I have had many aggressively nihilistic friends over the years, young men who have a hellish fireball of hatred towards modern America and everything that it stands for. Of course, what young white man with a set of testicles and two functional eyes would not be repelled by seeing the land their forefather conquered be turned into a de-industrialized third world that is looted by parasitic diaspora tribes from around the globe. Take that in consideration with all the violent action films Hollywood is pumping out and one won't be surprised to realize there is essentially an underground unorganized army of very pissed off white men. Most of these young men unfortunately use their pent up unharnessed hatred towards their own self-destruction. A friend of mine once blew up a bomb in the parking lot of Wal-Mart only to find himself sharing a jail shower with a group of Negroes. Why couldn't he have been more creative? German Ed Wood Uwe Boll seems to have some hope for these young men in his new action-packed trash masterpiece Rampage, a film that holds no hostages and offers no condolence to America's happy Hollywood-ending loving audiences.
All of Uwe Boll's improperly channeled hatred for America and Hollywood has been finally appropriately expressed in his film Rampage. The victims of Rampage are the American majority philistine population, the majority of people that will watch it, the film letting the audience know that not everything is alright at Starbucks or the hair salon. The lead "anti-hero" Bill is a young psychopath with a grudge against society that won't be vaporized merely by taking a massive bong-toke. It is apparent from the get go that Billy boy has a secondary manifesting character that is begging to be unleashed on the society as the film progresses. By the end of the film, one realizes that Bill is a lone wolf that only sees himself as a fellow comrade. In a society where alienating anyone that does not believe in the fantastic myth of a multicultural Utopia and the fallacy of world peace, deranged individuals like Bill are only growing exponentially everyday. The questions is who is to blame culturally: Eli Wiesel and Oprah Winfrey or David Duke and Minister King Samir Shabazz?
Despite his slight mental instability,Travis Bickle, the Anti-hero of Martin Scorsese's masterpiece The Taxi-Driver, saw some hope for the world. Even saving a young teen prostitute from a weaselly pimp was at least a virtuous deed. Flash forward a couple decades later and most of that urban vigilante hope is now at the level of the bowels of a New York City sewer. Bill of Rampage is not interested in helping anyone, he's just in it for the money. In America, one can make millions by putting a taser to their testicles on TV for the viewing pleasure of America's barbaric programed audiences. If a jackass like Johnny Knoxville can become rich and famous by degrading himself (as well as degrading his audience), why not just take the money and run whilst unloading bullets? Rampage has a very stupid and generic metal soundtrack that accentuates the films overall feeling of unrelenting pathological hatred. The Taxi-Driver had a beautiful Jazz score (and I hate Jazz) that was able to touch more than one nerve. One only has to follow the historical emotional degeneration of film (from The Taxi-Driver to Rampage) to see the overall deluge of American 'kultur.'
Is Rampage a work of anti-social action-packed art or a capitalist German Anti-American's most repulsive cinematic fart? The film is merely what it is at face value, an aggressive emotional response to an uncertain occidental world. I have no doubt in my mind that Rampage will set some idiot off on a killing Rampage and I would not be surprised if that was one of Uwe Boll's intentions with the film. The world is no longer feeling sorry for the United States, a country that prides itself on unwarranted arrogance and hating any place/people that prides itself on it's cultural achievements. I almost fear that Rampage is an expression of more hideous things to come in America, for there is no evidence to the contrary. Since Hollywood is not interested in expressing American truths (but more interested in covering them up), leave it to an honest hack like Uwe Boll to so glaringly reveal them.
All of Uwe Boll's improperly channeled hatred for America and Hollywood has been finally appropriately expressed in his film Rampage. The victims of Rampage are the American majority philistine population, the majority of people that will watch it, the film letting the audience know that not everything is alright at Starbucks or the hair salon. The lead "anti-hero" Bill is a young psychopath with a grudge against society that won't be vaporized merely by taking a massive bong-toke. It is apparent from the get go that Billy boy has a secondary manifesting character that is begging to be unleashed on the society as the film progresses. By the end of the film, one realizes that Bill is a lone wolf that only sees himself as a fellow comrade. In a society where alienating anyone that does not believe in the fantastic myth of a multicultural Utopia and the fallacy of world peace, deranged individuals like Bill are only growing exponentially everyday. The questions is who is to blame culturally: Eli Wiesel and Oprah Winfrey or David Duke and Minister King Samir Shabazz?
Despite his slight mental instability,Travis Bickle, the Anti-hero of Martin Scorsese's masterpiece The Taxi-Driver, saw some hope for the world. Even saving a young teen prostitute from a weaselly pimp was at least a virtuous deed. Flash forward a couple decades later and most of that urban vigilante hope is now at the level of the bowels of a New York City sewer. Bill of Rampage is not interested in helping anyone, he's just in it for the money. In America, one can make millions by putting a taser to their testicles on TV for the viewing pleasure of America's barbaric programed audiences. If a jackass like Johnny Knoxville can become rich and famous by degrading himself (as well as degrading his audience), why not just take the money and run whilst unloading bullets? Rampage has a very stupid and generic metal soundtrack that accentuates the films overall feeling of unrelenting pathological hatred. The Taxi-Driver had a beautiful Jazz score (and I hate Jazz) that was able to touch more than one nerve. One only has to follow the historical emotional degeneration of film (from The Taxi-Driver to Rampage) to see the overall deluge of American 'kultur.'
Is Rampage a work of anti-social action-packed art or a capitalist German Anti-American's most repulsive cinematic fart? The film is merely what it is at face value, an aggressive emotional response to an uncertain occidental world. I have no doubt in my mind that Rampage will set some idiot off on a killing Rampage and I would not be surprised if that was one of Uwe Boll's intentions with the film. The world is no longer feeling sorry for the United States, a country that prides itself on unwarranted arrogance and hating any place/people that prides itself on it's cultural achievements. I almost fear that Rampage is an expression of more hideous things to come in America, for there is no evidence to the contrary. Since Hollywood is not interested in expressing American truths (but more interested in covering them up), leave it to an honest hack like Uwe Boll to so glaringly reveal them.
-Ty E
Another reason why somebody might go on a "RAMPAGE" is that they are so angry and bitter about the fact that they were unfortunate enough to be born into "THE TIME OF SEXUAL REPRESSION".
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