Notes on "Hollywood Sold Its Soul to China … Now What?" by Christian Toto

If you want a sense of the retardation of the so-called American Right, check out this utterly moronic article about Hollywood and China.

https://www.hollywoodintoto.com/hollywood-china-box-office/

It's another case of bash-china-cuz-zio-vagina. Because white Americans are such submissive pussies to Jewish Power, they would rather vent their frustrations on China(when not Iran or Venezuela) as release valve. From Russia-Russia-Russia to China-China-China, out of the frying pan into the fire... all because neither side, 'left' or 'right', dares to speak the truth on Jewish Power. 

Whites are so fearful of and cucked to Jewish Power that it would rather blame China than Jews for the woes facing America. By the way, why should any real American Rightist care about Hollywood's problems (if indeed Hollywood is in freefall) when it is the enemy of White America? If China is playing a role in the demise of Hollywood, white patriots should be cheering(and hopefully envisioning and creating their own entertainment complex free of vile Jewish globalist influences). 

Idiocies and hypocrisies abound in the article. First, take the title: <b>Hollywood Sold Its Soul...</b> ROTFL. Since when did Hollywood have a soul? Long before the rise of China's box office and investment in Hollywood, the Jewish-run industry had already smeared white Christians, white Southerners, and conservatives countless times and promoted all sorts of degenerate filth. On the occasion when Hollywood made 'pro-conservative' or 'patriotic' movies, the villains were usually foreigners who conveniently happen to coincide as objects of hatred or indifference to Jews. Consider all the movies where Muslims were little more than terrorists foaming at the mouth. Or all those movies where gung-ho US heroes/troops were mowing down commies(usually Vietnamese) or Russkies. 

In contrast, most Hollywood 'liberal' movies feature American Conservatives or Rightists as the bad guys. And not just bad guys but irredeemable monsters who need to be exposed and destroyed without mercy. So, even as Jewish Hollywood fanned hatred against American Conservatives, American Conservatives could only hate FOREIGN enemies. Given Hollywood's long history of hostility against Conservatives, why would any American Rightist assume Hollywood had a soul to lose? And besides, Hollywood was never about art & truth but about propaganda & commerce. Granted, on occasion Hollywood did manage to produce some first-rate entertainment and even art, but the industry was mostly about crass entertainment for maximum profit and mass propaganda. If Hollywood did have a soul and lost it, it was long before the Chinese Factor entered Tinsel Town. 

Beneath the headline, the author says: Chinese films are crushing U.S. titles, leaving Tinsel Town in the financial dust

Of course, the author means INSIDE China as Chinese movies have little export value. But why is that a bad thing? Why shouldn't Chinese movies dominate the Chinese box office? Is the author some kind of cultural imperialist who believes all nations should surrender to Hollywood dominance? A true conservative believes in nationalism and sovereignty, and if Chinese movies out-compete American products in China, that is a good thing, especially as so many Hollywood products these days promote little more than decadence, degeneracy, anti-white vitriol, black megalomania, globo-homo nuttery, and culture of contempt so common among Jews. And it seems some of these Chinese movies are patriotic and heroic, which would make them conservative and nationalist within the Chinese context. Why would that be a bad thing? If anything, white people in US and EU should take some cues from China and wean themselves free of Jewish Hollywood Control. The problem isn't that China is doing something wrong, but white people in the West are. Chinese make their own products whereas whites have outsourced their creativity, dreams, and artistry to Jewish Control. Even when directors and writers are white gentiles, they are ever so mindful not to offend Jews and their favored allies, homos and blacks. 

The author, appropriately named Christian Toto, whines that Hollywood has pandered to China on the following matters in exchange for access to Chinese markets: 

Adding Chinese characters to existing stories

Shooting product placement scenes for Chinese theatrical editions

Avoiding stories that depict China in a negative light

Allowing films to be sliced and diced to appease Chinese censors

Adding Chinese characters to existing stories? Is this really a problem? How many Chinese characters have we seen in movies? At most, there might be some Asian sidekicks(often not Chinese), but Asians are far from prominent in Hollywood movies(and I'm not sure Chinese watch Hollywood movies to see Chinese people, which they can see plenty on TV and in the streets). Still, putting some Chinese in Hollywood movies actually makes sense IF it will boost box office in China. After all, Hollywood is a business, and the US abandoned nationalism in favor of globalism. Naturally, Hollywood regards the entire globe as its marketplace. It is no longer a national industry but a global one, but then this kind of 'free trade' was pushed by both Republicans and Democrats.

What makes far less sense is why there are so many Jews, homos, and blacks in movies. Why are less appealing Jews often favored over whites in prominent roles? Why are there so many homos in movies and TV, creating the impression among Americans that a whopping 25% of the population is homo? Of course, the most ludicrous casting involves blacks. Blacks are the biggest criminals and worst students in the US, but they are likely to be a heroic cop, wise judge, magical saint, or scientific genius on the big screen. And whose idea was it to promote Jungle Fever where white actresses are now routinely paired with black men, the message to white women being, "Black guys are the real men while white men are flabby maggots, so white women should abandon white dorks and go with black men. And, black men are noble of heart while white men are a bunch of closet-racists, so white women should invite Afro-colonization of their wombs and reject white 'racist' males." Jews have been pushing this line forever, but idiot cuck dorks like Christian Toto don't get it or are too cowardly to speak the truth. Notice this supposed 'anti-racism' is predicated on racial differences that says blacks are superior to whites. Jews pushed this craziness.

As for product placements, that's been around forever. True, they are annoying but hardly began with the Chinese. 

Avoiding stories that make China look bad. But again, why is this a problem? Hollywood is not about art but entertainment. Entertainment is about giving people what they want. And if Chinese now make up a big share of the box office and don't want to be insulted by Hollywood, what's wrong with that? The real problem is that white Americans take so much abuse from Hollywood but keep handing over their hard-earned money to Hollywood Jews despite all the anti-white insults. So, which people are making less sense? The Chinese who say, "We give you Hollywood Jews lots of money in box office revenue, so we ask you not to insult us as a bunch of nasty 'chinks'" or whites who say, "You Hollywood Jews piss and shi* on us and drag us through the mud and tar-and-feather us, but we will keep giving you tons of money and praise Jews & Israel to high heaven"? Which people are being retarded? 

Cuck-roach Brad Pitt in KALIFORNIA. Jewish Hollywood's portrayal of 'White Trash' subhuman.

Actually, white Americans in the past acted like Chinese today. They exerted considerable pressure on Jewish Hollywood. This is why Hollywood didn't insult the American South back then. It's why Hollywood was careful not to insult Christians and Christianity. White people said to Hollywood, "Look, we built this nation in which you Jews found freedom and made lots of money. And we make up most of the audience, so you better not shi* on us." So, Hollywood was mindful not to be brazenly anti-white. But Jews got ever bolder with their control of media, academia, and entertainment over the years and brainwashed whites to hate themselves, suck up to Jews unconditionally, cuck to blacks, bend over to homos, surrender to immigrant-invasion, and etc. 

If Chinese refuse to go down the same rabbit hole, good for them. The problem isn't with the Chinese but with whites. Whites caved to Jewish demands and grovel at the feet of Zionic Hollywood that spits on them. China is doing vis-a-vis Hollywood what whites had done in the past. It is the whites who've sold their souls to Jews, and people like Christian Toto seem resentful of the Chinese who have not. (It's like white cucks, such as John McCain and Lindsey Graham, who totally caved to Jewish Power grew resentful and secretly envious of men like Vladimir Putin who haven't. Dogs on the leash bark at dogs running free.) But instead of telling fellow whites to emulate the Chinese when dealing with Jews, Christian Toto gripes about bad bad China. His message to Jews seem to be, "We whites totally grovel before you like dogs while Chinese don't, so why do you Jews show more consideration to the Chinese than to us?" But the question answers itself. A man respects a strong horse than a jackass. China acts like a strong horse whereas White America is content to be a jackass to he Jews. No one respects the groveler, and no wonder White American jackass routinely gets kicked in the rear by Jewish Power.

Allowing China to censor and re-edit films. But EVERY nation does that. Arab nations often cut out things deemed dangerous or offensive. It's just the way of business. McDonalds in India don't sell beef. And Jewish Pressure in the US either censors, re-edits, or bans foreign works. For example, Pokemon cartoons in Japan featured Buddhist swastika symbols(which have nothing to do with Nazism) but they were excised in the US version because Jews didn't like it. Miramax, Harvey Weinstein's company, was notorious for cutting out entire chunks from foreign movies for whatever reason. Israel has its own censors. US publishing companies still hasn't released Alexander Solzhenitsyn's book about Jews and Russia. And today, Jews are the biggest censors and book-burners as they pressure Amazon and other companies not to sell certain titles that Jews find offensive. Also, Jews dominate censorship on Facebook, Youtube, Twitter, and much else. Indeed, the mere act of supporting free speech can get someone fired, blacklisted, or deplatformed. Just ask Parler. Facebook had more to do with communications behind the Jan. 6 melee in Washington D.C., but Parler got the boot, not Facebook. Jews also shut down BDS movement in many states. Jews shut down free speech through control of private enterprise and public institutions. Where are American Conservatives on this matter?

By the way, if Hollywood is such a sanctuary for artistic freedom and social truth, how come it hasn't made a single movie about the Zionist Nakba(that destroyed Palestine), Jewish role in the Brazilian Slave Trade, Jewish role in Opium Trade in China, Jewish role in Cheka & NKVD terror campaigns in the Soviet Union, Jewish role in exploiting black talent in music & sports — Spike Lee did touch on that a bit in MO' BETTER BLUES but got abused badly by Jews — , Jewish Neocon mendacity that led to the Iraq War, Jonathan Pollard's treachery in cahoots with Israel, and Israel's attack on USS Liberty? Now, what would happen to anyone who proposed such a movie in Hollywood? He'd be blacklisted and gulaged faster than any dissident in China.

Meanwhile, the Hollywood elite ignored China’s human rights violations at every turn. Celebrities railed against Georgia’s strict abortion legislation but looked the other way as China operated concentration camps for minority Muslims.

I'm sure there is mistreatment of Uighurs in China, but the sensationalist reports sound about as plausible as last yea's scare-mongering stories about Covid in China. Some are totally over-the-top. Also, whatever the Chinese are doing, it is within their own national borders. In contrast, US has illegally invaded Muslim nations and supported terrorists. What the US has done, directly or indirectly, to Iraq, Libya, Syria, Yemen, Iran, and Afghanistan is infinitely worse than anything done by China to Uighurs. I don't recall any Chinese official saying it's worth it to kill 500,000 Uighur children like Madeleine Albright said of Iraqi kids. 

Also, let's not forget that the US aided and abetted the Nakba pogroms that erased Palestine off the map. The US lends support to IDF death squads that mow down Palestinian women and children. The US looks the other way as caravans of illegal Jewish settlers march into West Bank to take the grab the remaining Palestinian territory. Israel also aided ISIS killers in Syria. 

And, US was created by mass invasion and mass 'genocide' of its indigenous population. And it was during the so-called Good War of WWII that US dispossessed over 100,000 Japanese/Americans and had them 'interned'. And US meddled in Vietnam and ended up killing over a million people. So, where do Americans get the nerve to point fingers at OTHER nations? 

In the insane year of 2020, US was a Jewish-controlled lunatic asylum where the authorities encouraged mobs of Antifa thugs and BLM scum to terrorize, attack, and rob Americans in every city and town. And now, Joe Biden, the puppet of Jews, intends to 'uighurize' all Deplorables as 'domestic terrorists'. And yet, Christian Toto, like Alex Jones and Tucker Carlson, whines about China as the source of America's woes. 

Now, China may no longer need U.S. movies to entertain its populace. The L.A. Times reports Chinese-made films dominated the country’s 2020 box office charts. The highest ranking U.S. film, “Tenet,” came in at number 11.

Well, kudos to China. White America should do the same thing. Build its own industry and make its own movies that aren't all about cucking to Negroes, bending over to Homos, caving to Trannies, and sucking up to Jews, Jews, Jews. 

White American Conservatives have long complained about Hollywood. Then, why not unite and make their own movies? Chinese did it. Could it be White America so cucked to Jews that it cannot conceive of an arts, culture, & entertainment independent of Jewish dictates? 

The (Chinese) government, eager to embrace film’s cultural soft power, is promoting patriotic fare for audiences to lap up. Compare that to U.S. studios, which routinely strip away pro-U.S. elements to appease foreign markets.

But what would be 'pro-US elements'? American Conservatives have been telling themselves that Jews are the greatest, Israel is the holiest, and all patriotic Americans should grovel before Jews, Jews, Jews as the holy Holocaust People of the Holy Book of the Holy Land of the Holy History. (Never mind Jews turned the Holy Land into Sodom and Gomorrah with massive freak show 'gay' parades.) Well, if we follow the American Conservative logic, nothing is more patriotic, American, and wonderful than sucking up to Jews who know best. Since Jews run Hollywood and say the New Americanism and New Patriotism are all about Diversity, White-Bashing, Tranny-mania, Globo-Homo, and BLM celebration, that must be the New Americanism. After all, Jews demand it, and American Conservatism says Jews Know Best. Americanism in the Current Year, according to both 'left' and 'right', is What Jews Want, or WJW.

More recently, celebrities laid low as alarming news regarding China’s lack of transparency over COVID-19 leaked out.

Right, because America is so transparent unlike China. That's why the US went to war over fake WMD in Iraq. That's why the Deep State pulled the Russia Collusion Hoax for three straight years. That's why the Deep State, medical community, big media, and various institutions(most of them directly or indirectly controlled by Jews) conspired to exploit the vastly exaggerated Covid hysteria to ensure massive fraudulent mail-in voting and recession that paved the way for Biden's win. Don't you just love the US as paragon of truth and transparency, one where 350 million people must take orders from the likes of Fauci? That must be why Edward Snowden is still in Russia and why Biden administration(filled with Jews) are going after Julian Assange hard. US loves transparency and admires whistle-blowers... unlike big bad China.

Now, I have no illusions about China and its massive corruption and political repression. But let's stop pretending that the US is a 'city on a hill' or a 'liberal democracy' governed by Rule of Law. The US is a Jewish-supremacist gangster state where the real law isn't the Constitution but "If Jews want it, they get it." 2020 was a spectacular demonstration of what Jewish Power is capable of to get the results it wants. These insane Jews didn't hesitate to ruin the economy and destroy countless livelihoods and then humiliate/punish America with George-Floyd Riots to get their way. And what did the authorities do? Even though innocent people were being attacked, they poured gasoline on black rage to discredit Trump's America. 

Meanwhile, the Hollywood elite savaged President Donald Trump’s pandemic response while praising the work of New York Gov. Andrew Cuomo, whos disastrous policies likely led to thousands of unnecessary deaths. 

Finally, some truth, but it wasn't just Hollywood but all the big media and the deep state and the medical community that pushed the Big Lie. And those are controlled by whom? Eskimos? If Hollywood spread lies while the more sober institutions of media, medical industry, and the US government stood for truth and transparency, the US would indeed be a nation of Rule of Law. But Hollywood was a secondary player to the madness that was really commandeered by Deep State, Wall Street, Big Media, and Medical Community. The SERIOUS sectors of US conspired to change the outcome of the 2020 election. It was Jews, not China, but don't expect spineless cucks like Christian Toto to ever speak the truth. The likes of him will stick to bash-china-cuz-zio-vagina.

PROJECT VERITAS BANNED FROM TWITTER FOR REPORTING ON FACEBOOK VICE PRESIDENT

Jewish Power controls not only White Minds but White SOULS — Soul Control is far more powerful than Mind Control — INVISIBLE MAN(2020) is a Prime Example of INVERSION NARRATIVE under the domination of Jewish Supremacism

Jean-Luc Godard spoke of the Generation of Marx and Coca-Cola. Now, it's the generation of BLM and Fried Chicken.

White bodies seek refuge from black violence and pathology, but white minds are affected by the Jewish-dominated Narrative that pushes the Inverse of Reality. Worse, white souls have been poisoned with Jungle Faith, which is downstream from Jungle Fever. When white minds receive false information, that isn't as fatal as the mind is a rational faculty that uses facts and logic. So, if white minds marred with false info are confronted with facts and data, they may come around to the truth. For example, if you believe margarine is good for you but are presented with evidence otherwise, you may well change your mind. But when white SOULS are poisoned with falsehood, it is difficult to change the hearts of such whites. It's like no amount of factual info about beef will convince a Hindu that it's okay to consume meat derived from cows because the Asian-Indian soul, as opposed to his mind, feels that cows are 'sacred'. Same goes for pork. No amount of nutritional information about pork will convince Muslims and Orthodox Jews that it's okay to eat pig-meat. Their soul-sense is repulsed by pork as SPIRITUALLY dirty. (The real reason not to eat pork is pigs are smarter than dogs and, as such, are our brothers and sisters.) The soul-sphere transcends reason or operates in the area of sub-reason. It's more about dreams and faith than facts and logic. This is why Jewish Power relies so much on sensory-driven propaganda, much like the Catholic Church with its iconography and music. If Jewish Power were to engage only the white mind, the faculty of facts and logic, it could lose control IF the white mind were presented with counter-Narrative facts. And that'd be doable as the Jewish-controlled Narrative is based on lies about history, biology, race differences, and so many things. This is why Jews feel they must go past the white mind and infect the white soul, the nether-region that is impervious to reason, facts and logic. It's like a truly devout religious person, no matter how well-educated and knowledgeable of science, still clings to God. It's a matter of faith and holiness, and as such, rejection of God would be tantamount to sacrilege. Of course, some religious folks overcome this and do become atheist or at least agnostic. But, it's an agonizing process to reject or let go of something so emotionally and spiritually important to oneself. Still, given the impact(of depth and meaning) that faith once had, the chances are the newly irreligious person still craves for something else to fill the void. It's no wonder that so-called atheists are so eager to latch onto some secular cult like Globo-Homo, Save-the-Planet, 'Muh Israel', or Magic Negro.

The recent BLM lunacy has demonstrated how deep the Jewish Power has sunk its fangs into the white soul and injected it with pseudo-spiritual venom. So many whites seem quasi-religious about BLM as Tucker Carlson pointed out. Despite(or precisely because of) higher education(much of which is PC indoctrination), some of the best-educated(or indoctrinated) white people are the most devout followers of 'wokeness'. Education didn't make them more factual or logical but made them more dogmatic of PC and idolatrous of certain groups, especially Jews, Homos, & Negroes. It's like the secular religion of Marxism produced generations of dogmatists than critical thinkers(despite Marxism being touted as 'scientific materialism'; it was more like spiritual materialism). It is because so many whites have been affected in the soul-region that they seem utterly unperturbed by facts such as Fentanyl Floyd most likely died of drug overdose, white cops are NOT committing genocide on blacks, most blacks are killed by other blacks, blacks are the biggest thugs & destroyers of American society, Liberals are hypocrites because they don't care about all the Arabs & Muslims killed by Wars for Israel — there's no PLM or Palestinian Lives Matter — , Jews control the media and spread endless lies, black pathology is the product of evolution that made blacks more muscular and more aggressive, and etc.
If Jews had affected only white minds, truth would win out sooner than later as the faculty of facts and logic prefers correction over falsehood. But when white souls come under Jewish control, it is far more difficult to bring them to sense. When someone is lost to a cult(Manson Family or Jim-Jones-town), it's hard to pull him out because he or she believes on the soulful level, even if demonic. His faith/commitment, no matter how loony, has become sacred to him. This is why sane discussion about the Shoah is near-impossible. It's very likely that the 6 million number is bogus, and the number could be half that. But so many people have been instilled with Shoah-Worship that anything less than 6 million is Denial, akin to rejection of the holy spirit, or holy number. It's more numerology than statistics. (But then, there is a Denier Cult that won't accept anything other than "Handful of Jews died of typhus and, if anything, Nazis were trying to save Jewish lives.")

In the end, idolatry and iconography win out over ideology among most people. Most Christians were more about idolizing Jesus than following His teachings. Jesus told people to love their enemies, forgive, and be humble. But your average Christian was willing to hate, torture, and murder anyone who blasphemed. The theme of SILENCE by Shusaku Endo(made into film by Martin Scorsese) is the choice between Jesus as Icon and Idea. What is worse? To desecrate the image of Jesus or to disobey His teachings? If Jesus was willing to sacrifice His body for mankind, is it okay to let mankind be tormented so as not to defile the image of Jesus? For many Christians, the teachings of Jesus were secondary to Jesus as the iconic King of Kings. They never would have dared to insult Jesus or desecrate His image, but they were more than willing to disobey His teachings and slaughter millions for whatever reason, especially if the mission or crusade was said to be in His name. So, Jesus was more a sacred war banner than the teacher of mankind.
And such mentality was bigger among Catholics because they put such great emphasis on iconography and spectacle. In contrast, Protestantism suppressed sensory manipulation and focused on the meaning, and that may have been why there was more moral progress and advancement of conscience in Northern Europe. In the South, you could act like a lout but then perform certain rituals before certain icons, and you felt cleansed. In the Protestant North, you had to wrestle deeper with your demons; you couldn't just put on a clean shirt without showering to remove the filth from your own body. But even so, when push came to shove, the North was also about using Jesus as poster-child for Power and Aggression.

How did the Church reach out to souls? Oratory, spectacle, music, rites & rituals, iconography, and narrative. Oratory is different from discourse or dialogue. A man of charisma speaks to spellbind and gain power over other souls. Spectacles are meant to be magnificent, awesome, and overpowering. They override reason and sense of proportionality. Music obliterates facts and logic. Even a secular person can be deeply moved by Bach; even an anti-communist has to admit the Internationale and Soviet Anthem are powerful stuff; even Jews have to admit Richard Wagner was one helluva of composer; even people with distaste for youth culture had to admit Beatles were driving teenyboppers crazy. Rites and rituals, by their very repetition, remind people of what is most deserving of attention or affection. It's like birthday parties, Christmas, and Easter(that goes ignored by Google Jews who prefer 'Pride Month' as new easter or beaster). Globo-homo is celebrated yearly, even monthly. There is blackness this, blackness that. People generally tend to forget unless they are reminded over and over and over. This is why Jews have turned Holocaust Remembrance into a ritual with more TV shows, movies, educational programs, speeches, and reminders that there are Neo-Nazis just around the corner. Iconography and the more vulgar idolatry sensationalize and amplify certain images and figures over all others. They become shared images, much like statues of gods in Greco-Roman times. The Narrative is less a factual telling of events than a selective hagiography devised to idolize certain figures and groups at the expense of others who are dehumanized or vilified. The Bible is the greatest of its kind. There is a good deal of history there but skewed in favor of the Jewish Story over those of all other tribes who are often presented as villains, monsters, or scum who deserved to be rubbed off the face of the Earth; and many Jewish holidays celebrate the extermination of goyim. Most authorized biographies are hagiographic narratives. And of course, most official biographies of world leaders are Narratives than true histories. Even if everything in the Narrative is a verifiable fact, it's been selected and connected(often speciously) with other facts to create an idealized impression. But, more often than not, the facts are padded with falsehoods. Jews have such power in the West that they were able to take a total lie, the Russian Collusion Hoax, and float it as the dominant narrative for 3 years of Trump presidency. And the thing is to GET THEM WHILE THEY'RE YOUNG, just like they get you when you're asleep and dreaming in THE INVASION OF THE BODY SNATCHERS. Kids can be made to believe in Santa Claus, and it was easiest for the USSR and Red China to mold the minds of the young. And Adolf Hitler understood this, and there was Hitler Youth. This is why Jewish Power pushes globo-homo, Magic Negro, and KKK monster tropes on white children. There was a time when the Catholic Church had such powers. Even though the Vatican didn't have the military or political prowess to match the power of kingdoms, it had the power of spiritual narrative, and that went a long way to maintain its prestige. It's no wonder why the Catholic Church felt so threatened by the rise of Protestantism. It meant a good chunk of Europe, possibly all of it, may grow independent of the spiritual Narrative Monopoly held by the Catholic Church. Not having political, economic, and military domination over Europe, the power of narrative and iconography was the only things that kept the Vatican relevant.

These days, Hollywood is the new vatican, but then, Jews also control finance, vice industries like gambling(and now pot), news media, tons of retail & real estate, big pharma, and Big Tech. Jews control elite academia that sets the tone for the rest of education, from state universities to community colleges to high schools to grammar schools to kindergartens. And libraries a month ago across the nation had BLM messages on their websites. Jewish Power got it all, which means the Jewish Elites got goy politicians in their pockets like so many nickels and dimes, as Sollozzo the Turk might say. Just about NOTHING gets done without Jewish Approval, and freedom in America is hanging by a thread due to the Constitution which is, for all practical purposes, close to a dead letter. For all the libertarian types who say Big Tech is private enterprise and can censor anyone, what do they have to say about suppression of BDS by the STATE? Also, I thought libertarians understood that monopolies must operate under different rules, especially if monopolies are in bed with the government. In truth, libertarians speak their BS because they're funded and controlled by Jews.


Jewish Power as the new vatican and much more has taken over the SOULS of whites. Paradoxically, Jewish control of white souls means that whites don't have souls. Imagine that. Jewish Power accesses white souls to convince whites that there is mostly hollowness within white hearts and what little exists is mostly 'racism', 'antisemitism', 'misogyny', 'homophobia', 'xenophobia', and etc. Because white souls are so soulless and infected with a variety of evil viruses, the only correct path for whites is to surrender to Jewish holistic healing(really a kind of quackery) that would eradicate evil germs and fill the empty white heart with meaningful convictions such as 'muh Israel', Holocaust-cult, Magic Negro worship, Jungle Fever/Faith, Globo-Homo-mania, and Diversity celebration, all of which are meant to destroy the white race, white identity, white interests, and white survival.
As Jewish Power brainwashes white parents, white parents brainwash their own kids. And in cases where white parents neglect their parental duties, the kids grow up with TV and electronic devices as their substitute parents — besides, Pop Culture is the main culture in the modern world — and come under Jewish programming as Jews control most of entertainment, news, and platforms. As every other kid has a smartphone from a young age, Jewish Power gets them when they're young. Is it any wonder that the duopoly of Google and Apple won't allow services like Gab and Bitchute? Jewish Power knows that the internet has changed the game where anyone can find dissident views, and therefore, Jewish finance and Jewish Big Tech work together to make sure that Jews remain the gatekeepers. And gangster organizations like ADL strong-arm goyim like Jeff Bezos, Jack Dorsey, and Tim Cook to follow suit. And of course, politicians of both parties do NOTHING as they're nothing but Jewpets, or the teacher's pets of Jewish Power.


This is why it's so difficult to approach so many white people with facts and logic. Jewish Power has gotten hold of something deeper than their minds. Jewish Power has accessed their souls and instilled them with 'woke' cults and 'white guilt'. Just like Christians are deeply moved by the Passion of the Christ, so many white people FEEL the Passion of White Guilt about Holy Homos, Sacred Jews, and Magic Negroes. It's no wonder whites set up shrines to George Floyd in Minneapolis. And even sucker-soccer-moms were bawling about St. George, and many of these women are atheists or agnostics. Even though the Narrative on Michael Brown(of Ferguson Notoriety) has been exposed as a sham, plenty of people still carry on with the “Hands Up, Don't Shoot” bullshit and with full approval of the Jew-controlled media — but then, white souls infected with Jew Worship are prone to praise and revere Jewishness no matter what Jews do. White Souls infected with faith in Magic Negro cannot properly use their minds as faculty of reason and sense. Even dumbass Donald Trump was eulogizing about Fentanyl Floyd as an angel looking down on us. (Most likely, angels had their knees on his ass and kicked it down to hell but then, I doubt even the devil wants him.) It's like the pod-people in INVASION OF THE BODY SNATCHERS are capable of facts and logic — they have minds equal or superior to humans — , but it doesn't matter. Though seemingly emotionless, they have one overriding passion(to the point of hysteria), and it is to SAVE everyone by turning him or her into a fellow pod person.



A good example of Hollywood-as-new-vatican's Inversion Narrative can be seen in the 2020 movie INVISIBLE MAN. Though its depiction of social-racial dynamics is the exact opposite of reality, it will affect many white people, especially white women, because the power of art/entertainment, especially through a medium as spellbinding as cinema, is so overwhelming. So, never mind actual factual reality and FBI crime stats & all that. What matters is that so many white people sat glued watching the movie with their emotions manipulated by the new vatican's tropes of a white damsel finding liberation and empowerment by killing an evil white man with the support of a Noble Negro. Such sensory manipulation bypasses the white mind and goes right to the white soul and molds the white heart to feel revulsion at white males(as the source of all evil) and idolize black men as the noble defender of white damsels against Evil Whitey.

The movie begins with a white woman fleeing a rich guy's mansion. This rich guy is like a arch-comic-book villain. He has invisible-man-suit-technology. The white woman just barely flees from his clutch and finds refuge in the home of a Noble Negro who is also a crime-fighting detective. Now, I'm not one to say that just because blacks commit lots of crime, all black men should be presented as thugs or criminals. There are good black cops who work hard to protect communities, and there are plenty of white male creeps so full of themselves. White men have killed white women, and good black cops have been involved in solving the case. But, INVISIBLE MAN isn't dealing with real-life characters but with archetypes. The villain isn't just a bad individual but the Evil White Male, and the black guy isn't just another cop but Noble Black Man who's there to protect white damsels from Evil White Males. (It's like how Sabrina Rubin Erderly and Jewish Media sensationalized stories about how Evil White Frat Boys are raping white girls, all the while suppressing the truth about white sluts being raped by black gangs. And never mind all the black women raped by black men, and all the brown women raped by brown men; just focus on the White Frat Boy.)
Now, reality is never as simple as ALL WHITE MALES ARE GOOD and ALL BLACK MALES ARE BAD. But, the general truth is that white women are far safer with white men than with black men. White women are far more likely to get hurt in relationships with black men. And there are plenty of black-on-white rapes. Also, white men are more likely to be dependable family men. In the movie, the Evil White Guy is an ultra-narcissist who's too into himself to have a family and kids. He just likes to OWN things. In contrast, the black guy is a wonderful father with his daughter. In reality, so many black men don't raise their kids. So, as archetypes go, INVISIBLE MAN is peddling total BS.

As it turns out, there doesn't seem to be a sexual relationship going on between the white damsel and her black friend, but the message of the movie is White Woman should look to Black Man for protection from White Man, which is like saying a rabbit should look to coyotes for protection from other rabbits. In reality, black thugs intrude into white homes. But in the movie, white guy(in Invisible Suit) is the intruder into the sanctity of the black family and does violence on blacks. At the end(spoilers alert), the white woman uses the Invisible Suit to slit the throat of the Evil White Guy, and then, just right outside the door, she meets with the black guy who makes sure all is well. And she walks toward us with a smile of relief on her face as the Evil White Man has been killed, and she is free. So, the triumph of good in this movie is a white man with a slit throat in his own house and the white woman and black man affirming their bond and friendship right outside the door. And this movie wasn't made by a black guy, as GET OUT was, but by a white guy, Leigh Whannell who seems to be a Australian-Anglo.
Now, why would an Anglo-Australian make a movie that extols the fantasy Noble Negro while vilifying a fellow white guy? Why is he such a worthless cuck-jesuit of the new vatican? It's because the new vatican has infected white souls not only in America but in Canada, Australia, Europe, Asia, Latin America, and etc. White souls now believe there is a hole in their souls and it can only be patched with confessions of 'white guilt' and healing by Noble Negro(when not globo-homo and Jew-worship). If E. Michael Jones pushes Logos Rising, the new vatican pushes Bogus Rising. After generations of such brainwashing by Jews in TV, movies, and academia, we now know why so many whites are so 'woke', brain-dead with political correctness, and soul-feverish with 'white guilt' that seeks expiation by kneeling before Sacred Jews, Holy Homos, and Magic Negroes. And yet, even the Dissident White dutifully puts on Occam's blindfold and, uh gee, wonders why the 'left', 'communists', 'progressives', and etc. are defaming the white race. They look at the puppets but refuse to name the puppet-master, which is Jewish Power.

Cinema 2010's: The Notable Works, a Preliminary Report of the Best Movies of the Decade(2010 to 2019)

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 THE 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 Irishman
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
Turin Horse
American Animals
Tomorrowland
Unknown Soldier(Finland)
Elena (Russia)
Twin Peaks the Return
Maps to the Stars
Ash Is Purest White
Poetry (Lee)
Snow White and the Huntsman
Sunset Song
Journey's End

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. JOURNEY'S END is war tragedy done to perfection. SUNSET SONG is heartfelt elegy made with equal measure of grit and grace. TURIN HORSE, like anything by Bela Tarr, isn't easy to take but worthy of respect. Tarr is for real, and his meditation on life flows from within as harbingers of dark times. If Ingmar Bergman operated with surgical precision, Tarr's heavy blows fall with blunt density to bruise our modern complacence. UNKNOWN SOLDIER is a remarkable film that features soldiers simply as men than as heroes, martyrs, victims or villains, which sounds simple enough but isn't easy to pull off in the extreme framework of something so politicized, sensationalized, moralized, and mythologized as war. It is what Sam Peckinpah's CROSS OF IRON should have been. Perhaps, I should rank it even higher. Just when you think War Movies have nothing more to add comes this masterpiece from Finland.

First-Rate:

The Master
A Separation
The Conspirator
Shutter Island
Touch of Sin
The Way Back
Blade Runner 2049
Footnote
Once Upon a Time... in Hollywood
The Neon Demon
Ender's Game
The Great Beauty
Robocop
Once Upon a Time in Anatolia
Noah
American Sniper
Risen
Amour
Carnage
Bridge of Spies
Queen and Country
The German Doctor
Ant-Man
C.O.G
Hereditary
The Day
The Mule
Carlos
Moonrise Kingdom
Rush
All Is Lost
Coming Home (Yimou)
Room
Upstream Color
American Pastoral
Life Father Like Son
Senna
A Prophet (2009, released in US in 2010)
Rules Don't Apply
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

Uncut Gems
Elite Squad: The Enemy Within
Thor
Revenant
The Grey
Phil Specter (Mamet)
Drive

El Camino
Sully

Give Me Liberty
The Disaster Artist
The Ward
A Dangerous Method
Apollo 11
Manchester by the Sea
Farewell
J. Edgar
Cold in July
Cold War
After the Storm
Shoplifters
Oslo August 31
John Carter
Chloe
Damsel
Devil's Knot
Third Murder
Hugo
Florida Project
The Hunger Games
Looper
Oblivion
The Fighter
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
Hunt for Wilderpeople
Lego Movie
Hacksaw Ridge
Love and Mercy
Black Sea
End of the Tour
Mistress America
Wolf Totem
Cafe Society
The Captive
Snowden
Moana
Paterson
Split
The Glass Castle
American Made
Ready Player One
Hot Summer Nights
First Man
Visit (Shyamalan)
Glass
Goodbye First Love
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

Roma
Only God Forgives
Jeepers Creepers 3
Please Give
300: Rise of an Empire
Resident Evil: Afterlife
Resident Evil: Retribution
Resident Evil: Final Chapter
Edge of Tomorrow
Prisoners

The Lighthouse
Short Term 12
Rebel in the Rye
Whiplash
Exit Through the Gift Shop
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
Joker
The Social Network
Gone Girl
Tree of Life
Before Midnight
Her
The Killing of a Sacred Deer
Zero Dark Thirty
Perks of Being a Wall Flower
Big Short
Ad Astra
Remember (Egoyan)
La La Land
Dark Knight Rises
Dragged Across Concrete
Never Let Me Go
The Martian
Argo
Rise of Planet of the Apes
Ex Machina
Me and Earl and the Dying Girl
Hell or High Water
Steve Jobs
Killer Joe
Dogtooth
The Place Beyond the Pines
Popstar: Never Stop Never Stopping
The Guest
It Follows
Safety Not Guaranteed
Blindspotting
Scott Pilgrim and the World
Sicario
The Artist
The Most Dangerous Year
Tinker Tailor Soldier Spy
Mad Max: Fury Road
Take Shelter
Rabbit Hole
Margin Call
Madeline's Madeline
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
An Elephant Sitting Still
12 Years a Slave
Carol
Two Days, One Night
Lincoln
Certified Copy
Guardians of the Galaxy
Birdman
Captain Philips
Moonlight
I Saw the Devil
Lady Bird
Inherent Vice
Phantom Thread
Embrace of the Serpent
Anomalisa
Four Lions
Mountains May Depart
I, Daniel Blake
Submarine
What We Do in the Shadows
Love and Friendship
(500) Days of Summer
Leviathan
Son of Saul
Hard to be a God
Tepenin Ardi
Beguiled