Movie Review: "The Land of the Dead"

by Iranian for Aryans

2 July 2005

I saw Romero's movie today. Interestingly, Hellenic Nationalist saw it today as well (see my links). HN commented that the plan of "The City" (a large, last bastion against the undead hordes) was designed similarly to the layout of Constantinople, now Istanbul. As an aside, I used to refer to Zimbabwe as Rhodesia to peeve "the System" and "take a stand" for the White Man, but since thinking about it, the Whites deserved ruination, and therefore, I now call it by its black name. I think that the name Istanbul should be used since Constantinople is no more: Byzantium is dead.

Regardless, let me get back to the story. All movies have the pervasive Jewish propaganda drivel, even if the Jew is not directly involved in production, which is rare. This movie was no exception to the above. You have a multiracial ("diverse") population in "The City." The hordes of undead are also multiracial: no escape even in death from Yiddishkeit, oy vey! The mob boss who runs the city is a racist (he calls a Mexican goon, a "spic bastard," as if this is as racist -- evil -- as anyone can get, since calling a black a nigger is even beyond a modern-day racist's contemplation). The boss brutalizes the people and keeps them in a lumpenproletariat state while only his people live in the ritzy condo-skyscraper downtown. You even have a Marxoid revolutionary: a real "power to the people" type. Incidentally, the boss's name is Kaufmann. Is he a Jew? I think not. He's supposed to be a German, since his bodyguards dress like Nazi cadres, and "act like them."

However, the most brazenly and stridently ridiculous person in the movie -- more so than the cliched cold-blooded and brutal Nazi-boss -- is the leader of the army of the undead, a big buck black! Unimaginable! If blacks can't keep their heads above water when they're alive, how're they going to do when undead! In one situation after another, the black liberator excels in using gadgets and evolutionary advancements that help fight and kill the living: machine guns, communicating by sound, etc. Indeed, he is most vocal by screeching and screaming for the suffering of his flock, his people, his bruddas and sistas. He is their liberator from cruel and barbaric murder and suffering from the hands of the living. He practices a mercy-killing, and tells his people to stay on task and not linger about chumping human flesh. Included with this completely asinine character, you have the usual white whores who can outdo G.I. Joe's, non-whites who are part of the winning diversity team, and a soppy ex-whore/leader love affair. Oh, and I think the leader's helper is a retarded Jew. Let's hear it for divershitty!

I remember the first zombie movie to come out by Romero. It angered me to no end. It came out in 1968: "Night of the Living Dead." In this debacle, a negro "noble warrior" saves the day by rescuing an attractive and deranged white woman, and being the leader of a holed-up team of the (all-white) living. Unfortunately, the evil, selfish, and cowardly white man/father/husband in the house wants to undue the valiant Congoid's efforts at group survival. What shocked me most wasn't the undead eating corpses, or looking the way they do, but the fact that propagandist Romero (race traitor extraordinaire) brought in gratuitous and overt sexuality between the black protagonist and the bedeviled white woman in need of succor.

His first movie above had miscegenatory motives, and now his latest ditty has a negro leading the popular front of the undead against the living oppressors. God, what degeneracy! Welcome to Hollywood! Greetings from the Great Satan!


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