- Subtitle:
- Revenge of the Fallen
- Version:
- Language:
- Length:
- 144 minutes
- 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
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.
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