communists in situ

leberwurst proletariat

Tag: zombies

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” 

We, the Undead