communists in situ

leberwurst proletariat

Tag: antifilm

Winter Anti-Reviews 2015-2016, pt 2



Deadpool: Boy Meets Girl. Girl Fucks Boy. Boy Gets Cancer. Boy Gets Superpowers. Boy Turns Ugly. Girl Misses Boy. Boy Wants Girl Back. Boy is Ugly. Boy turns Crazy. Boy Kills Everyone. Comedy Ha Ha Revenge Love Parody Cliche Wink Wink Give me your money.

Hail, Caesar! Communists, Jews, and Queers all play a role in the movie of capital. The division of labor that characterizes modern societies of production is reflected in the division of the Godhead, the division of the movie business, the division of man. Absolute Spirit in the form of Religion (Christianity), Art (Film), and Philosophy (Communism) are the three ideological systems that struggle for supremacy, with art and religion uniting under the sign of economy (not money!) to overcome the threat of communism as the sexually deviant force which could disrupt the Production of Capitol (pictures). The genres of film types (Western, Musical, Melodrama, Epic)  mimics the jobs of life, in which each actor is but a proletarian sacrificing themselves to the God who cannot be seen–the christ, the boss, the economy. The meta-genre of Hollywood is noir, which uses and abuses workers, women, and the law to reproduce the illusion of stability, family, and morality in a world of bombs, homosexuality, and class struggle. Superseding theology and dialectics, the true unity of man lies in accepting his own internal divisions, in which faith is faithless, and the essence of the good is nothing other than the light of the image itself. 

Youth: Old men, young women. Disgusting.

Anomalisa: The emotional sublime penetrates the ice of bourgeois social relations in the form of a human connection. 

Everybody Wants Some: Still dazed, more confused. 

Carol: Without men, love can be beautiful.

13 hours: Mercenary imperialist private contractors as American superheroes, Hilary Clinton as supervillain, Libyans as whatever. 

Pride and Prejudice and Zombies:  The old regime and peasant class survive the transition to capitalism in the English countryside as the Undead, returning in the form of the repressed side of primitive accumulation. Patriarchy eats brains as feminism emerges within the shell of the old world.

How to be single: Modern Dating Movie. 

Zoolander 2: Metrosexual Identity Crisis of the middle-aged man. 

Race: Black Proletarian vs. Aryan Slave-Masters can only end in AMERICA. 

Gods of Egypt: White people play Egyptians in this non-allegory of the Arab Spring. 

The Witch: See under, “Caliban, and” 


New blog, one line ultra-political reviews of contemporary films, every few months:


Film is a cemetery littered with the carcasses of failed revolutions. Rotten bodies stuffed with audio-visual souls haunt billions of minds day and night like a plague upon the earth. More than food or sex, film satisfies our most biological needs for survival. Through film we kill, die, fuck, shit, fly, and survive the hell that is our daily life. In crowded air-conditioned temporary zones of spectacular consumption we meet other proles and share non-stories of our lives by looking together in parallel rows at raw emotions that we’ve never felt. Together not-together we laugh, cry, smile, and feel human in a perfectly safe environment with an organized schedule managed by the collective mind of rational animals calculating exactly how to turn a tear into a profit. Concentrated in the production line of seats we produce our shared impotence in front of sublime images of power. Film raises the dead and lets them roam the earth as the zombies we must kill before we can abolish ourselves. To get there first, we must descend into the inferno of cinema. There is no abolition of cinema without its realization. Welcome to our torture.