- Also Known As:
- After Party
- needed to precede following dl
- Languages:
- Length:
- 141 minutes (Uncut)
- Review Format:
- DVD
- Country:
- Predominant Genre:
- Action
- Director:
- Outstanding Performances:
- None
- Premiss:
- Trying to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong.
- Themes:
- Alienation | Corporate Power | Courage | Curative | Destiny | Emotional repression | Equality | Erotophobia | Family | Friendship | Genocide | Grieving | Guilt | Identity | Individualism | Loneliness | Loyalty | Materialism | Narcissism | Nostalgia | Personal | Personal change | Political | Political Correctness | Propaganda | Republicanism | Sadomasochism | Schizophrenia | Science | Sexual Repression | Solipsism | Stereotyping | White culture | White privilege | White supremacy
- Similar to:
Hysterically-violent & tedious, but driven by high-quality SFX
The usual White supremacist claptrap about the ability of Whites to destroy all the enemies they have created with the superior technology they specifically-created to dominate others.
White narcissism leads them to pretend that destroying one’s enemies can be done without getting any wrinkles in ones costume; while remaining very cool under pressure - as if the White world is being saved by attractive zombies who are always acting the part but, somehow, never become the part. (Would they be any good in bed? I somehow doubt it!) The emotional affectlessness is exacerbated by enemies who are un-self-disciplined and clearly intellectually and physically inferior. This removes any dramatic suspense or tension, since these enemies are so easy to defeat. (And why, oh why, do the villains in these movies never bathe adequately?)
The movie also contains the usual White fiction that the enemies of Whites (& Jews) are always external and that Whites had nothing to do with creating them, in the first place. Whites have no sense of a past or a future; of consequences from actions; of a reason to save a culture that simply denies its own humanity. All to avoid any analysis of the White penchant for political violence. Revenge is a dish best served without thought for the reasons or the consequences - just like in the Sicilian Mafia.
The amusing attempts at self-parody only emphasize the sense of a White superiority complex vainly masking a complicated sense of inferiority. With straight faces, the actors declaim sub-Shakespearean dialog as if it actually were Shakespearean: What is needed now is a new directing talent who can take such films forward with originality and style, much like Spielberg did and which many others copied. This would allow for the creation of new clichés to replace the ones with which this film is replete.
Very little of this movie lingers in the mind afterwards - it disappears without a trace almost as soon as it is consumed. Most actors here are coaxed by large fees into performing roles that are really beneath their talents; leaving the audience with no-one to really care for: Two hours of boredom makes for a sorry basis for any movie.
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