Sunday 26 March 2017

Act of Valor
(2012)


Empty rhetoric trying to mask abject fear

Summary: Caucasian robots acting dangerously to get others to fear them.

The usual Caucasian propaganda; serving to misrepresent terrorists and their reasons for existing, as well as failing to show‑up Whites and their alleged commitment to the things they claim matter to them: Honor, freedom, justice and family.

Without any understanding of what matters to terrorists, there can be no preventing their actions through foreseeing them, nor any long‑term cure (from Whites not behaving in such a way as to create terrorists in the first place).

This lack of political context hopelessly-scuppers this drama from ever being great, insightful or incisive; leaving its audience to wonder at men who think White supremacists like Faulkner and Churchill are the epitome of wisdom and, thus, to wonder what the purpose of the War on Terror (WoT) might actually be.

Like the War on Drugs and the War on Black People, the true aim of the master race fantasizing on show here is the control of a world that Whites do not and cannot understand, precisely because they do not and cannot understand it. It is, after all, not necessary to understand what is kept under lock-and-key, because the fear that such controlling behavior indicates is, thereby, minimized and, hopefully, eliminated. Yet, such behavior merely leads Whites to live in a permanent state-of-fear that what they endeavor to control will one day escape and somehow destroy them – despite the potential escapees always being labeled as inferior to Whites.

Despite the White belief that Whites exist to protect the Earth (a Manifest destiny only designed for the benefit of Whites), there is no analysis, here, of what will protect everybody else from Whites. Instead, we are presented with the most authentic combat-sequences yet filmed (as of ), that Whites hope will help conceal the very pointlessness of the very actions depicted.

This sense of White entitlement – and its attendant confusion of personal sacrifice with rational political endeavor – strongly suggests that Whites realize that the WoT is actually unwinnable, since the alleged goals that the less-gullible Whites wish to sacrifice the more-gullible ones for are so vague and ill-defined. This further suggests a White death wish; entailing the corollary belief that it is better to die victorious than to live defeated. Moreover, that traducing enemies is a valid means of defeating them – and will help reduce, or even eliminate, White fear of them. Absurdly and quite contrary to the propagandist intention of the movie, Whites are shown as fighting for very little, since they do not define their terms and appear to be struggling for mere survival rather than for any of the highly-ethical purposes they persistently claim allegiance to.

Such White attitudes produce the inevitable political inertia and personal ennui on show here. Although performed by competent and mostly non‑professional actors, the characters fail to come across as effectively‑individuated. They all espouse the same empty values so that no dramatic conflict is possible to bring out any real differences between men who are little more than state‑sanctioned killing machines. These men do not engage our emotions because they merely exist to espouse a political position, not to encompass a more fuller range of human experience.

Ultimately, Whites wish to protect only their lives, as animated meat, not to protect the moral values which this movie does not show them possessing. There is no admission here that a chain is only as strong as its weakest link or that Whites would, thus, have to openly-admit that they are already the ideologically‑monolithic communistic (& dogmatically-Catholic) culture to stand any chance of prevailing in their WoT – a direct refutation of their claims to being both profoundly‑individualistic and superior to all other cultures.

Sunday 19 March 2017

44 Minutes


Also Known As:
North Hollywood Shoot-Out
Version:
needed to precede following dl
Languages:
English language
Length:
82 minutes (Uncut)
Review Format:
DVD
Year:
2003
Country:
United States
Predominant Genre:
Action
Director:
Director

Yves Simoneau
Yves Simoneau
Outstanding Performances:
None
Premiss:
Bank robbery goes wrong.
Themes:
Advertising | Alienation | Capitalism | Christianity | Corporate Power | Curative | Equality | Ethnicity | Genocide | Globalisation | Identity | Materialism | Narcissism | Nostalgia | Political Correctness | Positive Discrimination | Propaganda | Republicanism | Sadomasochism | Schizophrenia | Solipsism | The West | White culture | White guilt | White people | White privilege | White supremacy
Similar to:
Unknown

Black Lives (Do Not) Matter

Summary: Lots of semi-automatic gunfire; not much of a story.

Despite the technical excellence on show here, the writing flounders on the racist premise that the White supremacy of the police can be excused by the alleged fearlessness of police constables on duty. So long as hardened criminals are killed, the consistent repression Blacks experience at the hands of White police officers simply does not matter – to Whites, at least.

However, Whites attempting to occult their own racial fears & insecurities with propaganda that does nothing more than suggest that if a rapist buys the woman he rapes a slap‑up meal afterwards, he cannot be all bad; makes White people just as bad. Somehow, the fact that the White police often do good, compensates for all the human evil they perpetuate. As if the construction of the gas chambers could ever be sanitized by Hitler’s early creation of full employment in then-recessionary Nazi Germany.

White guilt, shame & denial means that this White‑supremacy theme is implied and, thus, never fully‑explored – dramatically; leaving the audience with no‑one to empathize with and a great deal of compensatory gunfire.

The actors do their best with underwritten material and just about manage to make the whole thing bearable for its thankfully‑fleeting running time.

Sunday 12 March 2017

21 and Over
(2012)


:
21 & Over
:
needed to precede following dl
:
English language… Spanish language…
:
93 minutes (Uncut)
Review Format:
DVD
:
2012
:
United States…
Predominant Genre:
Comedy
Directors:
Directors


Jon Lucas Scott Moore
Jon Lucas… Scott Moore (screenwriter)…
:
None
Premiss:
Student celebrates his 21st birthday with his two best friends, the night before a medical school interview.
Themes:
Advertising | Aggression | Alienation | Capitalism | Christianity | Coming-of-age | Courage | Curative | Emotional repression | Erotophobia | Family | Free Speech | Guilt | Gynophobia | Identity | Individualism | Narcissism | Nostalgia | Parasitism | Passivity | Personal | Personal change | Political | Preventive | Self-Esteem | Sexual Repression | Stereotyping | The West | White culture | White people | White supremacy
:
The Hangover (2009)…

Sex-avoidance

Summary: Binge‑drinking teenagers deficient in personality.

The usual vaguely‑amusing White supremacist claptrap from a culture that openly‑assumes ethnic signifiers to be “meaningless”; while continuing to exploit them as if they were only significant for other ethnicities.

For racist reasons, Whites here redefine racism to mean any reference to their skin color; while any reference to anyone else’s is deemed acceptable - to Whites. None of the ethnic issues the film raises (eg, the Model minority stereotype) are explored comedically nor dramatically; leaving the movie with a large emotional and thematic lacuna at its center.

The characters are not particularly likable and their ethnic differences are not used as the basis of any kind of involving drama and/or culture clash. Eschewing the let’s‑get‑laid pseudo‑machismo of similar teen and twenty‑something movies, this one focuses, instead, on copious consumption of the White man’s drug of choice: Alcohol.

This pretense that all ethnicities are much the same is ludicrous since a) Whites, in real life, do not act as though they believe this; and, b) the various world cultures are often fundamentally quite different and sometimes quite incompatible with one another. For example, there have been few White Jesuses, Nelson Mandelas, Buddhas, Gandhis, Martin Luther Kings, etc; speaking volumes for the lack of morality inherent in White culture – while also being the main reason People of Color avoid Whites.

This White amorality explains why the Jewish character here has more personality than his White trash friend and, indeed, even his Asian mascot – whose only dramatic function is to suggest Asians study too hard and, so, have no personal life. Yet, the White’s laziness more or less guarantees that no worthwhile female will have anything to do with him; suggesting that, for Whites, binge‑drinking is a substitute for love.

Sunday 5 March 2017

Drunken Jackasses: The Quest
(2003)


Summary: White males try to get White women they do not like to have sex with them – in a foreign country.

T he usual Caucasian nonsense about the difficulties White men experience obtaining sex from women of their own ethnicity.

Rather than look outside their own culture for the sex they claim to want – with women who are not sexually‑repressed – White males masochistically chase the very women who are the least likely to give it to them. This suggests White men are secret homosexuals who actually prefer each other’s company to that of women’s, in pretending to want sex with White women they do not really like – as if public displays of forced heterosexuality can conceal private homosexuality.

Whites are forced – by unwritten White supremacist cultural rules – to associate only with each other, despite the high personal costs of not freely choosing one’s own friends and one’s own sexual partners. Whites behave badly in public because they resent their culture’s inevitable intrusion into their private lives by its continually-enjoining them to act as though the Personal is Political; the Private, Public. (As one cannot choose one’s biological family [in any culture], in White culture, one also cannot choose one’s friends and lovers – without the fear of social-exclusion.) This leaves White men in a permanent state of existential despair which they accept as their lot-in-life because of the conditioned dread of stepping outside of their cultural limitations – and such an act’s potential for their social ostracism.

The lonely White males here have little to offer the White women they want; hence, the females shown treat the men’s sexual needs as a narcissistic social game where they will always be favored by a captive audience of White men who are socially-programmed to only pursue White women. (Even the ugliest White woman knows that in her culture she is preferable to a woman of any other ethnic group, no matter how attractive, simply by virtue of being White.) These men come across as needy – rather than as people with something to offer in exchange for the sex they crave – since they lack the personal qualities women need before they will ever trust a man:

  1. Empathy;
  2. self-confidence; &,
  3. the ability to provide emotional security.

When the unearned sex they crave is not forthcoming, these White males resort to the typical White solace of excessive alcohol-intake and its inevitable corollary: Public vomiting. This demonstrates the emotional repression endemic in White culture and the White need for chemical disinhibitors to temporarily-disable their inbred fear of each other – and everyone else. (The White, Christianized view that sex is somehow disgusting shit is also clearly-stated – despite this shit being the very activity so hotly-desired.)

As a documentary about the sexual inadequacies of White males, particularly their self-destructive terror of the intimacy they seek, this blinkered work is merely OK. But in not exploring this issue, the film implicitly pretends that this is how all men are, everywhere, despite the absence of any presented data to support such an implication. This emotionally-dishonest worldview is clearly-shown by the fact that the film is set in Mexico, yet we see nothing of Mexican culture.

Contact Form:

Name

Email *

Message *

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.