Horror films are one of the last bastions of Traditionalism in American cinema. With relatively low budgets and special effects concerns, a wide range of filmmakers can quickly and cheaply produce a horror film. Meanwhile, the blockbusters turned out by Jewish Hollywood cost the GDP of a South American country. The horror genre taps into man’s violent nature, a nature suppressed by our overly sanitized and feminized society.
Merely a generation ago, a bar fight or scuffle was just another part of the day, now it is either a “hate crime” or “psychotic break.” Where I come from we just call it redneck problem solving. In horror movies, there is never any negotiation with the enemy, no summits to attend, speeches to give, or friendship to be had; it is kill or be killed! Men and women are pushed out of their comfortable bourgeoisie norms and pitted against foes and one another in situations that truly reveal the White race’s martial spirit. The horror genre is decidedly politically incorrect, and that is why I love it so much.
Being a horror movie buff, I had heard about You’re Next when it hit the underground film festival circuit back in 2011. I was excited to get to head to the movies and finally see it after waiting two years. The blend of horror, violence, and dark humor is like kryptonite for me.
You’re Next begins with a sex scene that quickly turns comical. An older, fat, and obviously rich man leaves his much younger partner in sin (we later find that the man left his wife for a young money-grubbing college girl) still wanting after a lovemaking session. The two are quickly and brutally butchered and it is onward to the main story.
We are introduced to the Davison family who just so happen to live next door to the recently hacked to death adulterer and his playmate. Paul Davison is the patriarch of the family and a recently retired Defense Department contractor (Evidently, the illegal invasions of the world pay well). Paul and his wife Aubrey are celebrating thirty five years of marriage and inviting all of their kids (and their partners) to a celebration dinner in the mansion that Paul has recently bought.
From the start, I grew to hate almost every single character. Coming from a blue-collar background and currently working a blue-collar day job, seeing rich fat cats who’ve made millions off of the pain and suffering of others going to enjoy the spoils of their trading in pain and misery had me on edge. We are introduced to effeminate and stereotypical hipster Crispian and his Australian girlfriend Erin. Crispian in typical Leftist fashion has no problem enjoying living off his father but remarks to his girlfriend, “You going to be okay dining with fascists?”
The Establishment puts food in his large and soft belly but Crispian still is dismissive towards the hand that feeds. Erin clearly comes from a different social cast and remarks that Crispian is extremely lucky to come from a family with so much money and he quickly brushes it off. While White America slaves away for peasant wages, Crispian has no qualms about complaining that his metaphorical swimming pool is only silver plated and not gold like he had asked for.
The other members of the family fill out the stereotypes of the WASP elite who run New England. Blood is quickly shown to not mean much to these people; money and social status is king. Erin is an outsider because she isn’t part of the moneyed elite and is ostracized and looked down upon by all of the members of the family. Only daughter and self described “Princess” of the family Aimee and her Keffiyeh-wearing boyfriend Tariq (or as we call em’ back home, “hadji rags”) join the mix. Tariq is an “underground filmmaker” and made one social justice film back in 2008, so basically he represents half of the organized American Left. Professional rich and spoiled son Drake and his girlfriend Kelly assert themselves as the future heirs of the family, much to the displeasure of the other siblings. Rounding out the family are wimpy son Felix and his goth-styled girlfriend Zee (with two E’s… how unique) With this we are set up for a dysfunctional family dramedy, …if it weren’t for the masked killers who rudely interrupt supper.
As the family sits down to dinner and instantly begins to bicker, Tariq sees something outside. When a crossbow bolt blasts through the window and delivers a good solid dose of social justice to Tariq’s forehead, things get a bit hysterical for the Davison family.
The Davison family is now in a cat and mouse game against three animal-masked killers. With military precision (we later find out the killers are broke combat veterans who have been hired as mercenaries), the killers set traps and begin to hack the family apart one by one. Without firearms (this home is a gun-free zone), the family is left fighting with kitchen utensils against foes with machetes, crossbows, and an assortment of booby traps.
Crispian bails on his family and lover to run into the darkness while Erin takes charge of the situation. Drake is wounded by a crossbow and is given a Vicodin, making him pretty useless for the rest of the film. Aimee cuts her own throat running into a tripwire while her dad and mom both get machetes to the face.
Soon the only family members left standing are Felix, Zee, and Erin. Erin, we learn, was raised by a father who was a self-described survivalist. Her careful control of the situation, dedication to protecting herself and others, weapons skill, and ability to kill the attackers is directly from her upbringing. While women are not traditionally warriors, it is refreshing to see that a film reinforces that a father has a duty to train all of his children on how to defend themselves against threats.
With a meat tenderizer and the right training, Erin is able to bash the brains out of one of the attackers. Felix and Zee do not help Erin, setting us up for the first clue that there is something amiss. We soon learn that (at least to the WASP elite) money runs thicker than blood.
In an adult horror spin on Home Alone, Erin is able to lay traps, kill and disable the remaining killers, and find out what was behind this night of mayhem. Felix and Zee reveal themselves to be the masterminds behind this plot. Having hired this group of combat veterans to kill a defense contractor and his family has a sort of beauty to it, but Felix is interested in money, not poetic justice. A promise of millions of dollars speaks far more to Felix than the idea of justice for the mangled and bloody bodies of servicemen and countless innocents who built the families financial empire.
Zee reveals that she is totally insane when she tries to engage Felix in sexual relations literally on top of his recently deceased mother. Felix continually plays the coward, unable to even kill his own wounded brother without complaining “Do you know how hard this is for me?” Zee too is unable to take opportunities to kill Erin, betraying a bourgeoisie attitude of not wanting to get ones own hands dirty. Capitalist Jay Gould famously proclaimed that “I can hire one half of the working class to kill the other half”, and that statement rings true throughout this film. The lower classes are to be used as pawns to advance the financial and social interests of the elites. Poor people in our society are not even given the same considerations as the moneyed elites’ pampered pets are.
Finally a few knives, boards with nails through them, and a blender later, Erin is the only one left in the house. Her pudgy hipster boyfriend Crispian calls his recently departed brother’s phone and confesses that he too was in on the plot to kill his family for the inheritance money. He enters the house and attempts to smooth talk his most assuredly ex-girlfriend. Promises of money “You have those student loans don’t you? You can quit your bartending job… You hate that job!”, to lie to the police, and to go along with the mass murder scam fall on deaf ears.
Crispian grows increasingly frantic as he seems to not understand why a big paycheck is not enough to buy his way out of trouble. Erin proceeds to stab and kill Crispian in time for a police officer to arrive. Given absolutely no context to the environment the cop shoots Erin and she plunges a knife into Crispian’s eyeball. As the cop enters the house he releases a trap that Erin had previously set and decapitates himself (oddly enough this reminds me of how I felt at my last day at Towson). The film ends with bloody, guts, bodies, and brains spread throughout the remains of the Davison home as the credits begin to roll.
Organic media is an expression of the mindset of the folk. While the big motion pictures and mainstream media promote the agenda of our globalist masters, it is the homegrown art projects that tap deeply into the soul of the public. You’re Next is a film that taps into a deep undercurrent of the white working class. The reason that Mitt Romney didn’t connect with the white working class wasn’t because he didn’t have enough campaign funds, it was because he presented himself as one of the entitled family members of this film. Although our racial and class unity has been disrupted, most of us still do not trust the bosses and capitalists who willfully pilfer us for their benefit. Living in a blue-collar town, I heard the excitement in the crowd’s voice with each kill in this film. We were all rooting for the country girl who was one of us, not for even the “innocent” victims in this film.
Are we truly supposed to feel compassion for the whoring adulterer next door and his homewrecker?
Should I shed a tear for some hippie activist or some gilded elites trust fund child catching the end of their capitalist privilege?
The answer I saw among the farmers, factory workers, and young people of Owosso Michigan was a resounding NO!
You’re Next taps into a building populist resentment of our elites. The characters are made so amazingly unlikable that the only person worth rooting for is the Traditionalist of the group, Erin. All of the money, privilege, private planes, and trust funds cannot stop the truest equalizer of all, brute force. As Robert Heinlein wrote in Starship Troopers “Violence, naked force, has settled more issues in history than has any other factor.”
If the Davison clan had owned a firearm, trained for their own protection, or learned any self reliance, then they might have had a chance; relying only on their money to save them resulted in one bloody death after another.
At the end of the day what mattered more? Was it the stock options of the Davison family or the training that Erin’s father had given her? Erin’s father knew that the world is a dark and dangerous place, that violence may one day save his baby girl from a fate worse than death. True love is not living in a gated community, it is teaching your children the strength of blood, the importance of family, and the need to be able to defend oneself. The police and authorities cannot be trusted to protect you or do the right thing (as witnessed at the end of this film). You must rely on yourself and your folk.
Traditionalists are vindicated in this movie in every way. Family bonds and a martial tradition are rewarded with the greatest worldly gift of all, survival. The rich and soft capitalists and their weak children are brushed aside by the realities of our world. Federal Reserve notes do not buy loyalty. Only blood and faith buys authentic loyalty. This is the lesson I took from You’re Next.
I heartily recommend this film to Traditionalists who enjoy horror movies. Immorality is punished, capitalists are taken down a peg, the Establishment authorities look like fools, and Traditionalists come out on top. In mainstream media it is hard to beat a more positive film.
After the credits roll, examine your loyalties. How many of them are based on profit or comfort and how many are based on the three things that matters, Faith, Folk, and Fatherland?