Posts Tagged ‘Film’


The most prominent problems with Interstellar have already been capably discussed, so it’s not worth spending much time going back over them. The basic catastrophe scenario has more gaping holes than a Hawking cosmology, and is in fact so ludicrous that it quite neatly takes itself out of the way. The framing ideology is romantic superhumanism, which might even count as a positive for some (although not here). The musical score (by Hans Zimmer) was wildly overwrought. All-too-typically for Hollywood, high-pitched emotional extravagance was shamelessly indulged. Despite all of this, it was a great movie.


Interstellar‘s narrative architecture is composed of a deep cosmic space-frontier story, and an occult communication story, bolted together by a time loop. (Plug.) The involvement of Kip Thorne reinforced the seriousness of this framework. (Thorne’s explorations of cosmological warping are a marvel of advanced modernity.) Nolan is, in any case, a director who knows things — or at least suspects them, enough to stretch his audience. As a piece of contemporary myth-making on an epic scale, the achievement of Interstellar is formidable.

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November 22, 2014admin 9 Comments »


How can a movie this preposterously stupid also be so peculiarly awesome?


“It’s like all the things that make me human are fading away.” (140 is the key.)

Scarlett Johansson has somehow become the icon of intelligenesis catastrophe. One thing should certainly be indisputable: this one is a far superior vehicle for such cosmo-twisted blonde dehumanization fantasies than last year’s execrable schmaltz-blitz Her. (An additional data point.)

November 18, 2014admin 24 Comments »

Macromedia (too)

Perhaps even more than print, the movie industry has epitomized the macromedia (few-to-many, or broadcast) model of cultural distribution. In two penetrating articles, Hugh Hancock examines the impact of electronic games software and impending virtual reality technology on film production. Extreme change seems inevitable.

As with any social process touched by computers, the basic tendency is to decentralization. By down-streaming productive potential into ever-cheaper digital systems, the ability to execute complex media projects is spread beyond established institutions, encouraging the emergence of new agents (who in turn stimulate — and thus accelerate — the supportive techno-economic trends). Since the Cathedral is primarily a political-media apparatus, which is to say a post-theistic state church reproduced through the effective delivery of a message, these developments are of critical importance to its functional stability. It seems the unfolding crisis is destined to be entertaining.

February 12, 2014admin 8 Comments »
FILED UNDER :Technology


Linking this on Twitter catalyzed a far more animated discussion than I had anticipated. Fundamental question: Is Bane NRx?

Outside in has no settled position on this (yet), and hadn’t expected to need one. A tentative proposal though: The League of Shadows is so radically neoreactionary it doesn’t relate to the Left as a political option, but solely as a mindless pathogen — as germ warfare to be guided against a decaying social order. That militant leftist activism will produce nothing but ruin is an assumption held so firmly it doesn’t require explicit acknowledgement — and the movie audience has to tacitly identify with this analysis for Bane’s strategy to make any sense. The Left is a disease, and therefore a potential bioweapon.

To try to work something like that outside a movie, it would really be necessary to be the functional equivalent of the League of Shadows (manipulating mainstream politics dexterously, from above, or beyond). It’s probably agreed that NRx isn’t there yet … unless what we see hides something else.

ADDED: In the Twitter chat, it has pointed out that my understanding of the background story is profoundly confused (especially regarding Bane’s troubled relationship with the League of Shadows). Hopefully, by the time people have finished with me in the ensuing comments thread, I’ll have been properly schooled. This (suggested by @CineRobert) might help.

February 8, 2014admin 16 Comments »
FILED UNDER :Contagion , Neoreaction
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Having finally got around to Elysium,  one point in particular bears emphasis: There’s only one interesting character in the movie, and she’s a neoreactionary heroine. That’s not a matter of ideological preference. Among the tiny number of characters who might imaginably be thought to know what they’re doing, Secretary of Defense Jessica Delacourt (Jodie Foster) is the only one to be treated with the slightest seriousness.

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October 1, 2013admin 28 Comments »

Pacific Rim

Well-engineered, formidable, yet also lumbering constructions are directed into battle against horrific monsters, with the fate of the world at stake. Guillermo del Toro’s movie Pacific Rim is one of these entities, and the ethno-political review by ‘white advocacy’ writer Gregory Hood is another.

Within this cascade of monstrous signs, a convulsive re-ordering of the world from out of the Pacific is a constant reference. With the shocking scale of a tsunami, and the insidiousness of an obscure intelligence, it inundates the Old Order, starting from the ocean’s coastal ramparts. “When alien life entered the earth it was from deep within the Pacific Ocean. … the Breach.” City after city falls prey to the Kaiju. “This was not going to stop.”

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September 15, 2013admin 16 Comments »
FILED UNDER :Neoreaction , World
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