Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts

Sunday, 31 December 2017

Colony
(2013)

Directors

Jeff Renfroe
Image of Director Jeff Renfroe
:
Outstanding Performances



Laurence FISHBURNEBill PAXTONKevin ZEGERS
Image of Actor Laurence FISHBURNEImage of Actor Bill PAXTONImage of Actor Kevin ZEGERS
Premiss:
By 2045, weather machines control the climate, which break down when one day it snows and does not stop. Underground bunkers help the survivors to escape the extreme cold.
Themes:
Aggression | Alienation | Character | Compassion | Courage | Cowardice | Curative | Destiny | Emotional repression | Fortitude | Ideology | Irrationality | Loneliness | Materialism | Mercy | Narcissism | Paranoia | Parasitism | Personal | Political | Political Correctness | Rationality | Sadomasochism | Schizophrenia | Snobbery | Solipsism | Stereotyping | Terrorism | Totalitarianism | Vice | Virtue | The West | Western culture | White culture | White people
:
Fiction:
Image of a similar work Image of a similar work Image of a similar work Image of a similar work
Non‑Fiction:
Unknown
:
Unknown
Awards:
Unknown

Survival – but to what end?

In such condition there is no place for industry, because the fruit thereof is uncertain, and consequently no culture of the earth, no navigation nor the use of commodities that may be imported by sea, no commodious building, no instruments of moving and removing such things as require much force, no knowledge of the face of the earth, no account of time, no arts, no letters, no society, and which is worst of all, continual fear and danger of violent death, and the life of man, solitary, poor, nasty, brutish, and short.

Image of the English philosopher Thomas_Hobbes (1588‑1679), English philosopher. Leviathan, part 1, chapter 13 (1651).

Summary: The self‑defeating ways of Caucasians.

Entertaining‑enough movie, despite it absurd premiss, because of the mostly‑good actors who do their utmost to make us believe in it.

Yet, somehow, despite global warming, a new global ice age has transpired with only a handful of human colonies left to carry on the human race; each containing only a handful of humans. No other animal life is evident, nor is the Earth‑wide freeze ever logically‑explained.

As usual with White cinema, there is the usual inherent Caucasian belief that human beings are essentially bestial and that White civilization is self‑repressed precisely to avoid a return to a feral past (which never really existed). White supremacy is predicated on the belief that early humans were amoral and only White culture could ever possibly hold back a decline into prehistoric barbarity by its self‑repression. But it is the repression, itself, which causes such beliefs, not human nature, since repression creates the necessary fear of self required for such beliefs to fester and spread.

However, this never explains any of human progress, since it is hard to imagine people emerging from such a red-in-tooth-and-claw primitive past to create any kind of civilization if human nature were really this rotten and self-destructive.

The truth, of course, is that White people consider their own (self‑denying) natures rotten and that this new Dark Age of mankind is the inevitable result of not living in harmony with nature – despite the fact that the old Dark age was largely a European phenomenon. This inevitable White lack of historical and political perspective leads the screenwriter to simultaneously imagine the end of White culture while simultaneously positing a scientific solution to the problems White science has created since the Great Divergence.

There is no attempt to go back to a more primitive style of living as dictated by the circumstances in which the characters now live, but instead to appeal to the very scientific practices that got them where they are now, to save them from the very scientific practices that got them where they are now.

Dog‑eat‑dog and every‑man‑for‑himself has rarely been the way humans have lived on the Earth, as far as is known, so this definition of human nature is really nothing more than a definition of White nature. A nature that refuses to live in harmony with both nature and others, such that internecine conflict can be the only inevitable result – no matter what this film thinks otherwise.

There is no way for any culture to survive, in the long‑run, without a clear morality that this film and its makers clearly lack. This begs the question as to what price survival for Whites, since their desire to be top‑dog in the world, their desire to be the last men standing and their desire to live without a code of ethics can only help ensure their deaths – as individuals and as a culture. It is as if Whites are in a maze of their own making and have forgotten where the entrance is; while pretending that they never knew it. As if Whites know that they can never be top dog, since the War on Terror makes them look foolish in trying police a world they never wish to understand.

in a fit of typically-racist pique, whites have decided that if they cannot have their own way in the world (& they cannot), then that can only mean the world is unworthy of them and is, thereby and therefore, doomed to end badly.

Posted by Frank TALKER™ at 13:05 0 comments
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Sunday, 12 November 2017

Let Us Prey
(2014)

Posted by Frank TALKER™ at 16:21 0 comments
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Sunday, 30 October 2016

Turistas

(2006)

RATING:40%
FORMAT:DVD

[Paradise Lost]

CUIDADO!

Despite spending time revealing Brazilian culture at its best, this still plays the White supremacist trope that foreign countries are dangerous for Whites simply because of the dark skins of the natives. Believing that foreign people and their resources are to be both exploited and mocked, we now see the naked fear behind such a White polity.

It is easy to understand why the natives here detest White tourists because of the quintessential White supremacism of the latter. But these issues are never fully explored dramatically in favor of gore, cheap thrills & a sense that the mestizo of Brazil is finally getting its revenge on the palefaces for the generic exploitation of the Third World for the sole benefit of the First.

There is no real sense of terror, suspense or even credibility here. As usual, the mixed bag of Westernized Whites represent political innocence abroad as if they can do little wrong - even in their self-admitted purposelessness. This creates a curious lack of empathy between the audience and the central characters; almost making us side with the evil goings-on perpetrated against them.

Hitchcock knew that the greatest horror comes from the familiar seen differently, rather than simply relying on the rather obvious fear-of-the-unknown, as here. He also knew that you have to establish the characters, psychologically, as well as their relationship to each other (& themselves) before an audience could ever care about them.

Copyright © 2014 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.
Posted by Frank TALKER™ at 10:06 0 comments
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Sunday, 20 December 2015

Vampyres


Summary: Girl‑power as revenge.

Drained of spunk, blood & money by feminists‑as‑vampires out for revenge on behalf of all women against all men - for being killed by a man. White men are shown here as gluttons for punishment and as being easily‑controlled by women, sexually - not by White women who refuse sexual intercourse, but by those who offer it willingly; hence, the gilded erotic cage into which all men here fall - eventually.

Work-related image. (loinesperado13.blogspot.com)

This male sexual passivity is the product of White male sexual insecurities in the face of female sexual voraciousness. These help women sensually‑entrap men with the sex the men so desperately want in their loneliness and alienation from their own feelings. The downside is that like the male Black Widow spider, there is the ever‑present fear of being consumed by the female’s lust or, at the very least, having to pay the price of contracting some kind of venereal disease. That so much here appears to be a dream suggests that the civilizing tendencies of White culture lead to the horrifying nightmares of the emotionally‑repressed: Everything that the horror genre is really all about.

This movie works well as a pure cinema spectacle since it has little dialog, rhyme nor reason. The horror comes from the fact that it all makes so little literal sense; while, emotionally, it makes all the sense in the world. The caravanning couple are a dramatically‑useful and sexually‑normative contrast to the weird sisters (well‑played, with great gusto & personal chemistry, by DZIUBINSKA & MORRIS) because the latter can only entice single, lonely men, rather than experience fulfilling and healthy sexual relations with them. Yet, their very normality is upset because embedded within it is a sexual boredom that makes the lesbianism and vampirism on show here seem much more interesting than healthy sex - as well as their naive world‑view that could just get them killed.

Work-related image. (loinesperado13.blogspot.com)

This movie is up there with Near Dark and Let the Right One In as an exploration of revenge and need - regardless of who is actually to blame. This, despite the rather odd fact that we never discover why the two women were murdered in the first place - nor why they should return as vampires, rather than just as ghosts.

Ken Russell, Jean Rollin or Jess Franco would, undoubtedly, have been proud of this movie - if any one of them had directed it - as it proudly‑visualizes the inner emotional world of its tormented characters. This is further exemplified in the use of Oakley Court as the perfect location for this gothic horror; especially given the large number of Hammer horror movies once shot there.

Posted by Frank TALKER™ at 16:24 0 comments
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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.



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