Tuesday, 30 June 2015

But I’m a Cheerleader

Also Known As:: Make Me Over
Version:
Review Format:: DVD
Year:: 1999
Country:
Predominant Genre:: Comedy
Director:
Outstanding Performance:
Premiss:: A naive teenager is sent to a sexual rehabilitation camp when her parents and friends suspect she is a lesbian.
Themes:: Advertising; Alienation; Atheism; Christianity; Coming-of-age; Compassion; Courage; Curative; Destiny; Emotional repression; Erotophobia; Friendship; Genocide; Guilt; Gynophobia; Identity; Individualism; Justice; Loneliness; Love; Loyalty; Materialism; Narcissism; Nature; Original Sin; Personal; Personal change; Political; Political Correctness; Preventive; Republicanism; Role modeling; Sadomasochism; Schizophrenia; Self-Esteem; Sex; Sexism; Sexual Repression; Solipsism; Stereotyping; White culture; White supremacy
Similar to:: Dirty Shame; Hairspray

Live a Lie - But Don’t Get Caught

Summary: Parents try to cure their daughter of lesbianism, but come-up against human nature.

Amusing movie about how Whites, despite claiming to be the master race, regard civilization as being nothing more than the necessity of fitting-into impossible social pigeonholes, rather than freely being who you actually are.

Many of the characters here realize both that trying to cure people of their so-called sexual perversions (via emotional blackmail) and pretending to be cured (by telling Whites what they want to hear) leads to the realization that they can have no true friends in such a culture because of its fundamentalist rejection of human difference. This leads to the White sexual power-games of “unloading” (White men using women as sperm receptacles) and White women prick-teasing White men in revenge, which is the typical result of the White attempt to prevent their children having sex with other ethnicities, other nationalities and the same gender; meaning Whites are largely-confined to their own ethnicity regardless of actual attraction. This is designed to help prevent Whites freely-choosing their own lovers, reducing or reversing the population growth of Whites by marrying those of their choice, increasing the numbers of undesirables by such marriages and, thereby, to maintain White supremacy.

(http://discodrivethru.tumblr.com)

Telling people who they should and should not like and how they should and should not behave in public means having to fake enthusiasms to be accepted by people who do not even accept themselves. The presentation of those pretending to be heterosexual is well-realized here and very much to the point as such a stance quickly becomes heterosexism when the impossibility of such an implausible act becomes obvious and the only outlet for the pent-up frustration then becomes openly-hating those who refuse to deny their sexuality in resentment and bitterness.

However, this movie fails to explain these purposes of homophobia (because it is made by Whites who benefit from White supremacy) accept as a form of social control to enable other Whites to know who you are, by discovering if you hate the same people as they do, without then having to do the necessary work to get to actually know you. It also makes White supremacy easier to practice by making Whites appear superior to others by Whites not appearing to be guided by their emotions more than their thoughts - except when such emotional repression is pointed out to Whites who then become more emotional than rational. Such White behavior obviates human spontaneity to create a (false) social stability. It also makes light of the fact that people cut-off from their real selves are easier to physically-control.

Dramatically, the characterization is a little weak (like a screenplay written by a psychiatrist who believes everyone to be neurotic) and it is only the committed acting performances that make many of the characters appear like real people rather than mannequins for the albeit-astute political points the writer wishes to make.

Nevertheless, this film does make clear why Whites are so emotionally-repressed and why, when you meet them, they appear to be acting-a-part rather than genuinely-expressing themselves. This self-repression helps Whites avoid the hard work and commitment necessitated by a real-and-mature passion-for-living. It also explains why Whites are such poor lovers: They are only taught to find their mirror-images attractive and to shun sexual variety. Like many movies criticizing Christianity, this one is an excellent argument for atheism.

Sunday, 28 June 2015

God Help the Girl

Rating: 60%

(www.movpins.com)

Also Known As:: Unknown
Version:
Review Format:: DVD
Year:: 2012
Country:
Predominant Genre:: Music
Director:
Outstanding Performances:
Premiss:: Eve begins writing songs as a way to sort-out her some emotional problems.
Themes:: Advertising; Alienation; Art; Coming-of-age; Corporate Power; Curative; Destiny; Emotional repression; Identity; Individualism; Loneliness; Materialism; Narcissism; Nostalgia; Personal; Personal change; Political; Political Correctness; Redemption; Sadomasochism; Schizophrenia; Solipsism; Stereotyping; White culture; White privilege
Similar to:: Unknown

Miserabilism: Pale & [Un]interesting

Summary: Dream of escape from an empty culture that offers everything & nothing.

Film begins with the mental retardation common among Whites; directly-resulting from their passion for emotional repression as a means of appearing superior to the common herd of humanity; that is, the most gullible.

There is a peculiar sense, here, that Whites do not let their children have a proper childhood in constantly forcing them to accept - theoretically - the responsibilities of adulthood before they have actually achieved the physical maturity to make these responsibilities make any sense. This leads White teenagers to adopt fogeyism and dilettantism as symptomatic of growing up - when it is merely evidence of the exact opposite.

(www.acuartaparede.com)

The implied critique of the ethnocentric, non-empirical & somewhat-discredited Maslow’s Hierarchy of Needs (being used here to bully young Whites to conform to materialistic White values that make reaching the top of the hierarchy impossible) is undermined by offering nothing of expressive value, profundity or truth in its place. This suggests nothing more than a White love of the cultural prison within which they are safely-but-not-securely ensconced, as well as of the banality and blandness of the music proffered; since White Whining, self-irony & self-indulgence are never going to be substitutes for genuine passion.

Whites have let their own folk traditions die-out while only half-heartedly embracing the Black musical forms they copy and appropriate in a desperate and despairing attempt to fill their self-created esthetic void. This lack of an emotional depth to White culture explains why the Musical died as a movie genre in the West. It also explains why Whites are acting 24/7 to pretend they already are the people they want to be; leading them to write songs about how life appears rather than how it actually is.

In this way, Whites think-the-fun-out-of-life by going round in intellectual and ever-decreasing circles to evade the escape Whites claim to yearn for: The youthful rebellion here is really a desire for acceptance in writing songs-about-songs focused on the self (not others) - precisely to avoid biting the hand that pretends to feed them. Not escapism, but prisoners who have become institutionalized into accepting the only freedom the slave ever experiences: Helplessness.

The actors are good, but the characters are shallow and dull. This is a musical without real emotion; explaining the weakness of the film’s romance and the even weaker music.

Are White lives really this blighted by tedium?

Friday, 26 June 2015

Nine to Five

Rating: 80%

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

Also Known As:: 9 to 5
Version:
Review Format:: Cinema
Year:: 1980
Country:
Predominant Genre:: Comedy
Director:
Outstanding Performances:
Premiss:: Three female employees of a sexist, egotistical, lying, hypocritical bigot find a way to turn the tables on him.
Themes:: Alienation; Compassion; Communism; Corporate Power; Courage; Curative; Destiny; Emotional repression; Empathy; Erotophobia; Family; Friendship; Gynophobia; Identity; Justice; Loneliness; Love; Loyalty; Materialism; Narcissism; Personal; Personal change; Political; Preventive; Rationality; Republicanism; Sadomasochism; Schizophrenia; Self-Esteem; Sexism; Sexual Repression; Snobbery; Solipsism; Stereotyping; White culture; White guilt; White privilege; White supremacy
Similar to:: Horrible Bosses; How to Marry a Millionaire; Pajama Game

…you can run an office without a boss, but you can’t run an office without the secretaries!

Summary: Sexist, egotistical, lying, hypocritical bigotry exposed.

The ultimate employee revenge fantasy with three female archetypes plotting the downfall of their nauseating boss.

The performances are excellent and, while Dolly PARTON is not a great actress, she is a great screen presence.

(http://www.alifeatthemovies.com)

The satire is to-the-point (but its scope is limited to evading the issue of why White men fear White women) while the farcical, black-comedy elements add to the sense of a genuinely-inspired situation-comedy.

Wednesday, 24 June 2015

Week-End

Rating: 40%

(http://www.moviepilot.de)

Also Known As:: Unknown
Version:
Review Format:: DVD
Year:: 2013
Countries:
Predominant Genre:: Comedy
Director:
Outstanding Performances:
Premiss:: Couple return to the scene of their honeymoon; attempting to rejuvenate their marriage.
Themes:: Alienation; Christianity; Communism; Curative; Destiny; Emotional repression; Erotophobia; Gynophobia; Identity; Loneliness; Loyalty; Materialism; Narcissism; Nostalgia; Personal; Political; Political Correctness; Sadomasochism; Schizophrenia; Sexism; Sexual Repression; Social class; Solipsism; Stereotyping; White culture; White privilege
Similar to:: Venus

Caucasians Aging Badly

Summary: Whites leading lives of quiet desperation.

Amusing-but-empty reflection on White superficiality and resultant depression that quickly falls into the same malaise as its central characters. White Whine - even in Paris - tastes more like vinegar than anything else; leading to nothing more than boredom, dissatisfaction & anger - both in the characters on-screen and the audience.

Why such people ever got married, in the first place, is never addressed - apart from the implication that the social snobbery of the characters would lead them, inevitably, to marrying only those exactly like themselves; in other words, an affectively arranged-marriage. The marriage presented here is based more on seeking emotional sanctuary and personal safety than on being physically-adventurous and psychologically-fulfilled.

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

White lives usually end in failure since they believe inherent contradictions can be reconciled in political talk - as opposed to action. Believing that the Personal is Political can only lead to the death of sensuality inevitable when Politics enters the bedroom; while fear of living fully can only result in the dread of death displayed here. A curious mix of being frightened to be alone and, yet, being unable to find someone to share one’s life with that one can put-up-with till the end.

The writer’s trademark gynophobia, misogyny & sex-obsession are well in evidence as he is quite unable to show scenes from a marriage in anything other than sexual terms. Do so many Whites really not sow their wild oats when young - and then spend their middle and declining years regretting it - all to avoid the regret of actually doing something they might regret?

The characterization is as two-dimensional as it is possible to be; making this a waste of fine actors.

Saturday, 20 June 2015

Transformers

Rating: 40%

(www.giantbomb.com)

Subtitle:: Revenge of the Fallen
Version:
Review Format:: DVD
Year:: 2009
Country:
Predominant Genre:: Science-Fiction
Director:
Outstanding Performance:
Premiss:: When a young man’s mind is filled with cryptic symbols, he is dragged back into a war.
Themes:: Alienation; Coming-of-age; Corporate Power; Curative; Destiny; Emotional repression; Erotophobia; Family; Genocide; Gynophobia; Identity; Individualism; Loneliness; Materialism; Narcissism; Nostalgia; Personal; Political; Political Correctness; Republicanism; Sadomasochism; Schizophrenia; Sex; Sexism; Sexual Repression; Solipsism; Stereotyping; White culture; White guilt; White privilege; White supremacy
Similar to:: Transformers

Let’s Roll!

White Boys with Dreadlocks

Whites still clinging to the desperate belief that weapons win wars - not soldiers

Summary: Empty culture expresses its violence at anything that does not remind it of itself.

Shrill, gratuitously-violent movie that makes absolutely no sense - except as fantasy - and, even then, relies on humor (admittedly very funny), in addition to peculiar, Heath Robinson-esque special-effects to distract the audience from the emptiness, the superficiality and the lack of any substantive story.

The reference to the so-called Special Relationship between the UK and the USA (via an attached SAS trooper) becomes an analogy for the relationship between Humans and Transformers - whose goal is to rule the world in the guise of protecting it from so-called 9/11-terrorists who were, in their turn, responding to the terrorism of White neo-colonialism. The implication, here, that motiveless evil exists only when directed against Whites is an attempt by Whites to claim they had nothing to do with the suffering that they, themselves, created, continue to experience & perpetuate.

White fantasies of Manifest Destiny clearly include Caucasian sex-objects who look curiously-alike: Are Whites really so frightened of sexual variety? Does this explain White men’s curious sexual-dissatisfaction; having (in the interests of White supremacy) to artificially-align their sexual feelings to such a limited range of feminine pulchritude? And does the absurd violence of this movie suggest nothing more sophisticated than the most animalistic response to sex-starvation?

And is the claim that aliens built the pyramids of Egypt nothing more than the White supremacy of denying African agency in the creation of worthwhile civilizations? Here, White wishful-thinking is also expressed by the belief that superweapons will win the day - much like Hitler fancifully believed he could win World War 2 with Vergeltungswaffen. The childish obsession with complex weaponry - as if they were no more than mildly-dangerous toys - reveals a lack of concern about the long-term consequences of their use: Boys-toys acting as rather obvious penis-substitutes. This, effortlessly-colluding with the old gynophobic fantasy about the White male desire for froward White girls who, yet, can never really be trusted not to give you some kind of sexual disease.

The old Caucasian delusion that the Personal is Political means Trust is said to be possible in the political arena - to compensate for its lack in the personal. White paranoia means the belief that the enemy is among Whites - rather than is Whites - and that shutting down personal relationships in favor of political ones will save the day, rather than make White lives not worth living through the inevitable lack of genuinely-fulfilling personal relationships so created. The sticking together, shown here, is not yet an option for Whites, in the real world, since they are still so openly-dedicated to the task of the cultural self-destruction that initiated the so-called War on Terror, in the first place. This is why Whites have yet to produce an intelligent response to 9/11 because they still haven’t gotten over their hurt feelings and self-pity.

Rather than characterization, this movie contains irony-masquerading-as-emotional-depth to mimic the White desire to conceal emotional need behind the façade of individualism. This imposture also attempts to serve the intended purpose of not revealing any human weakness; leaving only the robots with any character traits to identify with - and they have feelings for no other reason than to provide the audience with characters to feel something for.

The only relief from the sheer, wanton tedium of the relentless tempo is Megan FOX - who looks like she might be worth a tumble, yet sexual lust for an actress does not last the two hours’ length of this noisome entertainment.

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.

(1913-60), French-Algerian writer & philosopher. The Rebel: An Essay on Man in Revolt: New York: Vintage Books, (1984; page 182.)

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Tuesday, 30 June 2015

But I’m a Cheerleader

Live a Lie - But Don’t Get Caught

Sunday, 28 June 2015

God Help the Girl

Miserabilism: Pale & [Un]interesting

Friday, 26 June 2015

Nine to Five

…you can run an office without a boss, but you can’t run an office without the secretaries!

Wednesday, 24 June 2015

Week-End

Caucasians Aging Badly

Saturday, 20 June 2015

Transformers

Let’s Roll!

White Boys with Dreadlocks

Whites still clinging to the desperate belief that weapons win wars - not soldiers

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