Cougar Town Series 1 (2009‑10)

Rating: 60%

(www.sidereel.com)

Also Known As:

Unknown

Version

needed to precede following dl

Year:

2009

Languages:

Length:

528 minutes (Uncut)

Review Format:

DVD

Country:

Predominant Genre:

Comedy

Directors:

Directors

Bill Lawrence	Chris Koch	Gail Mancuso

Directors

Michael Spiller	Jamie Babbit	Ken Whittingham

Directors

Sanjay Shah	Phil Traill	Lee Shallat‑Chemel

Directors

John Putch	Millicent Shelton	Michael McDonald

Outstanding Performances:

Outstanding Performances

Courteney COX

Premiss:

A divorced woman in her forties is eager to re‑embrace her youth.

Themes:

Aggression | Alienation | Curative | Destiny | Emotional repression | Erotophobia | Gynophobia | Identity | Loneliness | Materialism | Narcissism | Original Sin | Parasitism | Passivity | Personal | Political | Political Correctness | Pornography | Sadomasochism | Schizophrenia | Sex | Sexism | Sexual Repression | Snobbery | Solipsism | Stereotyping | The West | White culture | White people

Similar to:

Unknown

Fucking for Dummies

Summary: Behaviorist comedy that B F Skinner would have loved.

Absurdly‑gynecological rather than actually funny, this comedy possesses no profound understanding of human nature.

(http://celebmafia.com)

Although amusing‑enough about the inherent‑superficiality of White people, it does not actually explore why Whites are so culturally‑shallow. Nor does it attempt to explain why, if such cultural meagerness is rational, how it could ever be the basis of comedy; that is, laughing at what one fears?

Instead, volitionally‑trapped in a culture that deliberately‑represses them, Whites respond with the narcissistic, hysterically‑whining and emotionally‑incontinent sex‑obsession on show here – a clear substitute for the emotional‑intimacy which sexual‑promiscuity can never provide.

(www.fanpop.com)

Where is the humor about the identity satisfactions from fulfilling sex with people of one’s choice? Where is the valid distinction between lust and desire? Where are the worthwhile gags about why Whites have the highest divorce & infidelity rates? Where are the funnies about why Whites invented Viagra, when necessity is the mother of invention? They do not exist because the humor here is an essentially‑dishonest spitting‑upon a humanity being successfully‑ and actively‑elided.

The world inhabited by these two‑dimensional characters is almost completely‑lacking in cultural or political context, since neither they nor the writers possess the courage to step outside of their social comfort‑zones to explore and find happiness elsewhere.

A comedy about why Whites feel their lives pass‑them‑by while they are actually living them and why they fight with their emotions - on a daily basis - would be far more of a hoot than this. If it were not for the delightful presence of Courteney COX, this show would be quite unbearable.

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Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.

Coherence (2012)

Rating: 60%

(http://craveonline.com.au)

Also Known As:

Unknown

Version

needed to precede following dl

Languages:

Length:

84 minutes (Uncut)

Review Format:

DVD

Year:

2012

Country:

Predominant Genre:

Science‑Fiction

Director:

Director

James Ward Byrkit

Outstanding Performances:

None.

Premiss:

A passing comet has surreral effects on reality for a group of friends at a dinner party.

Themes:

Aggression | Alienation | Capitalism | Curative | Destiny | Emotional repression | Identity | Loneliness | Materialism | Narcissism | Parasitism | Passivity | Personal | Political | Political Correctness | Propaganda | Sadomasochism | Schizophrenia | Science | Self‑Esteem | Sex | Solipsism | Totalitarianism | The West | White culture | White people | White supremacy

Similar to:

Would that I were you

Summary: Whiny Caucasians discover a portal to their true selves.

A group of superficial, easily‑panicked and somewhat stupid Whites gather for dinner and experience a quantum event that leaves them doubting the reality they thought they understood.

(http://moviemezzanine.com)

As with all White attempts to deny reality and replace it with something more interesting than the everyday, workaday mundanity that is White culture, this movie posits the idea that the thought experiment of Schroedinger’s cat makes some kind of sense; rather than being a dead‑end hypothesis of a world of physics that has simply run out of new and workable ideas.

Underneath the sans souci of White familiarity, there is paranoia, schizophrenia, insecurity & self‑loathing: The belief that talking about life is just as good as, if not better than, actually living it.

The emotional hesitancy of the characters reflects their unwillingness to understand their experience and to know what to do and, more importantly, what not to do about the essential emptiness of their lives. The fundamental fear expressed here is that one’s friends will either not mature or mature at a different rate than each other and that this will mean loneliness unless each person represses the others to prevent them from growing‑up (& moving‑on) so that the appearance of social conformity and equality can be maintained.

(https://hardinthecity.com)

The characters live off each other, rather than with each other; using each other as emotional crutches because they cannot see themselves for whom they truly are since they are so busy running away from their true natures. Yet, without any self‑knowledge (subjective reality), one has no yardstick for comparison with other people’s self‑presentation. Without any grasp of the objective reality external to oneself, one similarly lacks a yardstick to compare other people’s comments or behavior to. Without a deep‑seated character to express or conceal, this movie becomes more of a horror‑story for Whites (about Whites), than the science‑fiction movie it claims to be.

There is, moreover, an odd, nosey‑parker tendency among these so‑called friends, allied with a faux‑innocent desire to convince others that everything they say is true; while being surrounded by people who disbelieve others because they are just as prone to telling lies – so think everyone else is just as mendacious. The emotional failures’ desire to be someone other than themselves is evident here but, again, is never dramatically explored.

As a character‑study, this movie fails to differentiate its characters, so that they all appear to be facets of a single, energetic Caucasian; bereft of any full grounding in the facts of objective reality. The movie occupies the same quantum space as its characters; allowing the audience no opportunity to properly reflect on what is being watched because the film itself possesses no self‑understanding that would make any rational comprehension possible.

Entertaining, but ultimately as thin, meager & as unfulfilling as its characters, plot & story.

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External Links:

1. Many‑minds interpretation;
2. Many‑worlds interpretation;
3. Multiverse;
4. Parallel universes in fiction.

---

Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.

Camp on Blood Island (1957)

Rating: 60%

(https://mubi.com)

:

Unknown

needed to precede following dl

:

:

80 minutes (Uncut)

Review Format:

DVD

:

1957

:

Predominant Genre:

War

Director:

Director

Val Guest

:

Outstanding Performances

Barbara SHELLEY

Premiss:

Wartime brutality and sadism.

Themes:

Aggression | Emotional repression | Narcissism | Political | Political Correctness | Propaganda | Sadomasochism | Schizophrenia | Snobbery | Solipsism | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy

:

Spin‑offs:

Jap War Crimes Exposed!

Summary: An emotionally-sensational movie, with little else to offer.

Although well-made, this is the usual White whining about how awful Japanese imperialists were - with no mention of how awful British imperialists were. (For a film set in the past, it is completely lacking in historical context, as if the events depicted had only happened on another planet.)

(https://bearalley.blogspot.co.uk)

Rank with the hypocrisy of White supremacy, this is an angry movie made by Whites who think only they have the right commit atrocities they conceal, while other ethnic groups must be tried for their crimes. This anger at such barbarous behavior comes from those who did not experience it at first-hand; making it feel like a tale told by an armchair brigadier; imagining the combat he would fear to face in real life. More the product of White supremacist anger, bitterness & resentment than an exposé of inhumanity: It is Lest we forget – when Whites are degraded – but Get over it!, when anyone else suffers.

The Japanese are racially‑stereotyped in a way that Germans (in White war movies) never are. The implication that Asians are genetic inferiors and, thus, much more prone to such barbarity is belied by the equally-barbarous Caucasian cruelty, sadism & savagery of the British Empire; revealing Caucasians to be just as potentially awful as the Asians condemned here.

The Japanese are poorly-characterized and their fears masked by their sadism are not dramatically explored; leading us to the White supremacist conclusion that they are somehow less than human beings. Even the White characters the film focuses upon are little more than ciphers‑to‑be‑abused - the excellent actors doing the best they can with underwritten parts.

Despite claiming to show the brutal reality of some human nature as honestly as possible, this movie has no real understanding of that nature. It is a fundamentally‑dishonest and amoral pretense; allowing Whites to wallow in the degeneracy of others in order to occult their own and, in the process, claiming Aryan supremacy over those they ultimately defeated for preaching and practicing Whites’ own, selfsame political & moral ideology: A classic example of smashing a mirror because of the terrifying accuracy of its reflection.

The rampant hypocrisy of Whites in rarely exposing Caucasian war crimes is elided here in favor of claiming the movie is based on actual events. But this does not excuse the one‑sided portrayal of those events: If it did, then the Nazi extermination of 6,000,000 Jews would be fully justified - at least from the Nazi point‑of‑view.

Despite fine acting, the screenplay lacks a political context that would explain the behavior on show, allow audience empathy and, thereby, reach some kind of understanding of the events depicted. Fully‑realized characters in drama exist precisely for the purposes of empathy, yet the only empathy the film seeks is that of a White audience for its White characters, in commercially‑exploiting the White supremacy inherent in White culture. This supports the White delusion that only other ethnic groups can ever be institutionally‑barbaric, but not the fact that the Japanese in East Asia were little more than the Eastern counterpart of White, Western barbarity.

This stance of Caucasian propaganda is maintained throughout and remains entertaining despite it offering only the pornographic and pseudo‑cathartic sensational release – without an emotional or a spiritual dimension – so typical of White supremacy. Unlike its contemporaries (eg, A Town Like Alice or The Bridge on the River Kwai) this film is deliberately shot as a horror movie, rather than as a less melodramatic and more insightful work; counter‑productively trivializing the suffering on show in offering a nightmare‑without‑meaning, rather than an example of how real people respond to genuine adversity, in terms of human suffering and inhumanity and the will to endure despite the odds.

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Notes:

1. KNIGHTS OF BUSHIDO: A Short History of Japanese War Crimes

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Copyright © 2017 Frank TALKER.
Permission granted to reproduce & distribute this posting in any form – provided you cite this Blog.
All other rights reserved.