hand; explaining Custer’s absurdly-suicidal battle tactics at the Little Big Horn.

While Westerns like this brought about the end of the Hollywood Western as a commercial movie genre in the West, itself, by trying to show the real West that was constantly elided in the interests of sustaining the myth of the White Man’s Burden, the form collapsed fighting to gain some artistic integrity after decades of White supremacist propaganda about which phenotype was the real hero of the The Wild West.

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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.

Queen of Versailles

Rating: 80%



(www.ioncinema.com)

Also Known As:

Unknown

Year:

2012

Countries:

Predominant Genre:

Non-Fiction

Director:

Outstanding Performances:

None

Premiss:

Billionaire couple constructs mansion inspired by Versailles. But their empire, fueled by the real-estate bubble and cheap money, falters.

Themes:

Alienation | Destiny | Emotional repression | Family | Identity | Loneliness | Love | Materialism | Narcissism | Personal | Personal change | Political | Snobbery | Solipsism | White culture | White supremacy

Similar to:

Unknown

Review Format:

DVD

Personal is Political

Summary: Microcosm of White society.

The usual White nonsense about success being about nothing more than hard work and dedication - as if racial, sexual & social snobbery did not exist. This issue of White guilt is never explored here; leaving the characters to speak only for their own, ignorant selves.

The rich Whites here spend their money in such a way that one wonders why the became rich in the first place. Both husband and wife spend money without too much thought until the current economic recession hits. The status symbols they buy are used to hide the blankness of the people concerned in their inability to see beyond the merely superficial and do something useful with their lives. They know the price of everything and the value of nothing.

These are not very interesting people whose problems are made more obvious by the recession: A lack of solidarity, humor & thrift in the desire to keep up appearances. It is almost as if Whites do not like each other much and, like the parasitic banks that caused the economic depression in the first place, are keen to exploit their hardship as much as complain and blame others for it.

This documentary offers information about the subjects but very little about the subject; leaving the audience to wonder what the film is really about since the bigger picture remains - lazily - unexplored. This is a typical problem with passionless explorations of White culture made by Whites: They are frightened to really engage in an anthropological exploration of themselves in case they find themselves staring into nothing but an abyss. This probably explains why Whites spend so much of their time focusing on other cultures - to occult their own.

---

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.

Angriest Man in Brooklyn

Rating: 80%


(www.npr.org)

Also Known As:

Unknown

Year:

2013

Country:

Predominant Genre:

Comedy

Director:

Outstanding Performances:

Premiss:

Perpetually-angry man is informed he has 90 minutes to live and promptly sets out to reconcile with his family and friends in the time left.

Themes:

Alienation | Destiny | Emotional repression | Family | God | Grieving | Identity | Individualism | Love | Narcissism | Personal | Personal change | Political | Redemption | Self-expression | Society | Solipsism | The State | White culture

Similar to:

Review Format:

DVD

Nurture versus Nature

Summary: Man realizes how important Family is when told he has a Brain Aneurysm.

Despite most of the characters being Jewish, this is something of a White Whiners film. A strong sense of White decline pervades in that the basic unit of Society (the Family), as such, is seen to let many of the characters down when they most need its support and help.

A culture abandoning the Family in favor of the cult of Individualism and the dubious comforts of the State, becomes unsatisfying to its adherents; producing the personal depression, psychological ennui and social malaise shown here. That such a weak Personal and Cultural hinterland is allowed to exist is testimony to the stupidity of Whites in their seeking a characterless and a soulless identity (the pretense of achieving the unknowableness of God) by pretending that families are less important than individuals - when they both need one other to fully nurture each other.

In this, of course, the film is an accurate description of a particular culture, but contains no real insight into the all-important question of “Why?” The White assumption is, of course, that all cultures should be like White culture - if not, then there is something wrong with those other cultures. This has the affect that Whites do not feel the need to change so that the decadence on show - the reversed Field of Dreams-like need to resolve family estrangements - here can only continue to get worse.

Despite some absurdly-plotted coincidences, the performances are generally fine, while the movie, itself, is often quite hilarious; making this a sincere, touching and heartfelt plea for acceptance of both self and others - as they are, not as one would like them to be.

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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.

Wolf of Wall Street (2013)

Rating: 100%


(http://www.reelcinemas.co.uk)

Also Known As:

Unknown

Year:

2013

Country:

Predominant Genre:

Comedy

Director:

Outstanding Performance:

Premiss:

The rise to wealth of a stock-broker: From living the high life to his fall involving crime, corruption and the federal government.

Themes:

Alienation | Destiny | Emotional repression | Identity | Justice | Loneliness | Loyalty | Materialism | Narcissism | Personal | Political | Self-expression | Sex | Sexism | Sexual Repression | Social class | Snobbery | Solipsism | Stereotyping | White culture | White guilt | White supremacy

Similar to:

Review Format:

DVD

Money Makes You a Better Person

Summary: The Zero-sum game of White materialism.

Extravagantly-funny movie about the kind of White greed that helped create the current global economic problems.

The usual White preoccupations with Sex & Drugs & Rock‘n’Roll are well to the fore here, as Whites try to escape the bounds of a reality they reject - particularly the nine-to-five rat-race. Behind the White façade of genetic superiority lies a cultural wasteland within which Whites seek oblivion from the guilt of knowing the truly-parasitic nature of their learned behaviors; revealing who they really are in the same way in which one of the characters desperately (played by Jonah HILL) tries to conceal his all-too-obvious homosexuality.

That stockbroking is something of a con-game in which only stockbrokers are likely to make any real money is rather obvious since they would never offer investment tips to their clients, if the tips were good - they would invest in the companies they recommend themselves and get rich that way. In reality, of course, stockbrokers make money from sales’ commissions which are not based on whether or not the stock market is bullish or bearish. Wall Street money is a fantasy, its salesmen crooked soldiers and its clients idiots, is as hilarious as it is accurate. There is a clear sense here that the movie is actually more of an expose of Hollywood than of Wall Street.

Getting rich by neither production nor creation is false wealth since stockbrokers then have to ensure their clients do not cash in on their earnings/winnings by buying more equity in the hope of getting even richer. But the wealth is only on paper until it is cashed - a cashing that can only negatively-impact on the stockbrokers wealth. Thus, a psychological battle surrounding paper wealth ensues in which paper wealth chases even more paper wealth until a stock or stocks fails; making such trades a form of legalized gambling.

It is this gambling aspect to this story that fully expresses the reality of the White American Dream. The land of opportunity turns out to be little more than a myth concerning the White arrogance and sense-of-entitlement that built America.

White emotional-repression alternates and conflicts with the need for emotional expression through sexual release that can only find pseudo-resolution in fiscal greed. The relationship between sex and money in the White world is well-shown here as sex is frequently with prostitutes and naked bodies are shown on beds covered in Dollar bills - income hidden from the IRS by being in cash. Sexual activity here is like going to the toilet: More of a need than a pleasure. And, in the end, as in A Clockwork Orange, the central character is never redeemed; making this a modern-day tragi-comedy.

DiCAPRIO still cannot act nor inhabit a character, yet this makes him a good fit for the superficial and materialistic anti-hero whose soul we never truly glimpse; leaving us with the realization that he does not really have one. The other actors do the best they can with a script that is more concerned with ideas expressed humorously than with actual people. Yet the film grips precisely because of the importance of those ideas to ordinary people - everywhere.

Getting rich quick was never this much fun.

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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.