Counter-Currents
1,576 words
Recently, I went to see Predators, a sequel to the 1987 Arnold Schwarzenegger movie Predator, about a group of American Special Forces commandos in the Central American jungle who find themselves being hunted by an extraterrestrial, the Predator.
Predator was not that good a movie, but the premise was interesting. It was ripped off and developed nicely in Star Trek: Voyager with the Hirojan race of hunters. I thought Predators might further develop the premise because I had heard that it was set on the Predator planet and because it was directed by the versatile and talented Robert Rodriguez.
Unfortunately, I was mistaken. Rodriguez was not the director, and the movie was a disappointing waste of time: just your standard diverse cast (two Jews, three whites, two blacks, a Mexican, a Japanese) running around in the jungle dodging traps and rubber-headed monsters.
There is not much by way of plot or characterization, and the suspense and scares are pretty lame as well.
The cast of Predators is remarkably ugly, and I am not talking about the monsters. I am talking about Adrien Brody, Laurence Fishburne, and Danny Trejo. (The only head worth hunting belongs to Topher Grace.)
But the ugliest thing about this movie is its subtext of Jewish hatred for non-Jews, which is the reason I am bothering to write about it at all. Be warned: I am going to summarize the whole story. But don’t worry: it is impossible to “spoil” a movie as rotten as this one.
The movie opens in free fall. Literally. A heavily armed mercenary, Adrien Brody, is plunging to the jungle. His parachute deploys at the last minute. On the ground, he finds seven others in the same situation: a female sniper from the Israel Defense Force (one of the morally different people who wear t-shirts like the one below, bragging of the killing of a pregnant Palestinian woman), a black death squad member from Sierra Leone, a white Russian Special Forces soldier, a Mexican drug cartel enforcer, a white American psychopath on death row, a Japanese gangster, and a white American doctor. All of them are armed except the doctor, who is rather out of place.
Adrien Brody immediately recognizes the female sniper as a member of the IDF. She seems to have J-dar as well. They sync up better than the other murderers and miscreants, and they appoint themselves the leaders.
Brody is both intelligent and ruthless. By following him, the band determines that they have been spirited away from earth and dumped on an alien planet where they are being hunted by three hideous aliens.
When the Mexican is wounded, Brody decides to leave him behind because he senses a trap. (The IDF sniper shoots him. It is all the help he can expect.)
Brody then tracks the aliens to their camp to get a look at them. He uses the rest of the party as bait. The black mercenary is killed, but Brody deems it a small price to get a look at the enemy.
Later, Brody uses the doctor as bait to hunt down an alien that is also being hunted by the Predators.
They are goyim, after all. They deserve to die.
The party then runs into Laurence Fishburne, a black American soldier who has been stranded and hunted for so many years that he has lost his mind. He gives them some useful information on the Predators, including the location of one of their spaceships.
The IDF sniper also has some useful information, gleaned from the no doubt Top Secret files of the US military about the 1987 incident in Central America. (What, do you think that the US government has any secrets that a humble IDF sniper can’t access?)
Fishburne then tries to kill his guests, but Brody attracts the attention of the Predators who dispatch Fishburne. Two other members of the party are also killed by the Predators: the white convict and the Russian Special Forces soldier, who kills one of the Predators as well. But they are goyim. Their lives aren’t worth Adrien Brody’s hangnail.
The two Jews, the white doctor, and the Japanese gangster flee Fishburne’s lair in search of the Predator ship. They are pursued by the two remaining Predators.
For some inscrutable Oriental reason, the Japanese decides to fight one of the Predators with a samurai sword. Hey, swordfights sell popcorn! The Predator is killed, and so is the Japanese.
The two Jews and the doctor run on, pursued by the last Predator. The doctor is injured and can’t walk. This makes him useless to Brody. But then an idea dawns on him. Perhaps he can be useful after all.
In the presence of the injured doctor, Brody suggests to the IDF sniper that they booby trap him, so that when the Predator comes to collect a trophy, he gets blown up. Of course the doctor will blow up too. But he is a goy. His life has no value.
The doctor, of course, is horrified, and the IDF woman refuses to go along with the plan. Brody leaves them behind. They hobble along together and are snared by the Predator, who tosses them in a pit and then goes after Brody.
Brody, in the meantime, has reached the camp. When they were in the camp before, they noticed a Predator being held captive. Fishburne has explained that there are two different groups of Predators who are at odds with each other. The captive is a member of the oppressed group.
Exploiting divisions among enemies is something that comes naturally to Brody. He thinks that he can make a deal with the captive. If Brody frees him, the captive will help him get back to Earth.
It is a preposterous notion, given that he has no way of communicating and no reason to trust the prisoner. But I guess the director reasoned that anyone stupid enough to still be watching would not care.
Brody’s plan seems like it is working. He races to the ship. Apparently it is on autopilot. It will just take him home. (Gee, I hope it can land itself too!) The freed Predator fights its former captor, buying Brody time, but is killed. The victor then blows up the ship by remote control.
Meanwhile, down in the pit, we discover that the cute helpless white American doctor is really a serial killer. He paralyzes the IDF sniper with a neurotoxin, telling her that it will not impair her ability to feel all the horrors she is going to suffer. She is beginning to regret her decision to save him.
I am beginning to regret the time I have wasted, the $11 for the ticket, the fare for the street car.
And why would the doctor decide to paralyze his only possible chance for survival?
But then Brody appears. He missed the space ship. He saves the sniper, wounds the doctor, and booby-traps his body with grenades. When the Predator turns him over, they blow up together.
Lesson to the IDF sniper: don’t get sentimental about the goyim. Treacherous they are. Regret it you will. Plan A (booby trapping the wounded goy) was the right way to go all along.
The Predator is wounded but not killed. After a brutal fight, Brody dispatches it. The only ones left are the Jews. Talk about survivors. After exchanging names, the two Jewbermenschen, wounded and exhausted, fall asleep in each other’s arms.
The next morning they stand in the jungle watching more parachutes falling from the sky. Brody rasps out that they are going to “find a way off this fucking rock.” Roll credits
I smell sequel.
I first sensed that this movie was not directed by Robert Rodriguez when the J-dar between Brody and the Sniper went off. It is just not his style.
Then, a few minutes later, as two Jews are discussing why they were dumped on this planet, Brody says “We were chosen.” An hour later, the two Jews say “We were chosen” again. I was not the only person snickering at the obviousness of it.
When the credits started to roll, the screen went bright blue, and in a totally jarring, stupidly incongruous touch, an obnoxious R&B “oldie” started blasting out of the speakers. Was it an attempt at irony? What kind of Nimrod directed this movie anyway?
Then I saw the director’s name: Nimrod Antal. Now the sort of Christians who name their children Zebediah and Melchizedek would not use a name like Nimrod. But since the founding of Israel, Jews have dusted off even Old Testament names like Nimrod, which does not refer to a historical individual and was probably never even used as a name in antiquity.
According to Wikipedia, Nimrod Antal is a Hungarian. A Hungarian born in Los Angeles who works in the film business. Maybe he is a Hungarian in the same way that Steven Spielberg is an American. But if Antal is not a Jew, he is one of their faithful servants, a self-hating gentile.
I wish that Predators were an unusual movie, but it is not. Jewish hatred of gentiles is part of the text and subtext of practically every Hollywood film. Predators is just a drop in an ocean of racial hatred, just a drip of the Talmudic poison that Hollywood has been pumping into the cultural veins of western man for nearly a century. Time to pull the tubes.
The Occidental Observer, July 16, 2010, http://www.theoccidentalobserver.net/authors/Lynch-Predators-Movie.html