Monday, January 6, 2020

Kevin Michael Grace vs Rodney Martin on Trump's Killing of Soleimani on THE LUKE FORD SHOW — Who Is Right?




The video above begins with Kevin Michael Grace's defense of Donald Trump's assassination of Soleimani and Iraqi militiamen as justifiable retaliation against the attack on the US embassy(which, in turn, was a response to earlier US attack on pro-Iranian Iraqi forces). Rodney Martin joins the discussion at 34:00 to condemn Trump's actions as being on behalf of Israel-Firsters, especially when, as Tucker Carlson has pointed out, so little has been done about Mexican Drug cartels and broken borders. (Of course, Carlson is too afraid to Name the Jew.)

Kevin Michael Grace as co-host on the Luke Ford Show is a man of journalistic experience and exhibits many positive attributes of the profession: Curiosity, erudition, and a critical mind. As a staunch conservative, a rare breed in journalism nowadays, he's been resistant to whims of fashion that have come to define Western culture and values. (But then, conservatism, like any -ism, comes with its own set of biases and blind-spots.) People like KMG are outliers not only because they're conservatives in an overwhelmingly Liberal profession but because they have 'liberal' tastes in arts and culture. Now, there is no reason for conservatives to be anti-art or anti-intellect, but in the modern era more liberals than conservatives have been invested in arts, culture, and ideas. One merely needs to survey the media, academia, and institutions. This imbalance has been more pronounced in America where conservatism has either a strong populist or Evangelical strain. As for conservatives committed to the arts, they've generally favored traditional arts, established reputations, or conventional genres. William F. Buckley Jr.'s idea of music was limited to classical. In contrast, KMGs' cultural sensibility and tastes are closer to those of Liberals though his analyses and judgments have a right-wing, Christian, and/or pro-white angle. Unlike the more staid culture warriors of Conservatism, KMG really gets and appreciates modernism, the avant-garde, and pop culture. He even dabbled in punk culture albeit for right-wing reasons. But KMG's inquiring mind and openness go only so far. Sometimes, he falls back on stereotypes and shopworn cliches to spout off on something he knows little or nothing about, as when he caricatured 60s Drug Culture in the manner of silly educational films only good for laughs. Though not a druggy myself — I don't even wanna try pot — , I know enough about hallucinogens from books and friends/associates that they aren't about seeing Magic Dragons. Though KMG is correct about the negative effects of drug culture(that got even worse with cocaine in the 70s, crack in the 80s, and meth in the 90s), he mis-characterizes something he knows nothing about. From Aldous Huxley's DOORS OF PERCEPTION & HEAVEN AND HELL and Jay Stevens' fascinating STORMING HEAVEN, it's clear that psychedelics weren't just escapism into a neural video-game with pink magic bunnies. Besides, doesn't Catholicism believe in miracles, a notion that has been exploited by charlatans to milk tears and dollars from suckers? KMG has interesting things to say when he opens his mind to any subject. Thus, even conservatives have something to gain from the liberal spirit; liberalism becomes a problem when it turns into dogma, as with Political Correctness, whereupon it becomes liberal-in-name-only and stuck within a iron-cast-of-mind. (Likewise, the radical leftist spirit has value insofar as it is willing to question and challenge the existing power structure. It turns sour when the spirit turns into dogma, as with Marxism-Leninism and hardens the passion into a cold iron fist.) Granted, liberals would do better with some degree of conservative anchor or roots as freedom without attachment is like leaves blowing in the wind: Free but fated to brown and wither. At any rate, one of the less appealing aspects of conservatism is to fall back on familiar biases without questioning assumptions. Sticking to the tried-and-true is usually good rule-of-thumb, but it doesn't provide all the answers. That the 60s drug culture went very wrong should be obvious to all, but to characterize psychedelia as KMG does surely misses something crucial. It's unlikely that so many people were drawn to such drugs just to lose one's sense of reality and to see objects turn into monsters. KMG's simpleminded take on Counterculture can be heard 46:00 in the video below.


Rodney Martin is an off/on guest on the Luke Ford Show, and I know little about him except that he's an American patriot, an upstanding member of Middle America. Though a regular American, he speaks more sense that most of the commentariat in Mainstream Media(that are as 'mainstream' as so-called Mainline churches are 'mainline'), and it's heartening that someone who isn't a professional in academia and government is as knowledgeable about world affairs and strives for moral consistency on US foreign policy. In the Grace-Martin discussion, Martin comes off much better because of this very consistency. To better understand the issue, consider the Politics of War in American History. The Liberal-Left opposition to Lyndon B. Johnson and the Vietnam War notwithstanding, most of the political discourse on War has been a matter of, "It's bad if your guy does it, it's good if our guy does it." We saw this with Liberals, leftists, and Progs from Bush II to Obama. While many on the Left opposed and condemned Bush II's invasion of Iraq(not least out of fear that it might turn out well), most were either silent or supportive of Obama's even worse destruction of the Middle East(Syria), North Africa(Libya), and Ukraine, not to mention the 'new cold war' with Russia. In contrast, the 'conservatives', who couldn't get enough of warmongering during Bush II's presidency, were either tepid in their support of Obama's war or even mildly voiced opposition. One of the remarkable things about Trump's 2016 campaign was his pledge to bring the troops home and make peace with Russia. He also denounced the invasion of Iraq as a total disaster. He also reiterated the obvious that the destruction of Libya and Syria only emboldened the terrorists. He did spew bile against Iran, but it was understood he had to throw some red meat to the Zionist oligarchs to get their money. At any rate, something remarkable happened as a result. The Democratic candidate Hillary Clinton became pigeonholed as the pro-war candidate, whereas Trump, for all his bluster and machismo, came across as an anti-war candidate. Thus, his supporters also became anti-war, and this angered the Neocon Jews who see the US as one giant aircraft carrier for Zion.

One of the developments since the end of the Vietnam War was the tendency to root for(or at least not oppose) war IF the commander-in-chief happens to be your guy. To the credit of the American Left, it opposed the Vietnam War when LBJ, a Democrat, was president, and then it opposed the war under Richard Nixon. There was a certain consistency in their position. But a narrative developed since then that the Progressive opposition to a Democratic administration led to the rise of Richard Nixon and Silent Majority. Therefore, the new strategy was one of vociferously opposing wars by Republican presidents while supporting or at least not-opposing wars by Democratic presidents. GOP, in turn, was likely to be far more supportive of GOP-led wars than Democratic-Party-led wars, but overall, its 'support the troops' mentality meant that its anti-war stance was weak at best. And so, Bill Clinton got away with lobbing bombs and missiles all over the place. And there was virtually no opposition to Barack Obama's war on Libya, coup in Ukraine, and aid to terrorists(labeled 'moderate rebels') in Syria. But then, Trump Phenom happened in 2016, and incredibly enough, it seemed as though American Conservatives could be the new anti-war voices and on principled than mere opportunistic basis. This was most welcome since the kind of people who are most likely to get killed in war are conservative white men. Furthermore, the Invade-Invite Strategy undermines American nationalism. By invading and destroying other nations, US loses moral credentials on nationalism, i.e. why should Americans have right of nationalism when their government violates and tramples on the sovereignty of other nations? Furthermore, the US strategy has been to give its invasions a human face with the invite-policy. "We may destroy your nation, but we are so warm-hearted and welcome you displaced folks to our nation." This has been going on since the Vietnam War. Kill millions over there but put on a human face by taking in untold numbers of refugees. This policy is especially damaging to American Conservatism since most of these newcomers end up voting for Democrats. One reason is the Democrats are for more immigration, but the other reason is, despite the fact that Jewish Democrats are the biggest globo-imperialists on Earth, the Democratic Party pays lip-service to concerns of People-of-Color and has at least some factions that speak up for Palestinian rights and oppose war(though never effectively). Thus, Democrats can enjoy their wars and imperialism while feigning 'progressive' credentials of peace and tolerance. In contrast, the GOP comes across as entirely pro-imperialist and pro-war. This was precisely why Donald Trump was so threatening to both Democrats and Republicans in 2016 when he ran, more or less, as a Peace Candidate. Though he projected power & pride(unlike spineless George McGovern in 1972) and supported the US military, he said all the wars in Middle East and North Africa have been disastrous, leading to more terrorism, more instability, more dead soldiers, more dead civilians, and the demographic invasion of Europe via Libya. He took a hardline position on Iran(unfortunately) and promised to reverse Obama's semi-conciliatory policies, but overall, he totally went off the GOP reservation to the ire of Neocon Never-Trumpers. And the passionate support for Trump among many American Conservatives(who cheered in the South when he said Bush family is responsible for the disaster in Iraq) suggested a sea-change in popular opinion. Could it be that American Conservatives are becoming Anti-War in principle? Could it be that Peace, Conciliation, and Diplomacy will become conservative positions while deranged Democrats will clamor for more wars(and cold wars)? Will American Conservatives break with the contemptible tradition of "War's okay if my guy's president, war's not okay if your guy's president." And for awhile, it seemed that way. Whenever Trump said he's about to pull out troops from Afghanistan, Iraq, and Syria, many on the New Right cheered whereas Democrats, wenches like Rachel Maddow, and Never-Trump Neocons crowed. It seemed as though the Progs really were stuck on More Wars whereas the New Right was set on No More Wars.

But as Jews run the US, Trump has been unable to make peace with Russia. Not only did the Jew-run Media blast Trump for any sign of thawing with Russia but the hysteria of Russia Collusion Hoax made sane diplomacy with Russia impossible. After all, if half the nation is convinced that Trump is Putin's Puppet, Trump will be denounced as traitor for any overtures to Russia. And despite his many noises, Trump hasn't been able to pull out troops out of Syria, Iraq, and Afghanistan because the military-industrial complex and Jewish faction in the GOP are too powerful. Still, the fact that Trump managed to avert a new major war was seen as something. But perhaps it's the 'beat the wife and kick the dog' syndrome, the one where the man who is berated by his boss at work goes home to mete out violence against weaker members. Trump, having had his manhood taken away by Jewish Zionists and Globalists, is now a castrated and cucked man. As Jews have subverted and destroyed much of his first term, the logical thing for him would be to denounce Jews and maybe bomb Israel for its endless aggression and provocations against Syria, making it more difficult for the US to bring about any closure in that part of the world. But as we know, US is idolatrous of three groups as holy-schmoly — Jews, Homos, and Negroes — , and that means the Holy Holocaust People cannot be opposed or even criticized no matter what they do. So, even though Jews have been breaking Trump's balls from day one, he has to suck their cock and bend over to take it up the ass. Having been thus emasculated, how does Trump go about demonstrating his manhood? He plays dog to the Jews and mauls Arabs/Muslims or barks at Russia(or China). But no matter how loud a dog barks and how hard it bites, its 'toughness' is in service to its master.
A typical cuck celebrates the Jew-run US's attack on Iran/Iraq. He implies that Obama was a weak appeaser while Trump is a resolute patriot. In truth, Obama destroyed Libya, wrecked Syria, and pulled a coup in Ukraine at the behest of his Jewish masters. Obama also started New Cold War with Russia. Also, the money sent to Iran was Iranian money that the US had stolen and kept as 'frozen assets'. But the Jew-run media and cuck-politicians & pundits created this false meme that Obama showered Iran with free cash. Jew-run USA is an empire of lies.
The way Trump is going, he might trigger the biggest war in the Middle East yet, something that Jews want. (Even the peace deal under Obama was really just a trick. Jews were playing good-cop/bad-cop with Iran, throwing it some meat in the hope of driving a wedge between Iran and Russia. Notice that there has hardly been much opposition from Jews and Democrats for Trump's reneging on the Iran Deal.) Trump's reckless actions go to show just how powerful the Jews are in the US. Jews attack and destroy you, and your response is to cuck to them harder. It's like a dog trying to show greater loyalty to the master that beats it up. It's like a slave yelling, "Massuh, massuh, please, massuh", as the master beats him. Jews have done most to derail and defame Trump, but the cuck-man is sucking up to Jews to the point where it might lead to another war. Provoked ceaselessly, Iran might have to respond one day, and that will serve as pretext for another general Middle East War. Trump acts tough, but he knows he's close to being check-mated by Jews, and so he cucks to one faction of Jews in the hope that they will provide him sufficient moral cover and money to survive another day. And the price demanded by this pro-Trump Jewish faction is "MORE WARS FOR ISRAEL, you mangy dog-cuck." And of course, Fox News and other GOP dogs are barking to the script, regurgitating all the talking points about how Soleimani is responsible for 600 dead Americans — I guess 600 is a neat number like 6 million — and how Iran is the main sponsor of terrorism around the world(while anti-war voices on the Right grow more silent by the day). Once again, ugly opportunism is rearing its head over principled opposition to imperialism and war. Tucker Carlson is one of the few anti-war voices left, but even he sticks with the script that Soleimani was a bad bad guy. (Yeah, he's so very very bad, unlike all those heroic US generals who invade and bomb nations thousands of miles away at the whims of Zion, the globo-homo Sodom and Gomorrah of the Middle East.) Again, we are lurching into "My guy's wars good, your guy's wars bad." How long before all those dummy populists will cheer for War with Iran because their guy Trump is commander-in-chief?

Given KMG's keen intelligence and broad knowledge, one would hope he'd know better, but the fact is sensibility and prejudice often trump logic, consistency, and principles. And it seems KMG is turning into a War-Cuck because the basis of his worldview is Western hegemonism, Crusadism, and power-worship-ism. KMG says he's a nationalist and opposed to imperialism, but that means he's for Zionism but not for Palestinian nation-hood. Nationalism only matters to his kind and peoples he likes and to NO ONE else. He opposes non-white invasion of the West, but he feels it's okay for the US to drop bombs and assassinate people in other nations as an occupying force. And even though Jewish Power has done most to castrate and destroy the white race since the end of WWII, he claims to be Philo-Semitic. In other words, nationalism for KMG is mere opportunism to protect and preserve the West and to honor Jews. It doesn't apply to Palestinians and Arabs/Muslims who apparently exist to be bombed and murdered by West's pro-Zionist war machine.
But then, why does KMG admire the Jews? Because Jews are smart, rich, and accomplished. Because Jews are a great powerful people, he dreams of an alliance with them against the non-white world. In a way, KMG's fatal attraction to Jews is akin to Adolf Hitler's mis-perception of Anglos. Hitler admired the Anglos so much that he hoped for alliance of UK and Germany against much of the world, esp. against Jews and Russia. It was a sentimentality on Hitler's part that proved fatal. As Anglos were allied with Jews against Germany, the natural thing would have been for Hitler to maintain his alliance with Stalin. But he attacked Russia instead. Hitler's Anglo-dreams proved to be utterly useless. Likewise, KMG's Philo-Semitic dreams are useless. While a handful of Jews might think well of KMG, most Jews regard him as no different from neo-Nazi ilk. After all, KMG has called out on Jewish bad behavior and interviewed Kevin MacDonald(who is allied with David Duke and Jared Taylor). To Jews, Kevin MacDonald is evil incarnate, and anyone who gives him a fair hearing must be a 'nazi sympathizer'. It doesn't matter that KMG, despite his criticism of Jews, is ultimately a cuckish Philo-Semite because the ONLY kind of Philo-Semite that is acceptable to Jews is one that never ever dares to utter a single syllable critical of Jews. KMG is a sentimentalist about Jews because he thinks his kind can form a sound, stable, and fair relationship with Jews: One where Jews criticize whites, whites criticize Jews, but where both sides respect one another and carry on more-or-less as equal partners. In fact, such isn't in the cards given Jewish personality, arrogance, and megalomania. Jews want whites to be their dog, horse, and cattle. Whites better obey and serve. KMG is willing to serve, but he wants to speak his mind about bad Jewish behavior wherever such exists, but Jews will not tolerate any such. Thus, KMG has been purged just like Kevin MacDonald and Jared Taylor, another sentimentalist about Jews, the very people most responsible for his deplatforming. KMG is right to denounce the seedier and crazier elements of 'white nationalism', but he's under the illusion that Jews regard him any differently because he denounces Richard Spencer and David Duke. No, in Jewish eyes, he's no different. As Jews got the power, it doesn't matter what KMG wishes or thinks. What matters is what Jews think, and Jewish Power says KMG is a white-nationalist-supremacist-neo-nazi-homophobic-catholic-bigot.
I can understand cultural and intellectual Philo-Semitism. Like them or not, Jews have been a great people who contributed notably to arts, culture, religion, science, ideas, and entertainment. So, naturally Jews are worthy of admiration and respect, especially among those goyim who are engaged in the life of the mind and creativity. The problem is POLITICAL Philo-Semitism, i.e. the notion that because Jews have been great in many cultural and scientific spheres, they are somehow above the law or more-equal-than-others. Such pseudo-moralism is a kind of nihilism, a perversion of meritocratism that says those with superior intelligence or achievement have the right to push others around. Consider the Germans and Japanese. Both are highly accomplished peoples with fascinating cultures. Germans made great contributions to music and science. Japanese absorbed influences from China, India, and the West and produced interesting variations. So, one can understand Germanophilia or Japanophilia. But that doesn't mean Japanese have the right to conquer and push around less accomplished peoples. It doesn't mean Germans should invade and push around, say, Bulgarians and Slovaks who are less accomplished intellectually and culturally. The problem with Kevin Michael Grace is that his Cultural Philo-Semitism has turn into Political Philo-Semitism. So, he supports Zionist Nakba of Palestinians and the Occupation. He apparently feels no sympathy for Arab victims of Jews because they're inferior culturally and intellectually. (Or perhaps, there is at work a kind of Spiritual Philo-Semitism, which is the flip side of Spiritual Antisemitism that has been identified with Christianity that long blamed Jews for the killing of Christ. If Christian Antisemitism especially blames the Jews, Christian Philo-Semitism especially blesses the Jews as the Chosen, not least to atone for the Holocaust carried out by 'Christian Europe', though Nazis were Neo-Pagans. By current standards, KMG would be a Christian Anti-Semite for his dogmatic conviction that there is no salvation for Jews in the hereafter without Conversion, but on a subconscious level, he seems to balance this 'moral deficit' via Christian Philo-Semitism that says, even if Jews-as-Jews cannot enter the Kingdom of Heaven, they are deserving of the Holy Land and the support of the Christian community, despite the fact that Jewish-controlled foreign policy have caused grave harm to Christian Arab communities. Or, as a staunch Catholic who has never abandoned the Crusading mind-set, perhaps KMG feels that Europeanized Jews taking the Palestine from the Muslims is a kind of semi-victory for Christendom despite the fact that Jews have turned the Holy Land into Sodom-and-Gomorrah with massive globo-homo debauchery.) This is rather ironic since Jews see the white goy race as inferior in intellect, ability, and wisdom, therefore deserving to be used like horses, dogs, and cattle by Jewish masters. In other words, Jews look upon white people like KMG looks upon Arabs and Palestinians: An inferior people who deserve to be pushed around and made to obey. Kevin Michael Grace says he loves Jews and only dislikes those secular Jews who are paranoid about whites. But the fact is MOST Jews fall into the secular-and-hostile-to-white category. Most Jews voted for Hillary, and many Neocons became Never-Trumpers. And even those Jews who stick by Trump do so ONLY BECAUSE he cucks to Israel and worsened relations with Russia. Furthermore, if indeed KMG is a Philo-Semite, it is largely because of his admiration for SECULAR Jews who achieved most in the realm of arts, ideas, and science from the late 19th century. I doubt if KMG would be so awed with Jews if most of them were religious dogmatists with middling IQ who never contributed much to Modern Culture. Jewish pride and prestige since 'Emancipation' in the 19th century owe almost entirely to secular Jews, many of whom were radical and/or hostile toward whites and Christians. KMG dismisses as 'sentimental' the people in the West who sympathize with Palestinians, but it is he who is a sentimentalist about Jews. Most Jews are hostile to the white race and the West. They are pushing White Nakba and cheering for the Great Replacement. It's not Muslims or Palestinians who control the commanding heights of the West. It's the Jews. Also, KMG, like so many others like him, despair of some Jews being victimized by Diversity. But why should they care when Jews do NOT care about whites victimized by Diversity? If anything, Jews rejoice when whites are victimized by blacks, browns, and other members of Diversity. Just read the pages of the NY Times. Just watch all those TV shows that defame and vilify whites as the New Kulaks or KKKulaks. KMG is stuck in an unrequited love relationship with Jews who only piss all over guys like him. Same goes for Jared Taylor who was deplatformed by Jewish Power but still sucks up to Jews and cheers Zionism even though the grand Jewish Plan is to turn whites into New Palestinians. KMG may point out that Jews in UK and Canada now vote majority-conservative, but what does this mean? Jews have already turned 'conservatism' in Anglo-sphere nations into cuck-politics that cheers Diversity, waves the globo-homo flag, and worships Jews to high heaven. In other words, the kind of 'conservatism' that managed to win over the majority of Jews in Canada and UK is nationalist ONLY when it comes to Israeli interests and Jewish Pride. In other respects, it's hardly distinguishable from 'liberalism' that, in Canada and UK, may be a tad less enthusiastic about All-Things-Zionist. Besides, the reason why the so-called 'conservatives' are even more servile to Jews is because Jewish Elites are still on the 'liberal' side. As Jews are now revered as a holy people and as Jewish Elites got the real power & all the money — the real source of Jewish power isn't votes but money & media — and lean 'liberal', the 'conservatives' must make an extra effort to woo Jews to their side. We see the same thing in the US. Most of Jewish elite power is with 'liberalism' and the 'Democratic' Party, and that is precisely why 'conservatives' pander to Jews even harder. Why don't 'conservatives' just regard Jews as the enemy? Because Jews have been elevated to Holy Holocaust People, and it simply wouldn't do to alienate this god-men, even if they are busily attacking and defaming you and your kind.
So, does this mean that KMG should embrace Neo-Nazism and the crazier elements of Alt Right because Jews see him the same way? No, of course not. We should all keep our distance from lunatics(though, as the saying goes, even a broken clock is correct twice a day, and we should acknowledge that even someone as compromised as David Duke has made certain worthy contributions to the cause with courageous talk, as in this brilliant video). But we should also dispel the myth that Jewish Power will tolerate honest criticism and respect other groups on equal terms. Jews are in Judeo-Nazi mode and demand submission and obedience. We know this from how Jews work on Congressmen, virtually all of whom are made an offer they can't refuse: Sign a pledge to Israel or else. Jews are also the biggest hypocrites in the world. They berate whites for 'racism' and 'white supremacism' and say US/Canada belong to all the world and Diversity, but then they turn around and say ALL Americans & Canadians of all races and backgrounds must cheer for Jews(and Homos) uber alles. If indeed Jews are for racial equality and against ethno-centrism, why must all Americans favor Jews over Palestinians in the Israel-Palestinian Conflict?
And yet, KMG favors the Jews because, despite his knowledge and intelligence, he is at heart a Crusadist-imperialist, power-worshiper, and misguided in his racialism. After all, would KMG really care about Jews if they weren't so rich, so accomplished in arts & intellect? KMG's elitism favors the great peoples over un-great peoples even at the political level. Such attitude isn't much different from the Nazi notion that Germans deserve to invade and rule over the less accomplished Slavs. Jews > Palestinians, Germans > Slavs. Also, as European Jews are half-white, KMG favors them over them Ay-rabs and Muzzies. To many white pro-Zionists, Jews in Israel are 'our whites' and Palestinians are 'those niggers'. KMG even denigrates Palestinian resistance by associating the term 'intifadah' to what black thugs do in the US. Palestinians used intifadah to oppose ongoing Zionist invasion and occupation of West Bank and Gaza, but for KMG, such resistance is no different from black criminal elements wreaking havoc to rape, loot, and rob. Never mind that the Jews are robbing Palestinians of the remaining territories. KMG projects his own rather pathetic sentimentality about Jews onto those who defend Palestinian right of nation-hood. According to KMG, championing the most basic right of nationhood for Palestinians is 'sentimentalism' while sucking up to Jews who hate, defame, and smear people like him apparently constitutes moral rectitute.
Why one or the other? The current orthodoxy holds that one can be both a total tool of Jews and a New Hitler. Consider how Jews regard Donald Trump. They use all their power to ensure that Trump will be totally pro-Zionist in waging more wars for Israel and crushing the national aspirations of Palestinians. Jews make sure that Trump, as puppet of World Jewry, will worsen relations with Russia and increase tensions with Iran. But at the end of the day, despite all of Trump's cucking to Jews, he is still smeared by the Tribe as the New Hitler. Then, the same Jewish Logic applies to people like Kevin Michael Grace. In Jewish eyes, he is both a useful tool of Zionism and a 'white supremacist' far-rightist, even a 'Catholic-Nazi'. Indeed, anti-Trump Jews and 'pro-Trump' Jews play good-cop/bad-cop as they mindfuc* Trump. Anti-Trump Jews accuse him of being an evil 'white supremacist', and so, Trump needs moral protection from so-called 'pro-Trump' Jews, but this comes at a steep price: More New Cold War with Russia, more Wars for Israel, and shut down of BDS and the First Amendment. Jews cannot be appeased. KMG can cuck to Jews all he wants, but he will still be a 'nazi' or 'white supremacist' to them because he doesn't cuck 100%. That's the kind of people he is so Philo-Sentimental about.
There seems to linger a hope-against-hope among the likes of KMG and Jared Taylor(who are so besotted with Jewish power, achievements, and moral status stemming from the Shoah) that IF, maybe just maybe, whites demonstrate their fealty to Jews and Israel just one more time, the Jews will come over to the White Side. But in fact, just as Hitler's sentimentalism about Anglos was misguided, so was Stalin's misconception of Hitlerism. Just like, despite Hitler's overtures to the Anglos, the Anglosphere turned against the rise of German Imperialism, no amount of Stalin's 'trust' of Hitler was going to turn Nazi Germany into a true ally of the USSR. When the time was ripe, Hitler invaded Russia for keeps. Likewise, Jews are in supremacist mode and want to keep the white race as its dog, horse, and cattle. There cannot be mutual respect between Jews and whites. Jews think, "We win, you lose", or "We command, you serve." Jews know they got the meritocratic advantage while whites got the majority-advantage. Jews know that whites will stop serving Jews IF white elites decide to represent the white majority than cuck to the Jewish minority elite. Therefore, all vestiges of white consciousness, even "It's Okay to be White", must be banished from the public sphere. In the end, people like Jared Taylor and KMG are crit-cucks but cucks just the same. Crit-cucks are willing to notice and criticize Jewish Power but, when push comes to shove, they will side with Jews, serve Jews, and obey the Oi-Vey. They aren't like the cuck-cucks who constitute Congress & white elites who totally submit to Jewish Power like Oriental servants kowtowing before the Emperor of Wanton Mercilessness, but they will always reliably side with Jews against Palestinians and the 'muzzies' even when Jews are in the wrong.
Of course, Luke Ford himself is a crit-cuck, not least because he converted to Orthodox Judaism. Ford often speaks bluntly about Jewish Power and Jewish bad behavior, but as a Jewish Convert he is committed to Israel, Zionism, and Jewish Power. His loyalty to Jews contradicts his contention that all groups are tribal and ethno-centric. If so, why isn't Ford, a man of Anglo origin, not sticking with his own kind and fighting for Anglo-national identity? Why did he go over to the Jewish side? It's because there's something even more powerful than tribalism and nationalism. It's power-ism, the Will to Cower before the Will to Power, as when French women in droves ran into the arms of Nazi Occupiers. As Jews got the Will to Power and the Actual Power, so many white cucks(and cucks-of-color) act the bitch and bow down before Jewish Power, the new emperor of wanton mercilessness. Furthermore, obeying Jews or becoming a Jew(as Ford has chosen to do) comes not only with material benefits(or shield) but moral sanctimony as Holy Holocaust Worship has replaced Christianity, what with Anne Frank as the new madonna. Why did Ford convert to Orthodox Judaism than Reform Judaism? Partly because his conservative-leaning values are more likely to be found among Orthodox Jews. But in a way, it could be a way for Ford to compensate for his lack of Jewish roots by serving a hardcore strain of Judaism. After all, if you're born Jewish, you don't have to make an effort to be Jewish. Even if you never attend Temple or traveled to Israel, you can rest on the laurels of being Jewish by blood. But if you converted to Judaism, you must make a big show of being the Real Thing. Thus, becoming a hardcore Orthodox Jew gives Ford a chance to feel more Jewish than Jews-born-Jewish. Often, imitators without the title of originator make up for their deficit with zeal. Is it any surprise that Northern Europeans who came to Christianity later developed more puritanical strains of it?

Anyway, Rodney Martin comes across with more integrity in the discussion with KMG on the Luke Ford Show. Unlike KMG, he calls out on Trump's actions as a show of obsequiousness to Jewish supremacists, all the more pathetic since Jews are leading the charge against Trump. Also, Martin provides the context within which the attack took place. According to KMG, the US had to do SOMETHING in retaliation against the attack on the US embassy in Iraq. Now, if out of the blue Iranians/Iraqis decided to attack the US embassy for no good reason, then KMG would be correct. An attack on an embassy is a serious violation, and a superpower like the US must take action. However, we cannot ignore the context of why so many Iraqis/Iranians/Arabs/Muslims are irate with the US. The attack on the embassy didn't just happen out of the blue for no reason but because the US, as proxy-power of Zion, has been tearing the Middle East and North Africa apart. So, while purely on principles, KMG is right about violation of embassies, the fact is principles are dead in the Middle East and Jews & US killed them. Just consider. The US concocted lies to invade and occupy another nation, namely Iraq, under Bush II. Meanwhile, the nations most responsible for having created the Al-Qaeda — the US, Pakistan, and Saudis — averted responsibility. It was the Saudis and CIA that had armed the Jihadis in Pakistan and Afghanistan. Iraq had nothing to do with it, but Iraq got the blame. In the Clinton 90s, it was said 100,000s of Iraqi kids were killed as the result of sanctions. But the madness didn't end there. Under Obama, Libya was targeted and destroyed for trying to create a gold-based currency for Africa. KMG and others like him may accuse Obama of 'weakness' for not having defended the US embassy in Benghazi, but Obama was sure 'tough enough' to wreck an entire nation. Indeed, the attack on US embassy was the direct result of US arming and aiding the Jihadis in that nation. Obama and Jews even pulled off a coup in Ukraine by allying with Crypto-Nazi elements. And Obama and Hillary, as servants of Jews, began the process of arming Jihadis in Syria, tearing that nation apart, all the while tolerating Israel's constant attacks on that nation. Under Trump, the US lied about chemical attacks and lobbed missiles into Syria and continues to occupy oil fields.
Now, what is a greater violation of international law, norms, and decency? What the US, Israel, and Saudis have done or the hapless attack on US embassy in Iraq? Given the context, it seems what was done to the US embassy was NOTHING compared to crimes committed by Jews and the US. But even as KMG has opposed US interventionist policy in the Middle East, he has expressed little moral outrage. Rather, his real ire is about the attack on US embassy where NO ONE died. His Christian moralism is entirely racial(and misguided since the current US isn't even Christian but globo-homo as Queertianity is the new faith under Jewish hegemony). At Benghazi, only four Americans died, but that is a bigger outrage than all the Libyan cities and towns destroyed by Zio-NATO intervention. According to KMG's moral logic, the US invasions of other nations and violations of sovereignty are less outrageous than the attack on US embassies as imperial outposts.
Btw, if attacks on embassies always call for counter-strikes, would KMG have cheered China's retaliation by killing US generals following the US attack on the Chinese embassy in former Yugoslavia? US claimed it was an accident but really? Or, will KMG say the Chinese deserved it because they were doing fishy things in that part of the world? If Chinese deserved it for shady behavior via their embassy, couldn't the same be said for the US embassies in Libya(where US armed the very Jihadis who turned against them) and Iraq(where no one died by the way, in contrast to what happened to the Chinese embassy)? KMG invokes Jimmy-Carter-as-wimp as foil to Trump, but Carter had his hands tied because the Iranians were holding 55 American hostages. Also, the US was in an embarrassing situation because it had backed the much loathed Shah of Iran(hated by all sectors of Iranian society, from secular liberals to Islamists), a CIA-puppet. Also, as New Iran was both anti-American and anti-Soviet, the US risked pushing Iran into the arms of the USSR if the US waged war on Iran. This was still the era of Cold War and Post-Vietnam fatigue. An Iran allied with the Soviets would have undermined US ambitions in Afghanistan. Also, once Reagan came into office, he sealed the money-for-hostages deal with Iran. He didn't attack Iran either. And when Marines were attacked in Lebanon, Reagan's immediate reaction was to pull out all troops. Was he a wimp for opting out of more intervention in that part of the world? And speaking of craven cowardice, it was the US that did NOTHING when Israel pulled the Lavon affair, stole nuclear material from the US, and willfully attacked the USS Liberty to kill ALL servicemen. To this day, the US hasn't officially recognized what really happened on that day. This is the cuck-coward nation that the US has become under Jewish domination, but KMG laughably invokes Douglas MacArthur's quote about victory. It's the Jews who've occupied the West and are bringing it to ruin. It's the Jew-run West that's been wrecking the Muslim World and killing 100,000s of people. US under Obama and Trump have also aided Saudi Arabia's near-genocidal war in Yemen. And yet, KMG's idea of victory is cucking even harder to the Jews and attacking Iran, one of the few nations that resist the Jew-run US.
Given the context, the US has no right to speak of principles or rights. It violates all principles and all international norms to get what it wants, which is cucking to Jews. What is worse? An Iranian-backed attack on US embassy or the US plotting to bring down an entire government in Ukraine? Also, the very Jews who did regime-change in Ukraine plotted likewise in the US against Trump, pushing the crazy Russia Hoax lunacy and then finally having Trump impeached over the Ukraine comedy, but what does Trump do at the end of the day? He cucks to Israel and attacks Iran. This is 'victory'? If we lived in a world of peace and mutual respect and IF Bad Ole Iran attacked US embassies in other nations, I would agree that the US must act. But the US is now an evil globo-homo nation whose culture is rap, twerking, porn, and Jewish-made TV shows & movies that defame & dehumanize the white race as 'evil nazis who must be hunted down and killed'. But all said and done, KMG's sentimentality for Jewish Power and Awesomeness gets the better of him. He is critical but ultimately a cuck, or a crit-cuck. A crit-cuck may be preferable to a cuck-cuck like Ben Sasse, but it's still pathetic given what Jews have done to the US and KMG's beloved Canada, where the new 'conservatism' means More Diversity for whites and national-rights only for Jews and Israel.
If we go by the adage of bad nations deserving their comeuppance, then the US and Israel need to be bombed many times over. Most of their elites need to stand trial and be hanged. If Japan got what it deserved for its attack on Pearl Harbor, the US deserves far bigger punishment for its lies and invasions. But of course, the US can do as it likes because it's the sole superpower. It's not about principles but the privilege of power. While it's true that power matters and we can't expect all nations, big and small, to get the same treatment — stronger powers will always have more leeway — , there needs to be limits to the power of any nation, but the Jew-run US is now committed to doing ANYTHING to get what it wants. So, if Jew-run US is about Zionism Uber Alles, the hell with Palestinians in West Bank, the hell with Syrians who suffered so much, the hell with Iranians, the hell with Russians, and the hell with white Americans and Canadians who are fated to be replaced by Diversity at the order of Jews. And if Jews feel like cooking up total nonsense like Russia Collusion Hoax and dividing the nation politically and derailing peace with Russia, so be it. Israel, that has 300 nukes made from stolen US material, gets showered with billions while Iran that has allowed international inspections must be sanctioned to death. KMG ignores this larger context and huffs-and-puffs about the attack on the US embassy. Imagine if a black guy taunts, spits on, beats up, and cripples a white guy, but the biggest moral outrage is that the white guy, in retaliation, called the black guy a 'nigger'. That's about the level of KMG's moral integrity when it comes to the Middle East. What is a greater violation of international norms? The Jew-run West and Trump cooking up lies about Assad's chemical attacks and shooting missiles into that country or some ragtag Iraqis attacking the US embassy because the US occupation/imperialism never ends and acts more arrogant by the day?
But what kind of VICTORY? Given that the West is under Jewish Supremacist Control and that this power is pushing for White Nakba & Great Replacement, shouldn't white people be working toward national liberation via total victory over Jewish Power? As different as whites in the West and Iranians are, they have one thing in common: Both are victims of Race War carried out by Jews. Sorosian Jews are hellbent on turning all white nations into Diversity Hellholes and having white wombs be colonized by black seed. Iran, for all its faults, is defying Jewish supremacist power, whereas whites are cucking to the very power that is doing them the most harm. Whites are cheering on the very people who've devised the grand plan of great replacement. It's the Jews in media, academia, and Hollywood who've spread the most anti-white TV shows and movies. KMG complains about how Chinese and Muslim pressures have affected Hollywood products, but the MAIN censorship in US Entertainment is Judeo-centric, i.e. virtually no critical discussion of Jewish bad behavior, e.g. THE VICE blames oil companies for the Iraq War while being mum on the role of Neocon Jews. If anything, white people should take a page from the Chinese & Muslims and collectively threaten Hollywood with racial boycott unless Jews stop with the anti-white vitriol. So, if KMG is for victory, he should be calling for Total Victory over Jews. But his idea of victory is Trump being led on a leash by Zionists to attack Iran, one of the few nations that have managed to stand up to Zion and survive. Back in MacArthur's day, the US was ruled by Anglo-Americans. American Victory back then was victory for White America. In our day, the US is ruled by Jewish globalist whose ideology is essentially Soros-ism. Victory is impossible for whites as long as they are under the tyranny of Jews. No matter how many bombs Trump drops on Iraqis and Iranians to make himself look tough, the only victory will go to Jews who love to make goyim fight goyim. But KMG is too sentimental about Jews to see the big picture.
Another sicko calls for genocide against the Iranians, but this is A-Okay with Twitter that is supervised by Jewish supremacist ADL and SPLC.
Rodney Martin is the true patriot because he understands the context of what is happening. US is under Jewish Supremacist Occupation, and Trump is now little more than a globo-homo ambassador of Zionist hegemonism. He made noises about pulling out of Syria, Iraq, and Afghanistan, but it was all empty talk. And though having averted a major war in the region, he is now threatening Iraq with sanctions IF it expels US troops and threatening to blow up 52 targets in Iran, even historical and cultural sites, in the service of Zion. The US and Canada are now nations where historical monuments are being torn down, where churches are vandalized & desecrated by globo-homo symbols, where tattoos & piercings are commonplace, where young white girls are conditioned for jungle fever & young white males are trained to be cucks, where 100,000s of 'white trash' have been killed by Jewish-peddled opioids, and where every white town is targeted for Great Replacement — and Jews have a key hand in all these trends — , but Trump as 'tough guy' is threatening to bomb historical sites in Iran, a nation that dares to defy Zionists and Israel. And KMG, though willing to criticize Jews, ultimately cucks to them by declaring himself a Philo-Semite with the delusion that 'secular' anti-white Jews are negligible when, in fact, they constitute the great majority of Jews, especially among Jewish elites who hold all the cards. And KMG isn't the only one to cuck thus. All these white guys who haven't the balls to to resist and oppose Jewish power flex their muscles by beating up on 'muzzies'. It's the White goy Will to Cower before the Jewish Will to Power. Jewish Power is turning people like KMG into the New Palestinians, but their idea of 'victory' is bombing and killing Muslims for the merriment of Zion. At this point, any rhetoric about sanctity of embassies ring hollow because the US violates ENTIRE NATIONS with invasion and destruction. But according to KMG's logic, invading and destroying another nation is a lesser deal than attacking an embassy. KMG claims to be a nationalist opposed to imperialist, but when push comes to shove, he is a Crusadist who cheers on MacArthurite Imperialism and sucks up to the biggest power, which now belongs to Jews. In this, there is precious little difference from KMG and lunatics like Frank Burton. In a way, Luke Ford and KMG, as crit-cucks, illustrate why Anglos lost to Jews. For all their criticism of Jewish Power, they remain Philo-Semitic toward the very people who've done the most harm to the white race since the end of WWII. Ford converted to Judaism, and KMG declares himself a Philo-Semite, as if that will temper the hatred and contempt that most Jews feel for him.
The mindset of KMG offers a glimpse into the fatal sentimentality with which so many whites in the West behold Jewish Power and Prestige. For all his critical acumen and commitment to Catholicism, it's as if KMG's life is incomplete without demonstrating that he too is very much with the Tribe despite its War on Whiteness. You see, the Problem Jews are those secular ones and just never mind that MOST Jews voted for Obama and Hillary and rub their hands with glee over the Sorosian prospect of the West becoming Diversity Central. Jews push invade-invite policy with the Muslim World because the Invite gives a human face to the Invade, i.e. "We may invade Muslim nations but look how we are welcoming and embracing them as 'refugees'." Jews spread anti-Muslim tropes among white Christ-cucks to make them fight Wars for Israel in the Middle East but then spread anti-white and anti-Christian tropes among Muslim immigrants to make them side with Jews against whites. And yet, KMG's gripe about Muslims is that might attack Jews. He cares about Muslims hurting Jews even though Jews don't care about Muslims(or any non-whites) attacking and killing whites. In the end, Crit-Cucks are as useless as Cuck-Cucks.
Frank Burton suggests that those who oppose war and resist the Zionist control over the US are looking to Iran as some savior nation. This is utter bull. Anti-War Right's position is that the US and the West are no longer in any position to be lecturing to the world about freedom and justice. US is a nation where people are fined and jailed for refusing to bake 'gay wedding' cakes. It is a nation where Jews, Homos, and Cuck cultural-vandals can desecrate Christian Churches with globo-homo victory banners, but a man is sentenced to 14 yrs in jail for burning such a vile symbol. It is a nation where white cuck dads raise their daughters to emulate Miley Cyrus and have babies with black men. UK is a nation where people are jailed for tweets, and there is an entire litany of 'hate crimes' — concocted by Jews and homos mostly — that effectively shuts down free speech and freedom of assembly. Anti-War voices don't look to Iran as some utopia. They believe the West has no moral qualification to be pushing others around. What is truly 'pozzed' is how so many whites in the West cuck to Jewish Supremacism. To the extent that Iran, for all its problems, has remained outside the globo-homo orbit and defies the Jew-run West, it is deserving of respect.
More utter BS from Frank Burton. If Mexico declared itself an ally of Iran and sent pro-Iranian forces across the border to harm Zio-American interests, you bet the US would be shutting down the border and bombing Mexico. This isn't about geographical distance but about who has the power. Jews control the US, and Jews see no sense in getting tough with Mexico because, if anything, they regard Mexico and Latin America as allies in the browning of America to reduce white power. It won't be long before it's Bye Bye Texas for the GOP. The US is at war with Iraq/Iran because Jews control the US and control its cuck-politicians. After all, if distance is the key factor in US belligerence, why doesn't it attack Israel for its war crimes, support of ISIS & terrorism, espionage against the US, ongoing occupation & oppression of Palestinians, and etc.? The reason why the US has especially been belligerent against Iran and Venezuela is because both nations are loathed by Jews who call the shots. Trump, like most US politicians, is little more than an attack dog that barks and bites for Zion.

Sunday, January 5, 2020

Commentary on "Belloc in 1936 on the Return of Islam" by Steve Sailer


https://www.unz.com/isteve/belloc-in-1936-on-the-return-of-islam/

Hilaire Belloc:
We have seen how the material political power of Islam declined very rapidly during the eighteenth and nineteenth centuries.
Did it decline or fail to keep up with the West? Maybe the Muslim remained where it was while the West advanced technologically. If someone stands still while you walk forward, he's not moving backward even though he will increasingly fall back behind you.

Hilaire Belloc:
Cultures spring from religions; ultimately the vital force which maintains any culture is its philosophy, its attitude toward the universe; the decay of a religion involves the decay of the culture corresponding to it – we see that most clearly in the breakdown of Christendom today. The bad work begun at the Reformation is bearing its final fruit in the dissolution of our ancestral doctrines – the very structure of our society is dissolving.
But the real benefit of Christianity was not that Western culture sprung from it but that the culture had something to fall back on when things went south. Christian moralism has stood in the way of cultural inspiration and creativity. Even though Renaissance artists created many religious works, the true spark and inspiration were neo-pagan. But paganism has a way of becoming decadent, nihilistic, and idolatrous, a narcissism of power and beauty. Christianity provided some balance to such tendencies. The main creative source of Western Civilization is Greco-Roman and even Germanic imaginations. But creativity isn't necessarily moral; it is also elitist and belongs to a few. As such, it can't for long serve as the basis of a stable civilization. Morality must be the core values of a people, and that is where Christianity proved most valuable. Not because culture sprung from it — Western Civilization was already great and accomplished before its conversion to Christianity. As for the Reformation, it was a response to the corruption and decay of the Catholic Church that came to overly rely on rituals and idols than on creed and conviction. For awhile, Reformation restored Christian passion.

Hilaire Belloc:
In the place of the old Christian enthusiasms of Europe there came, for a time, the enthusiasm for nationality, the religion of patriotism. But self-worship is not enough, and the forces which are making for the destruction of our culture, notably the Jewish Communist propaganda from Moscow, have a likelier future before them than our old-fashioned patriotism.
But patriotism is not about self-worship. It's not about worship at all. It's about pride and preservation of heritage. It is not a religion in and of itself. Also, spirituality can be made a part of patriotism and nationalism. This is most evident in Judaism and its Covenant that fuses tribalism with spiritualism. In a similar vein, Christianity can be made part of national heritage, i.e. while Christianity is for all the world, each people can stress their own story of how they came to the Faith, and that particularity within universality should have been stressed. Consider the Russian Orthodox Church. It is Christian and Nationalist. Likewise, Buddhism has a nationalist element among Tibetans, Vietnamese, Burmese, and etc.

In the end, Jewish capitalism turned out to be far more damaging to Western Man. Though Jews were heavily involved in communism, its triumph came to suppress Jewish power that relies on individual enterprise, tribal networking, and meritocracy to realize its full potential. In all communist nations, the Jews eventually lost out to the non-Jewish majority as communism is about The People and Mass Mediocrity.

The reason why nationalism came more naturally to Europeans is because European societies developed from agriculture. In contrast, Arabs were nomadic and generally didn't put down roots in any part of the desert. They were movers, traders, and raiders. Of course, in time, Nationalism began to fade among Europeans with increasing urbanization and globalism that made it easy for Europeans to move abroad and for non-Europeans to move into Europe. Nomadism is intrinsic to globalism. Wings rule over the feet.

Steve Sailer: 
History often turns upon unexpected personalities. The West has been fairly lucky that no outstanding man has arisen in Islamic world. Since 1936, probably the two most remarkable personalities have been Nasser, who was more of a Bonapartist modernizer demagogue than an Islamist, and the Ayatollah Khomeini.
This may be true of past history when Muslims had a chance of literally conquering the West like the Mongols also nearly did. But in the modern era, why would the emergence of a great Muslim leader be bad for the West? Did Ayatollah call for invasion of the West? No, all the stuff about 'great satan' was mostly rhetorical. Kemal Ataturk wanted peace with the West and Westernization for Turks.

The main reason why Gamal Nasser and other notable Arab/Muslim leaders lost out is because Jews gained power in the West and used West as a proxy against the Arab/Muslim World. Israel was a Western creation of Jews and whites who supported, defended, and supplied Zionism at every turn.

The West, under Jewish Power, also crushed Saddam Hussein who, though a horrid person, did much to modernize Iraq. Living standards for most Iraqis were pretty decent prior to the Gulf War.
For all the problems among Arabs, their societies would be far more accomplished if not for Jewish control of the West and use of Western power as proxy of Jewish agenda. Iraq today would be formidable if not for the Gulf War, semi-genocidal sanctions, and the invasion. Iraq was also building nuclear power plants before they were bombed by Israeli jets with US support. Syria would be in much better straits if not for Neocon agenda of sending and aiding terrorists. Gaddafi made real gains in Libya before Jewish-ruled West destroyed it. And Iranian economy would be much stronger if not for sanctions forced by Jewish-controlled US. If it came down to Jews vs Muslims, Jews would not necessarily win even though, pound for pound, they are smarter than Arabs/Muslims. The real secret to Israel's success and Muslim world's failure is that the Jews control the West that does the bidding of Zion. But suppose a Muslim-controlled West sanctioned Israel for its war crimes and dropped bombs to kill Israel leaders and figures. Where would Israel be?

Friday, January 3, 2020

Notable Films of the Decade: the 2010s


Game Changers:

Mother!
The Blackcoat's Daughter
Damsels in Distress
Tron Legacy
The World's End
Hail, Caesar!
Silence
The Hunt(Danish)
Dunkirk
At the peak are the films above. These works stand out from the rest of the field for their originality, depth, vision, mastery, brilliance and/or perfection. They have something more than excellence or even greatness. Each is singular and extraordinary, truly one of a kind in power or subtlety. They have a sublime quality rare even in great works. Films of this kind are becoming rarer by the day for the simple reason that cinema has been an established art form for some time, meaning originality is ever harder to come by. Indeed, even of the films listed above, it's arguable that only MOTHER! by Darren Aronofsky is truly original, a work that somehow managed to break through the sight-and-sound barrier into a new dimension in cinema. Still, there is something to be said for TRON: LEGACY, one of the most inventive uses of computer technology. Though ANT-MAN, the new ROBOCOP, and ENDER'S GAME are contenders in top-notch special effects, they are rather thin on ideas. In contrast, TRON: LEGACY, with its exploration of the gateway between creativity and spirituality, is ultimately more than a visual roller-coaster ride. INCEPTION, certainly not lacking for ingenuity, could have been part of this elite list, but its literal-minded conception of the dream world, Michael-Bay-style action scenes, and bloated monumentalism held it down from soaring above the clouds. Of the honored films, six or seven qualify as works of genre, but they also transcend, redefine, and/or annihilate restrictions intrinsic to the form. Thus, MOTHER! and THE BLACKCOAT'S DAUGHTER are much more than what we would expect from Horror. And DAMSELS IN DISTRESS and HAIL, CAESAR! offer food for thought along with laughs, of which there are many. THE WORLD'S END is the most 'frivolous' film on the list, and one may ask why it's ranked so highly. Because breakneck wit and brilliance at such level is truly a wonder to behold. At every turn, it outpaces expectation. Furthermore, unlike other Edgar Wright movies that are big on laughter but thin on character, THE WORLD'S END is surprisingly affecting as a story of friendship and memory. TRON: LEGACY is clearly sci-fi, but like the best works in the genre, its question is essentially spiritual, about the realization of a deeper truth unknown to the conscious realm of reason and logic. Martin Scorsese's SILENCE, Thomas Vinterberg's THE HUNT, and Chris Nolan's DUNKIRK are what one might call 'art films', though one could place Nolan's film in the 'War Movie' category. But then, there are war movies and then there films about war, and DUNKIRK belongs in the latter category. It's like GOODFELLAS is more a film about gangsters than a movie in the gangster genre(like SCARFACE and LITTLE CAESAR). SILENCE continues in the excellent vein of KUNDUN and goes even further in its rumination on the paradoxical nature of Christianity. It also exorcises what went so wrong with THE LAST TEMPTATION OF CHRIST, a work with all the elements of greatness but stumbled embarrassingly with judgement calls, not least in casting. THE HUNT is one of the most agonizing films in a long time, but its pain is earned honestly. It is also an improvement over Vinterberg's earlier Dogma-films that favored crudity and sensationalism over precision and meaning. It's difficult to think of another film with focus as intense as in THE HUNT, and it is the real thing, unlike the expensive exploitation movie PRISONERS that looks great but is utterly sick. On the surface, THE HUNT may seem like a run-of-the-mill sullen European 'art film' with a depressive view of life, but the narrative mines the impossible nature of truth. Because we the viewer are close to the main character, we know of the injustice of what he goes through, but there are no villains here, and even the 'hero' could easily be on the other side if someone else had come under the suspicion. In avoiding the cheap shots of moralism — even many so-called 'art films' are hardly more complex on moral issues than Stephen King stories — , THE HUNT is all the more dark and tragic. The theme is bigger than the difficulty of justice; it's about the impossibility of truth. This isn't to say truth is relative or subjective as it's more than obvious in many cases that someone really is guilty of something — if anyone still believes Jussie Smollett's story, he is either retarded or hopeless. Rather, there are cases where the only truth we have is the accusation and the denial, and so much of reality falls into that dark hole. If RASHOMON is about the egoism of truth, THE HUNT is about the solitude of truth. And yet, we can't blame the people of the town for trusting the child who made the accusation, and we can't blame the child for conforming to neo-puritanism of the times in search for new witches in a world hungry for moral justification. Speaking of Art Cinema, one could argue MOTHER! is more an Art Film than a work of horror. Indeed, if it is genre, it would be the first such in Aronofsky's body of work, though, to be sure, all of his films have genre touches. In a way, Aronofsky has been one of the most personal directors, and all of his films qualify as Art Cinema on par with the works of Ingmar Bergman, Shohei Imamura, and Jean-Luc Godard. And yet, his penchant for sensationalism and endless references to pop culture(rivaling David Lynch) has suggested more a hipster-hustler-prophet(like the grotesque James Toback) than a dedicated artist, and this accounts for why all his films prior to MOTHER! have been intermittently successful as art, though when his punches land, they are as formidable as any moment in cinema — consider the final scene in THE WRESTLER, one of the greatest ever. But with MOTHER!, Aronofsky made it to that special place, the Olympus(or Hades as the case may be) of achievement rarely approached by even the greatest. Bergman and Fellini made it once each, respectively with PERSONA and 8 1/2. Bunuel, Tarkovsky, and Lynch twice each, respectively with UN CHIEN ANDALOU & LOS OLVIDADOS, ANDREI RUBLEV & STALKER and ERASERHEAD & MULHOLLAND DR. To find oneself in this company, one needs something more than conscious creativity, experience, knowledge, and craft. One needs contact with the Muse of Mystery, a power that the Jeff Bridges character came to channel in TRON: LEGACY. In terms of meaning and message, MOTHER! continues in the vein of his earlier works. What sets it apart is the intensity running ahead of conscious control. If ever there was a case of creative nuclear melt-down, this is it. It is the Chernobyl of cinema, and it is amazing how Aronofsky managed to mold something so crystalline out of this radioactive chaos. He pulled a diamond out of the coals of hell. The nucleus of the idea got amplified by neural leaps and bounds by a man who wrote/directed as if possessed. Though the film is about chaos, doom, and world gone mad, Aronofsky never lost control of the material(as Nolan sometimes did in INCEPTION and as Gilliam invariably does). It is tour-de-force, all the more powerful because the inspiration sprung from deep within. After all, plenty of directors have given us mad visions. Think of Alan Parker with PINK FLOYD THE WALL and ANGEL HEART. Or, Joel Schumacher with FLATLINERS and Adrian Lyne with JACOB'S LADDER. Lyne's movie is very good, and Schumacher's has its moments. Parker is mostly obnoxious(and Terry Gilliam is among the worst of the madcappers). But with a few exceptional moments in JACOB'S LADDER, most of the craziness is on the surface, the stuff of visual trickery and stylistic flourish(borrowed generously from earlier masters, especially Lang, Murnau, and Welles). In contrast, MOTHER! cuts and probes deep, touching sensitive nerves — like an extended version of the squirming-brain scene in PI — associated with spiritual and existential anxiety. It's the difference between "Gimme Shelter" by the Stones and all those heavy-duty loud-as-hell Heavy Metal songs. The Rolling Stones' song emerged like a maelstrom from a dark and disturbed place and had a genuine element of the Faustian. In contrast, most of heavy metal rock is superficial posturing as 'bad boys'. It's almost as if Aronofsky made a psycho-spatial version of BATTLESHIP POTEMKIN that involves everything from the smallest atoms to the biggest stars, all of them embodied in the madness that engulfs a single home. If Charlie Kaufman connects dots in mental-scape and if David Lynch lurks in the sewage of the mind, Aronofsky went all out and blew out the entire neural fuse-box. It's been said that all of a man's life passes before his eyes at the moment of death, and MOTHER! is like all of history passing by before our collective eyes as the West faces doom, what Douglas Murray politely refers to as the 'strange death of Europe'. Aronofsky, being a crazy Jew, probably delights in the fall of the white race, but MOTHER! is as much a subconscious as a conscious work, and what it reveals is that even the proggy cosmo-Jewish mind is deeply anxious about a world in hyper-acceleration mode spiraling out of control of what had long been the gravitational orbit. One wonders where Aronofsky will go from here. A truly great work is as much a curse as well as a blessing. After one climbs the Everest, what else is there? Only a handful of artists managed to make works comparable to their first peak. Consider Kubrick with BARRY LYNDON and SHINING after 2001: A SPACE ODYSSEY. If Aronosfky can conceive of another work as powerful as MOTHER!(his THE WILD BUNCH), he will enter the pantheon. Or he may end up like Lina Wertmuller who, after her masterpiece SEVEN BEAUTIES, never came close(and even ended up at times with self-parody). And personally, I don't think Cassavetes did anything truly worthy after his greatest work HUSBANDS. As different as Whit Stillman's DAMSELS IN DISTRESS is from MOTHER!, they have one thing in common. Both are perfectionist culminations of artists who reshaped their earlier ideas & fixations with greater mastery and inspiration. As such, neither film has any fat or off-moment. Granted, the lack of 'perfection' is part of the charm of films like METROPOLITAN, THE LAST DAYS OF DISCO, REQUIEM FOR A DREAM, THE WRESTLER, and NOAH, but there is something to be said for a film that's cut like a perfect diamond. DAMSELS IN DISTRESS is a true gem, each gleam of which radiates with goofy charm and oddball humor. But it's not only one of the funniest things I've ever seen but a wistful musing on the role of love and romance in the arc of history and lifeline of civilization. That Stillman artfully touched on grand themes with such good humor and brevity of narrative is a testament to how things can go right with the right story, right cast, and right mood. But, as with Aronofsky and MOTHER!, I worry about Stillman. Where can he go from here? While he can go on making good movies, will he reach such heights again? Francois Truffaut for one never reached the greatness of JULES AND JIM despite his many good subsequent films. Coen Brothers HAIL, CAESAR! is a movie I dreaded seeing. Were they doing Mel Brooks? Actually, the remarkable movie has more in common with DR. STRANGELOVE. If Kubrick's masterpiece had the audacity to treat Mass Death by nuclear holocaust as satire, Coens' comedy is about the birth of the Western Template via synthesis of Jewish Prophecy and Roman Imperialism. The approach is both cynical & mocking and sincere & moving, not least because it's about a Hollywood production of a Biblical epic involving insipid movie stars, resentful ideologues(mostly writers who get crumbs), bullying executives, and nosy gossip columnists. Neo-Imperial Hollywood with its Money and Myth-making serves as a metaphor for Western Civilization(much like NASHVILLE by Altman stood for America) since the arrival of Jesus, the figure who paradoxically did most to divide Jews and Gentiles by bringing Gentiles over to Jewish myths. European Christians who came to worship a Jew as the Son of God also came to regard Jews as the killer of their Lord. And yet, it was in America that somehow Jews came to inherit and take over the Holy Roman Template. HAIL, CAESAR! can be enjoyed as straightforward comedy about what happens on movie sets, or it can be approached as a grand game theory of history. The main character in the movie is given a chance to work in the Death Industry of nuclear arms, the weapons that blow up the world in DR. STRANGELOVE, but he sticks to serving the Hollywood Myth Machine as the true church of America, and one controlled by 'wise' and mysterious Jewish moguls. A truly multi-faceted work that can be enjoyed on several levels. As for DUNKIRK, it's something of a surprise to myself that it ranks so high. On the surface, it seems like just another good war film, and it's hard to think of a scene that stands out as particularly special or different from what other war films have done. It's not a work of intensely great moments like SAVING PRIVATE RYAN. It's not a high-concept work like THIN RED LINE. It lacks the epic scope of Kobayashi's HUMAN CONDITION or the intimacy of Rossellini's PAISAN. It lacks the edginess of FIRES ON THE PLAIN or audacity of FULL METAL JACKET. And yet, cumulatively all the moments add up to something ennobling and beautiful. In a way, DUNKIRK is a COUNTER-WAR-MOVIE, which is different from Anti-War Films. DUNKIRK is most notable not for what it teaches us about war or WWII in particular but its approach to the subject of war. Thus, what Nolan was working against was the claims or cliches inherent in the genre. After WWII, war movies became a genre unto themselves and one-after-another was knocked out by Hollywood with regularity approaching Westerns. Since the post-Vietnam-War Era, serious film-makers have generally made what came to be known as Anti-War films that showed in grisly and grim details the horrors of war and its psychological toll. Oliver Stone became most famous with PLATOON. As the bad memory of Vietnam faded and the Jew-run US asserted itself as the Lone Superpower empire, a certain nostalgia developed for the Greatest Generation, and SAVING PRIVATE RYAN was meant as a tribute to them(and for future wars targeting New Hitlers). Though opposites, what PLATOON and SAVING PRIVATE RYAN have in common is a sense of self-importance, also true of THE DEER HUNTER and APOCALYPSE NOW. PLATOON is an intense statement about America's sins, and SAVING PRIVATE RYAN is a grand tribute to America as a redeemer-nation. Because of the extreme nature of war(and as war movies aren't routinely cranked out like after WWII), makers of war movies tend to go for grandiosity in statement and/or production, the object of mockery in TROPIC THUNDER. The message tends to be either patriotic, a paean to noble patriotic soldiers(like Mel Gibson's WE WERE SOLDIERS), or 'radical', an indictment of the meaninglessness of war where pawns are used to serve the vanities of those in power. DUNKIRK, though obviously made in honor of the WWII generation of Britain, is rather muted and mannered. And it refrains from grand statements and makes no claims to be the Mother of all War Movies upping the ante. Rather, with efficiency and grace, Nolan shows war as the culmination of all the little moments, by soldiers and civilians, those fleeing and those rushing to help the fleeing. Despite all the violence and terror, there are no earth-shaking BIG MOMENTS as in PLATOON or SAVING PRIVATE RYAN. As such, every moment is on the human scale and as important or no less important than any other, and we never forget that war, despite its awesome scale, is experienced by each participant on the human level. Some of the most memorable scenes are the quietest, as when the father of one of the rescue boats cues his son not to press upon a traumatized soldier whose panic led to the death of his friend. It is this human quality and the element of grace in pacing, duration, and details that ultimately leave a deeper and richer impression. PLATOON and SAVING PRIVATE RYAN have intense moments that overpower us with emotions(and guts-and-glory or guts-and-gory), but once the film is over and we leave the theater, we feel a bit embarrassed for having been put through the wringer. With DUNKIRK,there is no hangover as Nolan's objective wasn't to overwhelm us with the Moment or the Meaning. As such, the film not only show the Brits at war but embodies the very spirit of hardy stoicism and civic spirit, something that eroded with the rise of Rock Star egotism in the 60s. Of all the films listed below, THE BLACKCOAT'S DAUGHTER is the one I care about most, one I wouldn't mind watching over and over. It is the darkest film by far. If MOTHER! is about the failure of Heaven on Earth, THE BLACKCOAT'S DAUGHTER is about love in hell. The young woman in the film ends up killing two very sweet ladies who've devoted their life to serving girls on campus. She also murders a man and wife coping with the worst kind of tragedy. And yet, she feels no remorse because she is in love with the Devil. In THE EXORCIST, the girl is saved when the Devil is lifted from her body. In BLACKCOAT'S DAUGHTER, the love for the Devil lingers long after the exorcism. Also, the young woman isn't merely a hapless victim but a participant in the seduction and corruption. It is one of the strangest and most provocative films about the power of Evil. At the end of THE THIRD MAN, despite the woman knowing that Harry Lime was a monster and even meant to betray her, she is still in love with him and completely blind(and even contemptuous) of the man who did the right thing. There have been many stories about Evil and horror, but I don't believe I've quite seen a film that delves so subtly into the area of the soul that can fall in love with the unspeakable. THE WITCH treads similar grounds but, good as it is, is a comic strip compared to THE BLACKCOAT'S DAUGHTER.

Masterworks:

Life of Pi
Inception
True Grit
The Adventures of Tintin
Before Midnight
Blue Jasmine
Gravity
Inside Llewyn Davis
The Kings of Summer
The Wolf of Wall Street
Before I Disappear
August Osage County
The Counselor (Scott)
Slow West
American Animals
Tomorrowland
Elena (Russia)
Twin Peaks the Return
Maps to the Stars
Ash Is Purest White
Poetry (Lee)
Snow White and the Huntsman
Sunset Song
These films in the 'Masterwork' category fall a bit short due to artistic compromise, thematic limitation, conventionality, incompleteness, and/or lack of sufficient depth/imagination. LIFE OF PI is full of wonderment and heartbreak in its blend of fairy tale and tragedy, but the self-help vibes render it a bit pat, even smug. Still, it's one of the rare works with artistic use of special effects. INCEPTION could have been an all-time great movie, but Nolan overloaded it with blockbuster elements. Perhaps, that was the only way he could have gotten it made, but it is seriously compromised. It's too bad because Nolan came up with ingenious complications from a deceptively simple idea, much like Asimov with the three laws of robots. Even more inspired was the delving into how the personal underlies the 'political' or 'business' side of life, something the hero wrestlers with even as he goes about tampering with the psyche of his target. The concept merges cold calculation of business, keen logic of psychology, and poetic poignancy, with implications dark and profound. It envisions a world where the most intimate and private space can be hacked and altered. But then, in a way, such mind-control techniques have always existed via the power of arts, drama, and music whose effects seep into our psyche and fundamentally alter our way of seeing ourselves and the world. In our time, Jews use these means of media to hypnotize and manipulate us at the deep level as so much of arts & entertainment appeal to us emotionally and subliminally, altering our perceptions from within. So many people have been 'incepted' trance-like without their ever knowing who manipulated them and how. TRUE GRIT by the Coens is a movie I disliked rather intensely because the female character is so repulsive in looks and behavior, but upon second viewing, she is exactly as the Coens intended. We can't fault the movie for having an unlikable character as unlikable-ness is a fact of life, and something that art/entertainment exist to reflect. Besides, its her very unlikable-ness that drives the narrative. She has the tenacity of a bulldog. Jeff Bridges' performance teeters into caricature at times, and everyone knows the basic story from the John Wayne original. Still, it's a solid work all around and with some truly inspired moments that rival any in cinema. One thing for sure, the Coens have certainly graduated into Movie Mastery in the new century. There are no surprises in Steven Spielberg's rendition of THE ADVENTURES OF TINTIN except that it's superbly done, much more so than most movies of the kind. You just have to appreciate the expertise and ingenuity of everyone involved in the project. Richard Linklater's BEFORE SUNSET is the Goldilocks middle between the overly cute and coy BEFORE SUNRISE and the tiresomely sour and bitter BEFORE MIDNIGHT. BEFORE SUNSET retraces the romanticism of the first while foreboding the weariness of the third. It's a perfect little film, and maybe it should have ended there, just like BOYHOOD would have done better to end at its halfway mark. BLUE JASMINE is Woody Allen's best in a long time. Though more tragedy than drama, it is amusing throughout. It's a story about a woman who deserves all her woes but still wins our sympathy because the audience can see themselves in her vanity, (self)deceptions, and desperation. She feels the perennial victim without any regard for all those wronged by the ill-gotten loot that had once propped up her lifestyle. The one time she acted against financial security was out of egotism and vanity, to get even with her cheating husband. As such, it is a damning indictment of the coastal elite class and its attitudes. It's about emotional as well as material selfishness, but then, the latter often follows from the former. The problem isn't merely too-much-money but the very mindset of entitlement. Just like the girl in THE BLACKCOAT'S DAUGHTER is still with the Devil despite having been exorcised, Jasmine still thinks and talks 'rich' though fallen flat on the ground. It's been compared to STREETCAR NAMED DESIRE but also reminds us of HOUSE OF MIRTH. Privilege isn't merely a status but a state-of-mind, and there are few sadder things than a person still stuck in one mindset while having been pushed into another social setting. The mind fails to adapt to the changed reality, thus goes mad. GRAVITY isn't much in terms of concept or theme but what awesome use of technology. It is surely one of the few times when 3D was justified in cinema. Like most sci-fi movies heavy on effects but weak on themes, GRAVITY's reputation will surely diminish in time, but what an experience it was on the big screen. INSIDE LLEWYN DAVIS seems a bit unsatisfying though the reasons may be intrinsic to its strengths as well. The Coens created a full-fleshed character with a lively personality, but he isn't given much to do and is flattened into the bleak and dreary landscape between NY and Chicago. Davis is a folk-singer without contact with the folks. He's a creature of big cities. Also, he wants to be famous, a star, but works in the folk idiom that is supposed to be humble. Davis is aware that many in the folk scene are poseurs, fakes, & hipsters, and strives to be different, a real artist. At a club, he mocks the one woman who is truly of folk background and gets punched by her husband in a scene reminiscent of George Bailey getting knocked out by the angry husband in IT'S A WONDERFUL LIFE. It is a thoughtful work about the price of freedom and also a worthy tribute to all the contemporaries of Dylan who failed to become him(and oddly enough, it is better than most movies about or with Dylan, the exception of course being PAT GARRETT AND BILLY THE KID). It also has one of the most remarkable uses of animals in movies. KINGS OF SUMMER is one of the best youth movies in a long time. The quality of youth/teen movies have improved in the 2000s. One merely needs to think of the 80s when most coming-of-age movies were either John Hughes' silly teen comedies(though some are endearing) and all those trashy sex comedies. THE SURE THING was one of the few good ones from the decade, and the 90s weren't much better. In more recent yrs, even youth movies I don't like(and even detest) tend to be made with more intelligence and personal style, and KINGS OF SUMMER is the clear winner. Even its sitcom-like parts are done to perfection. It captures the immaturity, excitement, romanticism, and naivete of youth. Also, the characters are eccentric to the point of amusement without becoming freaks or caricatures. Youth is the sun-packed noon of life, and KINGS OF SUMMER glows with radiance. THE WOLF OF WALL STREET features Martin Scorsese firing on all cylinders. But its de-emphasis of the Jewish angle robs it of meaning. Consider THE GODFATHER and GOODFELLAS where very little is made of the fact that they're about Italian-Americans. As such, THE WOLF OF WALL STREET becomes a rather generic travelogue about greed and debauchery. Without grounding in some specific social or cultural milieu, all the lunacy turns into boisterous ANIMAL-HOUSE-like revelry, even celebration, of white collar 'gangsta' life. As such, its ultimate meaning is hardly different from that of OLD SCHOOL. True, there is something about how Belfort's life falls apart, he loses his wife & family, and has to do time behind bars. But the good times are presented with such pizzazz that the moral reminders become just a footnote. Still, there are some scenes in the movie(esp those with Jonah Hill) that are as good as anything Scorsese has done. BEFORE I DISAPPEAR, written, directed, and acted by Shawn Christensen is a truly audacious film on all levels, worthy of comparison to Bunuel. It deftly interweaves several plot-lines and, more remarkably, contrasting emotional strains to create a bewildering picture of life as a state of constant collision of social forces and inner turmoil. Most movies fit like easy puzzles, but BEFORE I DISAPPEAR is one where the pieces fall in place in unexpected ways. Depressing but also exhilarating in a way. AUGUST OSAGE COUNTY has unpleasant people bickering and making fools of themselves, but it's finely directed, excellently acted all around, and true to life. THE COUNSELOR in the hands of Ridley Scott is bit too slick for a dark and damning film about the dynamics of globalist-capitalism where first world neo-imperialism merges with third world tribal-gangsterism. In that regard, it is less satisfying and entertaining than NO COUNTRY FOR OLD MEN. Still, if the Coens pared(and diminished) their material to a harrowing bare-bones action flick, THE COUNSELOR sticks closer to the central theme of the world on edge as the result of melting borders(more dangerous than melting ice caps) and fading authority. Best of all, it has ruthless courage about the price of the New World Order. Play with fire, and just know there may be no way out. And of course, there will be collateral damage for the innocents, but then, who is innocent in a world where everyone is on the same grid? SLOW WEST is the one film on this list that could have made it on the higher category of 'Game Changers'. A special kind of Western, there is really nothing else like it. As concept and in tone, it is closer in spirit to HAROLD AND MAUDE and DAMSELS IN DISTRESS. It is less a Western with quirky elements than a quirky romantic story situated in the West. Indeed, the story begins not in the American West but some place in Scotland. Thus, it's less about the people of the American West than a Scottish dreamer who ventures even as afar as the Wild West to find his true love. Not surprisingly, it didn't do much at the box office but deserves to be a genuine Cult Film. AMERICAN ANIMALS deftly retraces the ill-conceived heist of rare Audubon books by college students who channel the old pioneer/outlaw energies in the current America that no longer has use for such. The irony, of course, is that in a way the young men have more in common with the spirit of Audubon the adventurer-artist than the official institution that keeps everything under lock and key. In this respect, AMERICAN ANIMALS has something in common with INTO THE WILD, KINGS OF SUMMER, and CAPTAIN FANTASTIC, all of which are about people dropping out of society to reconnect with the primal, authentic, and personal. Still, AMERICAN ANIMALS is under no illusion that the crime could be justified on any grounds. It is also a lesson on how tricks of psychology and influence of pop culture myths can make even people from respectable and law-abiding backgrounds to lose sight of the barrier between reality and fantasy. TOMORROWLAND was considered a failure, and perhaps that explains why Disney prefers to stick with the tried-and-tested Marvel and STAR WARS 'franchises'. After all, TOMORROWLAND, though owing its inspiration to earlier works, was created from scratch as an original idea. And it is fantastic in imagination and brilliant in execution. It is also genuinely oddball and a bit twisted, and those factors may have perplexed parents and children alike. It's too bad that when Disney actually did something amazingly original, the public said no. ELENA is a stark tale of class and privilege. Moreover, it's a cautionary tale of how mere privilege can lose out to blood loyalty. TWIN PEAKS THE RETURN is a TV series, so why here? Because Lynch is a major figure in American Cinema. While TWIN PEAKS THE RETURN is overlong and goes off in too many tangents, it has many great passages and arrives at a truly horrifying 'closure', scarred by the most frightening scream in cinema. Possibly Lynch's last major work, it is reminder that no matter how much we try to escape from or resolve our issues and problems via the form of art and entertainment, there is no way out. In that, it shares with THE COUNSELOR a truly tragic view of life. MAPS TO THE STARS by David Cronenberg isn't easy viewing as just about everyone is about the least likable character one can imagine. Selfish, stupid, vain, nasty, vicious, vengeful, etc. Still, far more than the sometimes hokey COSMOPOLIS, it is a cold indictment of the soulless modernity of celebrity & idolatry. ASH IS THE PUREST WHITE by Zhangke Jia is another none-too-enjoyable film but it's convincing as a story of life. Like him or not, Jia is interested in what-is than what-we-want, and as such, is a true artist. What makes cinema entertaining is the meeting of the minds between us and the characters and between the characters. We want to see attractive people as our alter egos, and most movies feature attractive or appealing actors. Also, for dreams to come true, there must be a meeting of the minds between the principal characters so that, though once divided, they are one for all and all for one. But life rarely works that way, and Jia's ASH IS PUREST WHITE is about the impossibility of love among impossible individuals. Just when one gazes into the heart of another, the latter's heart is resolutely and stone-cold elsewhere. As Jia accepts it as reality, there is no sentimentality or melodramatic pathos. Just the painful realization that life is as is. Jia's works may be hard to take — and I've never been a fan — because his films suggest at genre formula but stolidly remain in the mode of realism. Because ASH IS THE PUREST WHITE involves gangsters and a moll, we approach it with certain expectations, but what's missing is the process that filters out the roughness and churns out a smooth familiar narrative. Most movies are processed meat, but Jia gives us raw meat. Not easy to chew on but the blood and fiber taste real. POETRY by Lee Chang-Dong uses the onset of Alzheimer's Disease as metaphor for social amnesia that makes people blind and forgetful of what really matters in terms of truth and justice. It is perhaps overly elaborate as story-telling but has an always welcome message that appearances can deceive. SNOW WHITE AND THE HUNTSMAN may be derivative and overly reliant on action/spectacle/special effects, but it's the best of its kind. Along with LIFE OF PI, TRON LEGACY, GRAVITY, and few others, it totally justifies CGI as art-form in its own right. It is also edited to perfection with zero fat. I recall SUNSET SONG as a very strong film, but it's a work I need to revisit for fuller assessment.

First-Rate:

The Master
The Conspirator
Shutter Island
The Way Back
Blade Runner 2049
Footnote
Ender's Game
The Great Beauty
Robocop
Noah
American Sniper
Risen
Bridge of Spies
Queen and Country
The German Doctor
Ant-Man
C.O.G
Hereditary
The Day
The Mule
Moonrise Kingdom
Rush
All Is Lost
Coming Home (Yimou)
Room
American Pastoral
Life Father Like Son
Senna
Joe (Nicholas Cage)
Act of Killing
Of Gods and Men
Cave of Forgotten Dreams
The Witch
Silent Souls
War Horse
Everybody Wants Some
This Must Be the Place
11 Flowers
Boardwalk Empire Episodes 1,2


Worthy Efforts:

Despicable Me
The American
The Devil
In a World
Elite Squad: The Enemy Within
Thor
Phil Specter (Mamet)
Drive
The Disaster Artist
The Ward
A Dangerous Method
J. Edgar
Cold in July
John Carter
Hugo
The Hunger Games
Looper
Oblivion
Mother (Bong - 2009, released in US in 2010)
Captain Fantastic
Byzantium
The Bling Ring
Nebraska
American Hustle
White Material (2009, released in US in 2010)
Where Is Kyra?
Lone Survivor
Boyhood
Lego Movie
Love and Mercy
Black Sea
End of the Tour
Mistress America
Wolf Totem
Cafe Society
Snowden
Hunt for Wilderpeople
Moana
Paterson
Split
The Glass Castle
American Made
Ready Player One
Hot Summer Nights
First Man
Visit (Shyamalan)
Glass
Three (Johnny To)
I Wish
Our Little Sister
Arrival
Only Lovers Left Alive
Baby Driver
Samsara
Winter's Bone
Lo and Behold: Reveries of the Connected World
Force Majeure
First Reformed
Toni Erdmann
Wall Street: Money Never Sleeps
Twilight: Breaking Dawn Pt 1


Not without Merit:

Aquaman
Star Wars: Rogue One
Only God Forgives
Jeepers Creepers 3
300: Rise of an Empire
Resident Evil: Afterlife
Resident Evil: Retribution
Resident Evil: Final Chapter
Edge of Tomorrow
Prisoners
Rebel in the Rye
Conjuring
127 Hours
Wind Rises
Can You Ever Forgive Me?
Frances Ha
Blue Valentine
World of Kanako
Savages (Stone)
Babadook
Twilight: Breaking Dawn Pt 2

Lauded Movies I Detest(or Protest):

Black Swan
The Social Network
Gone Girl
Tree of Life
Before Midnight
Her
Zero Dark Thirty
Perks of Being a Wall Flower
Big Short
Dark Knight Rises
Never Let Me Go
The Martian
Rise of Planet of the Apes
Ex Machina
Hell or High Water
Steve Jobs
Killer Joe
Scott Pilgrim and the World
Sicario
The Artist
The Most Dangerous Year
Tinker Tailor Soldier Spy
Mad Max: Fury Road
Take Shelter
Margin Call
Under the Skin
Killing Them Softly
Knight of Cups
Locke
Interstellar
John Wick
Melancholia
Stories We Tell
Elle
Eighth Grade
Let the Sunshine In
Star Wars: Force Awakens
Frozen

Yet to Watch(or Need to Re-Watch for Fuller Assessment)

Foxtrot
Life of Riley
You Ain't Seen Nothin' Yet
Oslo, August 31st
Argo
The Grey
Hacksaw Ridge
12 Years a Slave
A Separation
Carol
Blindspotting
After the Storm
Two Days, One Night
Shoplifters
Lincoln
Certified Copy
Carlos
Amour
Guardians of the Galaxy
Birdman
Captain Philips
Moonlight
LaLa Land
Goodbye First Love
I Saw the Devil
Lady Bird
Inherent Vice
The Revenant
Phantom Thread
Danish Girl
Embrace of the Serpent
Anomalisa
Four Lions
Touch of Sin
Mountains May Depart
I, Daniel Blake
Submarine
What We Do in the Shadows
Love and Friendship
(500) Days of Summer
Leviathan
Cold War
Son of Saul
Turin Horse
Hard to be a God
Tepenin Ardi
Manchester by the Sea
Beguiled
Roma
Apollo 11
Once Upon a Time in Anatolia

Cuck Trump Murders Iranian Hero Soleimani — The Globalist Paradox: The More Jewish Power Torments You, the More You Must Serve It — On Why Trump serves the Jewish Globalists who Torment Him and Wage War on Iranians who have no beef with him




What do Donald Trump and Iran have in common? Both are targeted by Jews for destruction. And yet, Trump attacks Iran than lash back at Jewish Power. But why? It’s in the hope that Jews won’t tear him another a**hole. Indeed, Jews have threatened him with Russia Hoax and impeachment so that he wouldn’t dare altering US foreign policy from total servility to Jewish Global Hegemonism. The Jewish injunction to Trump is, “We can destroy you, and the ONLY thing keeping you afloat is the support of certain hawkish Jews in the GOP. If you want those Jews to stick by your side, you will worsen relations with Russia, sabotage peace with North Korea, and provoke Iran into war." And so, Trump acts in the behest of those who hate him most.
Most dumb Trump voters will likely support war with Iran because THEIR GUY is dropping the bombs(just like Obama supporters looked the other way when Libya, Syria, and Ukraine were destroyed). They are too stupid to realize that Trump is trembling and acting at the behest of Jews out of utter fear. The US seemingly acts in the position of strength against Iran because the president is in a position of weakness vis-a-vis the Jews. Trump dares not spell out the identity of those who’ve harmed him most. Instead, he plays ‘tough guy’ with Iran in the hope that Jews will ease their attacks on him. It’s all so pathetic and embarrassing. Jews are pushing another goyim-kill-goyim scenario while they sit back and enjoy the show. Trump knows that Jews are simply TOO POWERFUL to handle. Not only do Jews control most of the elite institutions/industries but via their control, they've managed to fool so many Americans that the greatest sin is to be critical of Jewish Power: Antisemitism!

Trump is acting out the American Paradox. Jews have such total power in the globo-homo West that the only way to ease the Jewish attack on you is to submit to them even harder. Jews have done everything to disparage and defame Trump, and what does the ‘tough guy’ do? To ease the agony, he sucks up to Zion more than ever in the hope that ‘my Jews’ will push back against the Other Jews. Jews are the gods of America. In the Bible, if the God clobbers you, your only hope of salvation is to serve Him with greater zeal. In America, if Jews kick your butt, your only hope is they will kick you less hard the next time around if you kiss their arse.
Jewish Power is playing good cop and bad cop as it toys with Trump. The current political situation is not a case of Trump & ‘right-wing’ Jews versus ‘liberal’ Jews. It’s really about ‘liberal’ Jews and ‘right-wing’ Jews working in tandem behind the scenes against Trump. Because Jews are so powerful and regarded as a Holy People(thanks largely to Jewish control of media and academia), anyone who matters in power-circles has to have some ‘My Jews’ on his side. It’s akin to having angels, even god, on one’s side. You are vulnerable without the moral shield of Jewish blessing; but with it, you have license to be murderous and nihilistic because ANYTHING is permitted in the current climate IF it's presented as Blessed-by-Holy-Jews. Invoking "Jews On My Side" is the ticket to power and privilege, that is if you're not Jewish yourself.
Jews, ‘right-wing’ and ‘liberal’, want the US to keep creating turmoil for the Middle East and Russia for the sake of Jewish Globalist Power. What Jews of all stripes fear most is Trump toning down US foreign policy and especially putting an end to the Wars for Israel. So, when ‘liberal’ Jews concocted stuff like Russia Collusion Hoax, accusations of ‘white supremacism’, and the Impeachment circus, Trump came to rely on the support of ‘right-wing’ Jews more than ever. If Holy Jews attack you, it means you are at a moral disadvantage, and it simply wouldn’t do to fight back on your own. The Jews who attack you must be countered by other Jews who also possess superior moral authority. Jews are like the nukes of moral authority in the West. So, if ‘liberal’ Jews attack you, you need to have other Jews on your side. Or else, you risk being morally nuked to oblivion. Imagine ‘liberal’ Jews attacking Trump and then being joined by ‘right-wing’ Jews. Trump, attacked by both ‘liberal’ and ‘right-wing’ Jews, will be toast because the entirety of the holy race of Jews will be tearing him limb from limb.
In the Trojan War, both the Greeks and Trojans needed the support of some of the gods against the other gods arraigned against their side. Half the gods were with the Trojans, half were with the Greeks. If either Trojans or Greeks lost all support of the gods, they’d be toast. So, at a minimum, they had to placate the gods on their side. As Jews have taken on the role of the gods of America, goyim always need some Jews on their side. Without Jewish support, you are politically godless. This is a bigger problem with white ‘conservatives’ because most Jewish gods & angels are with the Democrats and white ‘liberals’ like Hillary Clinton. Because the GOP has a Jewish-god-angel deficit, it has to go out on a limb, especially by cucking 200% to Israel to prove their Philo-Semitic bona fides.
Trump ran in 2016 with a goyish version of chutzpah and displeased many Jews. Though he always praised Jews & Israel and condemned Iran, he also denounced Neocon wars, spoke of better relations with Russia(a nation loathed by pathological Jews), flirted with the Alt Right, and partially awakened white political consciousness. Trump was partly trolling, but even he, despite long knowledge of and experience with Jews, had no idea how hard the Jews would hit him. Of course, ALL Jews loved the fact that the big media and deep state were out to get Trump. ALL Jews wanted him gone, but as long as he was in the Oval Office, ‘right-wing’ Jews chose to play ‘good cop’ to the ‘bad cop’ played by Democratic Jews. There was a wink-wink understanding between ‘liberal’ Jews and ‘right-wing’ Jews that the harder the former pushed against Trump, the more he would have to lean on the support from the latter. Again, as Jews are a holy god-people, no one can survive in US power/politics without the support of SOME Jews. Precisely because the ‘liberal’ Jews(and even some Never-Trumper Neocons) bashed Trump so hard, he felt an ever greater need to shore up support from ‘right-wing’ Jews, but this was availed ONLY IF he reversed his promise to improve relations with Russia — rendered impossible by Russian Collusion Hoax — , submitting to all of Israel’s demands, and worsening relations with Iran to the point of possible war.
‘Right-wing’ Jews pretend to oppose the ‘liberal’ Jews, but they know that Trump will be drawn closer to them if and only if he’s driven near-mad with constant assault from 'liberal' Jews. In order for 'right-wing' Jews to squeeze out 'protection money' from Trump, he needs to be constantly threatened by 'liberal' Jews. 'Right' or 'left', a Jew's main loyalty is to fellow Jews than some ideology, let alone to another racial or ethnic group.
As Jews have been elevated to divine moral status, nothing is as damaging as being condemned by the Tribe. Also, as the mass media are almost totally owned and/or controlled by Jews, the usual mouthpieces will only join forces with Deep State and Jewish globalists to hound Trump. Then, the only way out for Trump is to seek the backing of ‘right-wing’ Jews who pretend to be his friends but are working behind the scenes with ‘liberal’ Jews and the deep state. Trump is now just a caged bear or lion who does as told in order to survive. And so, he decided to pounce on Iran.
Besides, as such a hopeless coward who dare not call out on Jewish Power, the only way he can flex his muscles is by attacking the very thing that Jews hate most(other than him). After all, if Trump hits Iran, even ‘liberal’ Jews who hate him and oppose him at nearly every turn will be pleased because their true core conviction isn’t liberalism but Jewish Supremacism. Thorny-horny Jews can't be appeased for long, but they might ease on their attack IF you suck them off and swallow. Thus, they'll be a bit mellow before they get another hard-on, which won't be long. Jews play politics like they play chess. As Trump has been threatened with checkmate by Jews, Deep State, and the Mass Media, he feels that the only way he can crawl out of this mess is by reaching for the helping hand of ‘right-wing’ Jews, but this hand comes with a steep price. They demand that Trump remain in Syria & steal the oil, worsen relations with Russia, and provoke Iran into war.
The best thing that the Iranians could do is blurt out the truth for all the world to hear. Especially if your side is militarily disadvantaged, truth must be the main weapon. The Iranian leader should mock and shame Donald Trump as a cuck-stooge of not only Zionism but Jewish Supremacism that rules the US. He should point out how Jewish Zionist Power has been out to destroy Trump from day one, but the orange-man coward remains most servile to the very group that has done most to undermine his presidency and smear his reputation.
The current state of the world is so embarrassing. It's like goyim of all stripes are stuck in some gladiatorial ring under Jewish orchestration. Jews hate whites and Trump. Jews hate Iranians. Given that both groups have in common the rabid & virulent hostility of Jewish supremacists, the most natural thing would be for the two sides to see eye to eye and unite against the Jews. Whites and Iranians are natural allies. But what do they do? Trump, the so-called 'white nationalist' and 'worse than Hitler', sucks up to Jews and attacks Iran. And Iran feels compelled to denounce all of America when the real culprits are the freaking Jews. Goyim are like the gladiators in SPARTACUS who, though slaves of Roman tyranny, slaughter each other for the amusement of Roman elites. Though Jews are hostile to whites and Iranians, whites are willing to kill Iranians to win approval from their Jewish masters, and Iranians waste so much time denouncing all of the US. What the world needs is a Spartacus-like figure. Spartacus united the slaves and made them fight Rome than each other. Goyim need to unite to fight Jewish Supremacist Power. This is where China, Russia, and Iran are doing the right thing by coordinating their war games, but they are still loathe to Name the Jew. Current US belligerence is the direct outcome of Jewish domination.
Iranians should throw Trump's words right back in his face. In 2016, Trump said the Iraq War was a total disaster, and that the US should get out of the Middle East. He also said the US should make peace by working with Russia. But since then, Jewish supremacists and their cuck-minions in the Deep State have done everything to undermine Trump, and the weary beast has succumbed to Jewish machinations. Trump is more Sparky the running dog than Spartacus. But then, much of the blame must go to white American Conservatives over the decades. Their brand of idiotic Christianity, atomizing libertarianism, smug BBQ cookout patriotism, and anti-intellectualism led to all the elite institutions being taken over by Jews, progs, and cucky-wucks.
It could be Putin is mute about Jewish power because the Russian economy is still substantially in Jewish hands. One might hope China will be bold in stating the truth, but the Chinese way is strategic than principled. Also, China has been drawn into US Market-Imperialism, much like Taiwan and Japan. It's been the gambit of American Power as the sole superpower with a vast market. If old European Empires suppressed economic growth in their colonies, US encourages economic growth as dependent on US markets. Thus, all the economies that grew by selling to the US are deathly afraid of losing market access. As the religion of the US is now globo-homo-shlomo-afro, they dare not speak the truth that Jewish Power is behind the current rot of globalist cultural and military imperialism.

It is about time for Russia, Iran, and all nations to mock the US as a Jewish Supremacist empire, one where craven white cowards do little but crawl on their knees and pledge undying support for Jewish supremacists and Zion. Why is it so? Because soulless US is only about one thing: Money-and-Idolatry. Jews got the money and idolized themselves as the supreme identity group that ALL other groups must serve. While Jewish elites rub their hands at the prospect of another Middle East War, it will be goyim , white American soldiers and countless Persians/Arabs/Muslims, who will do all the killing and dying. Jewish globalists went from Semites to Supremites, and now, so-called Anti-Semitism is Anti-Supremitism, which is more necessary than ever. And it's about time Russia addressed the J-Question. Vladimir Putin has been silent on this for too long, but it is time for truth. It is time to put down the gauntlet. No, one should not make crazy neo-nazi talking points. They just need to speak the truth that Judeo-Nazis control the US, the lone superpower, and that the Jewish modus operandi is Jewish hegemony at any cost. Also, Zionism has turned into Yinon-ism based on the Yinon Plan.
We've all been duped by Jewish Power. There was a time when Jews assured goyim, "Stick with us, and you shall have true free speech", "Struggle with us against unfettered capitalist greed", and "Support our cause to expose the Deep State so as to create a more open and transparent society." But Jews weren't really against Excessive Power & Privilege. They just wanted to bring down the old Wasp elites so that they, as the new elites, would have the power to curtail free speech, rake in all the profits, and use deep state apparatus to destroy rivals and critics. Jews are like the pigs in ANIMAL FARM. Jewish Power is the main source of many woes around the world, but because of the stigma of 'antisemitism', so many people will blame anyone but the Jews. When Alex Jones got deplatformed, whom did he blame? The 'Chicoms'. Trump is pushed against the rope, so whom does he rattle his saber at? Iranians. John McCain and Mitt Romney were smeared and slimed by the Jew-run mass media(despite their total cuckery to Zion) in 2008 and 2012, but whom did they rag on? Trump and his supporters. What a sorry bunch. (Granted, morons like Richard Spencer and the Neo-Nazi crew deserve their share of blame by sinking the promising dissident Alt Right label with what amounts to white supremacism and even neo-Nazism, thereby making it more difficult for Trump to address legitimate white interests.)

Anyway, imagine a scenario where Nazi Germany attacks Poland, France, Russia, and Great Britain but all those nations praise Hitler & Nazi Germany while taking out their rage and frustration on each other. Loony, ain't it? Well, such is the state of the world today. Jews torment and destroy so many peoples around the world, but entire nations are willing to war against one other while speaking and doing nothing about the Jewish Glob. Unless people understand the urgency of Naming the Jew, nothing will change. It's like a doctor won't cure cancer if he does EVERYTHING but name the cancer. If there's a dead rat decaying and stinking up the apartment, no amount of 'solutions' will fix the problem unless someone names the dead rat and removes it from the premises. After WWII, Jews got a grace period, well-deserved due to the Shoah. But it's time to face facts about Jews of the Now. Pretending Jews are still Shoah victims is like pretending current China is still the 'Sick Man of Asia' of the 19th century. Times change, and Jews are the supreme rulers of the world, and this must be called out. But that worthless pile of shi* Trump only sucks up to Jews more even as they bugger his ass. And white Americans are truly retarded. Jewish Power is carrying out White Nakba in US, EU, Canada, and Australia — as cuck-white elites in media, academia, and institutions are nothing but mental minions of Jewish Power, as in Jews lead, goyim follow — , and whites are being turned into New Palestinians, but all these worthless white 'conservatives' are cheering Trump's anti-BDS law that violates the US constitution. How utterly pathetic.