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Dr.Rorschach

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Mar 28, 2016 5:33 pm

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Jarno

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Apr 01, 2016 8:42 pm

I cannot lie, I've liked Dragon Ball Super a lot, I was really surprised that they managed to keep it fresh and expand the universe.


Frieza is a great villain
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Apr 02, 2016 6:13 pm

Hrodeberto wrote:
Lyssa wrote:
perpetualburn wrote:
"Mulholland Drive" is a must see for anyone here.

Enemy [2013]

Lost Highway (1997)

Blue Velvet (1986)


Borgman received very very high ratings and had a very suspenseful air to it,, unfort. to the last. Although it had a Lynch style, turned out to be one of those empty films with no answers… just "impressions". It hints at Adam, Eve, the devil and the expulsion/fall from the garden.

The actor in one of his interviews said, the film "may have been" about the Incubus and its the reason I cite it. Sleep paralysis is an interesting subject.

Some say the genre is sort of ilke the acclaimed film Dogtooth, but I haven't seen that.

15 best surrealist movies of the 21st century

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Apr 09, 2016 12:31 pm

Regarding DBS, I watched the recent movies with Beerus and Freeza but not Super. My brother watched it and notified me when something actually began happening, aka when the tournament between the universes was announced, that's when I began watching. I must say I quite like how the tournament was done so far, and I'm glad that Vegeta finally got his place in the spotlight too. They also did a great job at shrouding Hit and Monaka in mystery so that it's impossible to evaluate what fighting technique they use, and how powerful they are (aside from obviously being VERY powerful), although there are some who theorize that Monaka is actually weak, but I think that's nonsense. One thing that bothered me so far is that Goku or Vegeta alone, if they fought full power from start, could casually wipe out 4/5 fighters of the opposing team single-handedly, and I think fighters should have been a little more equal in power.

EDIT: Impossible, not possible...


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Apr 09, 2016 1:49 pm

Outsider wrote:
Regarding DBS, I watched the recent movies with Beerus and Freeza but not Super. My brother watched it and notified me when something actually began happening......I must say I quite like how the tournament was done so far, and I'm glad that Vegeta finally got his place in the spotlight too

Well yeah, DBS started in episode 27 (if I remember right), the first episodes were basically the two movies in greater detail, so they can be skipped if the movies have been seen. I hated dragon ball GT because Vegeta became "humble" and "grew old and weak" and admitted being weaker than everyone else.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Apr 22, 2016 8:01 pm

Risen. Fiennes is good as usual, but the film as expected, pure propaganda, and the inroads Xt. made, in the Rome vs. Judea chapter. A short corny film.


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Aug 20, 2016 12:39 pm

Not seen it; is it the usual rehashing of the same suspects…?


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Aug 20, 2016 3:40 pm

^It's available on piratebay now (an HD rip)... Gonna watch it later...But I suspect it'll be just like "American History X"...a high production value, virtue signaling, left wing wet dream...

"Daniel Radcliffe Kept Apologizing To His Co-Stars On The Set Of Imperium" ... Give me a break...

http://www.cinemablend.com/news/1546590/why-daniel-radcliffe-kept-apologizing-to-his-co-stars-on-the-set-of-imperium
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Aug 20, 2016 4:36 pm

Just reading that article and seeing that trailer thumbnail, I can guess precisely why this film was made and what purpose it serves.

It is not just "another film" in regards to modern memory - it is an assertion that white supremacist movements are terrorist movements and anything associated with racism is also a form of terrorism. This is going to be used to justify saying that any white nationalist or segregationist sentiments or organization is a form of "domestic terrorism" within the public eye.

That they hijack a word as commanding and masculine as "Imperium" is a way to rob such words of any semblance of power or respect. It's to reduce a word representing austere governance to one representing 'weakness' because those white people 'fear the colored ones'.

From my own experience, the best example of that word is from a series called War Hammer 40K. A series of books about a space-faring human empire with mostly European depictions of ancestry:
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Aug 20, 2016 4:58 pm

Plus they pick a former wizard who fights evil forces,, and it subliminally sets up a continuity in the demonization…
the personna from potter to this…

On the other hand, kkk are not what defines white to me, and terrorism and Xt. fundamentalism go together. Hooking whites with kkk, is a good way to undermine white identity.

In above context, true colour of liberalism is discovered only when the majority are hurt,,, it has to wait till it blows in their faces to then pronounce it a farce; its called being 'honest'…

'now that we can finally see,...


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Aug 20, 2016 5:26 pm

Lyssa wrote:
Plus they pick a former wizard who fights evil forces,, and it subliminally sets up a continuity in the demonization…
the personna from potter to this…

On the other hand, kkk are not what defines white to me, and terrorism and Xt. fundamentalism go together. Hooking whites with kkk, is a good way to undermine white identity.

True, but that doesn't get those that produce these movies off the hook. I.e. since kkk/Xt. fundamentalism are antithetical to a true Aryan identity, movies that cast them in a bad light are not so bad (they are). Because these movies are less about demonizing the whole kkk/ Xt. fundamentalist culture, and more about demonizing the symbols that they use (like the swastika). It's the first thing you see, it sets the tone for everything else. They make the swastika set a bad tone. You could say that liberal extremism is far more pernicious than kkk/xt. extremism, in that it uses Xt. extremism as a vehicle to attack something that is not an extremism (the Aryan spirit and its symbols). A further difference I think needs to made between an "extremist" or "terrorist" and a "radical"... You could say Nietzsche is "radical" but not a terrorist. One can be radical, and "surge" without engaging in reckless violence.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sun Aug 21, 2016 1:03 pm

perpetualburn wrote:
Lyssa wrote:
Plus they pick a former wizard who fights evil forces,, and it subliminally sets up a continuity in the demonization…
the personna from potter to this…

On the other hand, kkk are not what defines white to me, and terrorism and Xt. fundamentalism go together. Hooking whites with kkk, is a good way to undermine white identity.

True, but that doesn't get those that produce these movies off the hook.  I.e. since kkk/Xt. fundamentalism are antithetical to a true Aryan identity, movies that cast them in a bad light are not so bad (they are).  Because these movies are less about demonizing the whole kkk/ Xt. fundamentalist culture, and more about demonizing the symbols that they use (like the swastika).  It's the first thing you see, it sets the tone for everything else.  They make the swastika set a bad tone.  You could say that liberal extremism is far more pernicious than kkk/xt. extremism, in that it uses Xt. extremism as a vehicle to attack something that is not an extremism (the Aryan spirit and its symbols).

Yes.

Quote :
A further difference I think needs to made between an "extremist" or "terrorist" and a "radical"... You could say Nietzsche is "radical" but not a terrorist.  One can be radical, and "surge" without engaging in reckless violence.

No reckless violence, but did he not set off a calm well-thought out terror; he Meant for the life-deniers to weed themselves out - the nihilistic destroyers would compel the strong to destroy them, through their reckless violence.
The "horror" of the most abysmal thought, the ER, was meant to send "terror" through the hearts of everyone and no one, and maybe that's why he doesn't stand out legibly as a terrorist.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Aug 23, 2016 6:10 pm

Saw Imperium... As a film, much worse than American History X.

"You know what they say, it all begins with the word" - Last line of the movie, delivered by former neo-nazi character who now sees the error of his ways.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Aug 23, 2016 6:39 pm



Sums it up well. Beautiful girl too.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue Aug 23, 2016 6:50 pm

I see this anti-European man propaganda in all Hollywood films.
They don't even make it subtle anymore.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Aug 29, 2016 7:18 pm

Watched Spartacus, the series....friend gave me all 3 seasons.
Finished them in 2 weeks.
It was well made...with plenty of tits and ass, as eye candy, if you ignored the occasional homo stuff.

Pure propaganda.
I cannot blind myself to it any longer...it stains every film, music, art the west produces.
I watch it to see how far they will go to reinforce the same falsehoods, and with what creativity they will lie.

Spartacus, and his band of slaves, became poster-children for modern Democratic, Christian ehtos.
Gay love, blacks whites orientals coexisting...under the messianic charisma of the pre-Christian Christian warrior.
Romans depicted as decadent blood-thirty idiots, more interested in satisfying their base needs, and indulging in hedonistic pursuits,than anything else.
Rome a multicultural city.
So many Negroes as free citizens in the gladiator stands.
Incredible.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Aug 29, 2016 9:17 pm


Yep
another example here

to be honest i cant stand anything on TV anymore be it from my own country or the US
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Aug 29, 2016 10:15 pm

What I worry about is that some google-genius in the future will surf the net looking for historical material to pretend he is intelligent, and will only come across crap like this.
This is how history is rewritten, in subtle ways.

Orwell wrote:
Who controls the past controls the future. Who controls the present controls
the past.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 12:29 pm

Criminal (2016)

Kevin Costner plays a criminal with part of his brain being underdeveloped making him into a brutish/childlike prison inmate. He gets memories of a crucial government agent transplanted, who died on his unfinished mission. The memories may help the agency to stop an anarchistic, wanna destroy the world, hacker-mastermind wannabe.

The biggest annoyance about the movie was for me that this hacker-mastermind-boss has the personality and presence of a pretentious douchebag but for some reason the plot tries to sell him as this dangerous, all-knowing, government agencies defying genius. For some reason, and although the government agencies know about his plans and intentions of total societal destruction, they can’t catch him. Don’t remember why…
I guess they couldn’t get a proper arrest warrant so they can’t do anything about the anarchic hexx0r himself, instead they focus all their attention on some third party small-time haxx0r who is offering some nuclear missile access or something, which they have to stop from getting into the hands of the anarchic-douche bag.

The first scenes of the movie were actually promising and the whole transfer of memories and thus also personality to some other person was what made me curious about the movie in the first place. They did actually stimulate the growth of an underdeveloped part of the criminal’s brain to transfer the memories, so I was even kind of fine with that mind/body angle.

Of course, (((of course))) it also has the vibe of rehabilitation and your experiences, your memories make you who you are ultimately. Quite blank-slaty.

Very mediocre movie overall. Up until the half way mark it was okay then the bad parts and elements became dominant. Not recommended.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 12:46 pm

I liked the final ending, but the film was so-so.

Boomerangs are just, and I think to symbolize the larger pic., which was (((of course))) - the "return" of the repressed, the conscience coming back that defines the (((truly))) human, etc.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 3:04 pm

Lyssa wrote:
I liked the final ending, but the film was so-so.

Boomerangs are just, and I think to symbolize the larger pic., which was (((of course))) - the "return" of the repressed, the conscience coming back that defines the (((truly))) human, etc.

You mean the ending where the basic hacka 'fixed it' so that the nuclear missile would track the laptop of the anarchist mastermind - some m4d skill7!
Lol

No, yeah, the end with the reunion was cheesy, though it was an improvement upon the plane scene.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 3:17 pm

Anfang wrote:
Lyssa wrote:
I liked the final ending, but the film was so-so.

Boomerangs are just, and I think to symbolize the larger pic., which was (((of course))) - the "return" of the repressed, the conscience coming back that defines the (((truly))) human, etc.

You mean the ending where the basic hacka 'fixed it' so that the nuclear missile would track the laptop of the anarchist mastermind - some m4d skill7!
Lol

No, yeah, the end with the reunion was cheesy, though it was an improvement upon the plane scene.


I'll take those skill sets!,

better a hacked plane, than my time hacked!

Btw, if you like decent contexts and dont mind the cheesy treatment of a subject, maybe Perfect Sense (2011); a romantic dystopia.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 3:32 pm

Lyssa wrote:

I'll take those skill sets!,

better a hacked plane, than my time hacked!

Btw, if you like decent contexts and dont mind the cheesy treatment of a subject, maybe Perfect Sense (2011); a romantic dystopia.

That movie hexx0rd my time.

Perfect Sense does sound interesting, going by the introduction I read.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Sep 28, 2016 3:45 pm

Solace (2015)

Anthony Hopkins plays a man who has the gift of seeing the likely future and the past of people which makes him work for a friend at the FBI when it comes to solving murders.

I don’t want to spoil the movie for those who want to see it.
I thought it was a good movie touching on some questions like - Would you try to avoid suffering, would you lessen the suffering of others if you knew what was going to/is happening?

What I liked about the movie was the sense of mystery and how this gift of Hopkin’s character was not just a gimmick but central to the story.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Oct 28, 2016 6:20 pm

ARQ (2016)

Dystopian setting and a time-manipulation element.
Because of the twists it introduces it doesn't fall into the Groundhog Day routine. It's not about perfecting a routine but becomes about outwitting the other.
Finally it made me think about how someone can't escape who he is and at the very end it hints at a what if the variables would be different.

I liked it because of the time-travel mechanic and the plot twists.
Poz is quite low and I think it's interesting how the romanticism of the main character is handled and how it plays out because of his trying to go for the perfect outcome instead of settling.
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Sat Nov 12, 2016 2:58 pm

They are still doing this theme…


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Nov 23, 2016 1:55 pm



VICE wrote:
"Martin Scorsese's adaptation of Shūsaku Endo's 1966 novel Silence has been a long time coming, but it looks like it was worth the wait. The trailer, which dropped Tuesday night, is beautiful and meticulous, and sets the film up as a strong awards contender once it's released in December.

The movie follows two Jesuit missionaries in the 17th century—played by Adam Driver and Andrew Garfield—who take a dangerous journey through Japan to spread the word of God and search for their mentor (Liam Neeson).

Scorsese, who originally considered becoming a priest before getting into filmmaking, has been wanting to adapt Endo's book for decades.

"The subject matter presented by Shusaku Endo was in my life since I was very, very young," the director said during a 2015 press conference. "I was very much involved in religion, I was raised in a strong Catholic family... so ultimately this book drew my attention when it was given to me in 1988."

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Jan 09, 2017 7:09 am

Mad Max Saga


A scenario depicting Modern man's condition, particularly the plight of the male in a feminized world.
Wasteland represents Baudrillard's 'desert of the real'. This French philosopher is the thinker sampled, most often, to describe the human condition within a world dominated by Nihilistic constructs, drawing inspiration from Nietzschean lore.
The 'wasteland' is a time/space void of all symbols of a past, stripped of its nature.
A representation of a psychological condition.
A world made into a cultural desert, within which the man seeks out his destiny.
Infinite possibilities of a reality void of all order. Those who 'rule' here are the ones who can exploit the 'lostness' of the average, offering their own corrupt versions of what is absent, or was but is no more.
Memory modifying past/nature to accord with his/her private, subjective, interpretation of the lost real – a surreal landscape populated by 'wandering victims'.
In the first instalment we are told of Max's detachment form reality, with the loss of his family, pushing him 'over the top' into a state of apathetic rage – ego the 'mad' title.
Max often introduces himself as the 'man with no name', a nobody {ουτις} in a world that has lost all identity. His name is given as a gift, a sign of vulnerability when he undertakes a cause, despite his indifferent rage – thymos with no focus. Having lost his past, detached from nature, he has no focus for his anger – madness wandering in a desert where one goes to meet Satan.
He is the 'wanderer' outside the towns, cities, compounds being created within the desert of anarchy, by clever and creative insanity, finding and hoarding a resource that still remains indispensable.
Nature, the past, is buried, but it appears in the wasteland as a water source, or a market in the middle of nowhere, or in the innovation spontaneously emerging from insanity of the 'villain', who becomes, for Mad Max an awakening of his lost nobility, his previous identification as protector (he was a man of law and order), a father, a husband, the paternal symbol degraded to that of homeless 'outsider'.
We get the sense that Max is seeking a place, an identity, to settle his madness, though he does not know it. For him the journey is endless, into the unknown, never staying for more than it takes to 'aid' another in distress, with his or her own goal.
He offers himself as a mercenary, sometimes for a price, sometimes for no reason other than vengeance against those who disturbed him in his wandering madness.
Max is Neo, from the Matrix Saga, with no sense of duty. There is no Morpheus to tell him of his essence, his duty, as the 'one', but then Neo never had a family to begin with. He was lost before and then was given a purpose in a dream, by a dream.
Max follows the reverse journey, from an identity, a purpose, to nothing but wasteland.
He has been reduced down to an act, and to his rage.
The film appeals to the average, young male, who is also lost within a cultural wasteland of a 'culture of no culture' – Americanism called Globalism to hide its source. Males with rage they cannot direct, missing an identity they have no ‘enemy’ but some vague abstraction – State, government, any order not of their own making.
Wasteland is 'chaos' with no order... within which man creates his own personal depiction of order – a hell on earth the lost gravitate to because in the desert there's nowhere else to go.
Capitalism run wild.
Resources are always from the depths of the earth, either as petrol, or water.
Innovating insanity has tapped into a hidden and forgotten, buried, resource he, or she then uses to exploit those who have no access to it – lacking the tools to dig.
Access to the resource is never explained, so we can assume it was accidental.
The one claiming it as his own did not bring it up from the depths, he found it bubbling up. His only claim on it that there was nobody around to claim it for themselves; his only contribution was in how he then controlled and exploited others with it.
Messianic Complex depicted metaphorically as the insane clever mind, the self-promoting, market oriented mind, hoarding and exploiting a resource – a shaman, a preacher, the one who exploits weakness, desperation, and need by presenting self as the creator of the resource, or as the ‘way to its enjoyment’.
The resource rather than producing a rejuvenation upon the wasteland becomes another source of misery.
In the most recent instalment, Fury Road, we see the resource being released upon a thirsting landscape. The 'villain' kept it buried, making himself the conduit to its access, releasing it temporarily to maintain a following – the metaphor is that of a miser, the priestly, who presents self as the 'way towards a hidden truth', a ‘buried salvation'.
Max is the one who shatters this delusion, this myth. He releases what is kept hidden, uncovers it, and then lets it go.
Beyond Thunder-dome gave us another metaphor: pig shit, as the energy that moves the machinery of commerce, upon the wasteland.
Master Blaster – a combination of a midget mind and an exaggerated body, and atrophied head.
Female in the role of manipulator.
Max kills the body to release the mind that was part of a symbiotic relationship, commentating for an atrophied head.
Meme and Gene, the meme has to be released from its symbiosis with a deformed body and primitive brain, with uncertain consequences.
We are never told what the swine consume to produce the shit the city runs on.
One another?
Humans?
Both are probable.
City run on the self-consuming feces, money being the metaphor for feces – economics of barter built on a foundation of pig shit, maintained by dualistic man-child, and symbolized by a female.
Consumerism, producing the symbol of wealth. Consumer and consumed part of an economic dialectic. Nothing new is added. All is recycled.
In Road Warrior the resource is petrol, another product of decaying organic matter.
Trapped by the resource the 'victims' are pestered by a variety of homosexual, freaks, and social warrior types. An amalgamation of Modern decay.
For them the resource must be shared. They deserve it. They demand it.
They want to squander it in their lostness, speeding here and there, thieving, raping, taking of what does not belong to them, compensating for their loss of self with senseless activity.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Jan 13, 2017 1:38 pm

Heard good reviews of Hardy's performance in the telly series Taboo



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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Jan 25, 2017 12:34 pm


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Jan 25, 2017 12:40 pm

Recently saw Revolver...


....I know I'm way behind.


Can't wait for BladeRunner release.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Fri Feb 03, 2017 3:04 pm

From what I remember of the Revolver movie, it was good for about 3 quarters of its length but then the finale was disappointing to me. Don't know what it was exactly but it didn't tie up the movie properly. Like the writer didn't know how to bring it all together within all the expectations set prior in the movie.


Saw Arrival recently.
Very much a modern liberals Sci-Fi movie.

Spoilers ahead...

A very liberal Sci-Fi movie, even for a Sci-Fi movie.:
 
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed Apr 26, 2017 7:06 am


Finished watching season 1, of WestWorld.
Anthony Hopkins is is in it, playing another version of his Hannibal Lecter creepiness.
An interesting end to the season.
Good acting.


The series deals with the nature of consciousness, and if, and how, it can be created artificially.
They begin with Jayne's Bicameral Mind.
The metaphor used is one of a maze.
Memory upon memory, like the DNA double-helix placed on a flat plain.
They correctly imply that consciousness is memory, built upon memory, some of it lying dormant - one memory triggering the next.
At the end of season 1 they unravel the center of the conscious maze as being the self itself.
Don't know where they will go form there, but their explanation is a very modernistic one.
They do not define what this 'self' is.
The correct answer would be the self is not an empty chair, but it spirals into the past.
What is whispering to you, in your mind?
If not the gods, spirits, then with what are you conversing in the privacy of your consciousness?
What is your conscience?
The past....generations are whispering to you, through every cell, memories converted into a form the mind can comprehend, by sampling experiences, knowledge.
How does the body, as manifestation of past - past made present - communicate with mind, through the nervous system? How do cells make themselves understood, or how does the mind translate their data into a form it can comprehend?
By converting them into an image, a symbol, a feeling, it has experiences with its ongoing interaction with the external world.

This esoteric communication is this 'self'.
When we speak of 'self' we speak of memories, collected during centuries of interactions with world, in world, arranged and stored as code, by reducing it to a neurological pattern.
Patterns, of vibration (energy) arranged in a pattern, which is what the maze, in the series, represents.
Each arrangement, when triggered, is a cascade of images, feelings, symbols = product of interactions interpreted into neurological code.

The ego, as a lucid part of self, is in constant dialogue with the past, as the sum total of interpreted experiences - memories.
The ego, the lucid mind, forgets, ignores, lies...but the memories do not disappear. They remain waiting as DNA.
The body never forgets, what the mind easily dismisses and ignores, and tries to forget.

To re-collect, is to return, to lucidity what lies in waiting, as memory.

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue May 16, 2017 10:30 am

"Coincidentally" Madonna loses her innovative edge, according to Paglia, after she converts to Kabbalah.


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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Tue May 30, 2017 7:36 pm



Man creates his own extinction.
Metaphorically representing the memetic virus we call Nihilism.

"Replicants" appear human, imitate human behavior but are anything but human.
Their memories shallow, selective: anti-Organic, anti-nature.
Slave (android, from the Russian word for work = Работа) dreams of becoming master.
From the mind of man, emerges a abstraction, given form with codes, replicating his understanding of himself - externalizing his esoteric unknown uni-verse, his anxieties, vanities, insecurities.
The created replicants can imitate their host's creativity but cannot exceed it, cannot go beyond. they are left with the only option of going back to claim the host's kingdom for his own - son returning to kill the father, unable to break free to found his own.
God = selective replication of man's understanding of self.  
Characteristics reflecting his self-appreciation.
Abrahamic God is singular, vain, vindictive, demanding, authoritarian, bored by himself, arrogant, hating life and nature which he claims as his own creation, creator of lies, self-contradicting - monstrosity.
From the mind of man a monster is created to avenge man, against his manhood - promising that death is preferable - suicidal mental dis-ease, requiring no force, no aggression. the infected go unto their demise happily, willingly.  

We now know that the virus is not this black goo, created by thee Roman-like aliens (engineers), but the android named David.
From weaponry, made by organic life, comes life's greatest foe, behaving, acting, as if it were the greatest lover of life.
Memories with no connection to past.
What has been replicated is what the creator man appreciates, wishes to see himself as - all else is erased, experienced as though it were an alien other.
Human vanity, arrogance, creates its own demise. The created will outmatch the creator in hubris and degeneracy.
With no ability to replicate itself, it uses a proxy, as a compensating, appreciation of what it values most about living organisms  - a product of its mind.
His name is David, after all.
Not William.
William is the "updated" version of what David is. It loses to the more emotional version of the virus.  

Made to cope with life's struggle, the mechanical virus exploits organic weakness, merging it with a parasite that synthesizes new forms by adopting pieces of the host - story of Abrahamism.
Zoroastrianism, and Egypt morphing into Judaism, morphing into Christianity and Islam.
Exacting vengeance upon the host it was born out of.
Christianity morphing into Marxism, morphing into Humanism, morphing into Transhumanism - the replicant/android is born, to replace, and bury the host.
Movie's story-line begins here.
Perhaps combined with Blade Runner creating an alternate future, universe.
A reality in which, like our own, humanity is under threat by its own constructs - like language, symbols.
Language was one of the first technologies to emerge out of the human brain.
 

Engineers = uber-Caucasians.
Alien creature = Christian, unity of Hellenism & Judaism.
White contrasting with the alien black.  

Acidic, corrosive blood, burns flesh.
Creature changes depending on which host it gestates and genetically merges with.  

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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Wed May 31, 2017 7:26 am

John Wick - Chapter 2

Disappointing. John Wick but much more mediocre.
Like a cheap third-party plastic-toyline of a movie.

This review puts my gut reactions quite well into words -

Chance&Ru (imdb) wrote:
Sin 1: Tossing out established canon.

The coolest bit of lore about the first movie is completely lost in the sequel. That alone is a sin you cannot redeem yourself for. In the original, it was established canon that John Wick was not a man to mess with. Even the main villain, respected and feared his abilities.

In John Wick 2, however, all of that is gone. Nobody fears John Wick. Nobody is afraid to take him on. His past deeds and reputation mean absolutely squat.

The new villain, never thinks twice about double crossing Wick. Every hit-man on the planet, and according to this movie they are every where, has no qualms about trying to take Wick out.

Sin 2: No main character growth In the first movie, we travel along with Wick as he avenges his dog and in the end moves forward with his grief. The video of his wife tells him to get up and move on. In John Wick 2, there is zero character growth. He is no different at the end of the movie as he is when it starts. Sure his circumstances have been altered, but as a character he has overcome nothing. That makes for a boring story.

Sin 3: Weak plot The original movie had a simple, but strong plot. Revenge. The plot of the sequel is weak, even by action movie standards. Wick has been called into service to kill a criminal, if he refuses he dies... but wait if he accepts, he also dies. The whole movie could have started and ended with the original premise of refusing the contract. It would have made more sense to refuse the contract and fight off the baddies coming to enforce the blood oath.

Sin 4: Video Game Bad Guys Wow. There is evidently a plethora of John Wick cannon fodder. They just keep coming, and there really is no logical reason why they do. The body count is so high that it becomes comical. The original had a big body count, but it was divided among 5 big action scenes and, for an action movie, seemed plausible. This one doubles the body count but there are so many, the coolness of each kill is lost in an over abundance of victims.

Sin 5: Invincible Superhero Hit by two cars, stabbed and shot numerous times and he just keeps on going. Must be seeing the doctor and getting pain pills, right? Nope no doctors in this one. That kind of logical realism may interfere with the killing of cardboard bad guys. At one point a fellow assassin, holds a pistol point blank in Wick's abdomen and fires a couple shots through him. No biggie Wick has another 42 bad guys to kill.

Sin 6: James Bond Gadgets I love the Continental, don't get me wrong, but the secret underground hit-man hosting hotel just goes too far in this one. Bulletproof suit coats that can be held up like Batman's cape to shield yourself from bullets? Silencers so quiet that two adversaries can have a shootout in a subway between bystanders and nobody knows even though bullet holes are being blasted into the walls around them?

Sin 7: Shallow Villains Yes there are the 140 plus cardboard video game baddies, but in the first John Wick, the main villain had a moral dilemma: turn over his son to save his own butt. The bad guys in Wick 2 have no interesting character motivation or dilemmas. The closest you get is Common's desire for revenge after Wick kills his client. And that was the most interesting bad guy on the screen. It is hard to believe the two movies were written by the same folks.

Sin 8: Soundtrack John Wick 1 had an unbelievable soundtrack that actually set the mood as he moved through the action scenes and the emotional scenes. This soundtrack just plain sucks. There is nothing memorable in it, and it does little to impart any emotion on a given scene.

Sin 9: Pacing Even the big action scenes in this movie are too long. In their desire to up the body count they went with longer action sequences. It really messes with the pace of the film. The first movie did a great job of dividing the action and keeping the viewer engaged. The longer these scenes go, the less believable they became which pulls the audience out of the moment.

Sin 10: Rehashing things that worked in the first movie There are some great scenes in the first Wick, and the director knew that so they tried to repeat them. This is a classic sequel mistake and unfortunately Wick 2 falls victim to this trope. You liked the interaction with Jimmy? We will get another one in there. Like the reload and kill? We will put a twist on that one also. It was great to see the pencil kills, that is how it should be done. Don't show us the same thing but different. Show us new, that may have been mentioned previously.

Making the next sequel look better then this one. The end of this movie sets up a very interesting plot for a third movie and almost everyone that walked out was excited to see it. That is wonderful, except when that movie actually sounds more interesting then the one you just watched. You should have just made that movie instead.

All in all Wick 2 falls short of the first one. Once again we are treated to an amazing movie whose sequel just doesn't capture the magic of the first one. I'm looking at you Red 2, Donnie Darko 2, Matrix 2, etc...
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PostSubject: Re: Modern Popular Culture Reviews and Latest Film News Mon Jun 05, 2017 12:11 pm


Engineers = Indo-Europeans – Aryans
Humans = Abrahamic
Black Goo = memetic virus – Nihilism
Xenomorphs = multiple manifestations of nihilism – monstrosities: born out of idea(l)s... not evolved naturally: Communism, Humanism, Transhumanism.
David/William = technologies
Matrilineal relationship between an artificial (ideal) human, or via artificiality.
Death of father. The creator is killed.
Each host becomes a mother's womb (obsolescence of heterosexual reproduction), birthing new versions of nihilism – multiculturalism, identity confusion – multiplicity of subjectivity.
All can be mothers to new forms of Nihilism (xenomorph) – subjectivity unhindered by the real world.
Be the mother birthing new realities.
Xenomorphs characterized by bloodthirsty, voracious appetites – hedonism: Zombies. Organic contraptions, technologies.
David = Transhumanist ideal – another manifestation of the virus, born of the Abrahamic did-ease: artificial, superficial imitation of what it means to be human.
David = positive nihilism's ideal – American individuality.
David proves to be too dangerous to Abrahamism – secular, Zionism.
William = pure nihilism's ideal – in the service of Abrahamism.
Updated, Abrahamism+
Created out of vanity – desire to live forever, to prolong life, producing narcissism = everywhere the creator looks he sees a version of his idealized self.

The did-eased create the means for their own destruction = end of days, Last man.
Artificiality = no past/nature, presented as an evolutionary leap forward: a copy, not a continuance.
Overcoming nature: all traits are acquired, not inherited.
White contrasting with the alien black.
Acidic, corrosive blood, burns flesh.
Creature changes depending on which host it gestates and genetically merges with.


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