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An Incitement to Kill White Southerners and their Culture

A TIME TO KILL Produced by Arnon Milchan. Directed by Joel Schumacher. Based on the book by John Grisham

Reviewed by Michael A. Hoffman II. Copyright ©1996. All Rights Reserved

Not a great deal needs to be said about this despicable hate propaganda film among those who know a scintilla of American history. Yet something must be said for the benefit of the vast herd that knows next to nothing.

This is a movie about a black father who does the undeniably Biblical thing and executes two white rapists who beat and raped his ten year old daughter. No Christian and no Confederate would have any problems with this father's vigilante justice, nor would they ever seek any vengeance against such a black man for executing Biblical justice upon rapists.

But in this twisted movie, facts and history need not apply. This is the cinema of political correctness in its debased conservative variant. It advances the cause of anti-white rcism and hate.

But the fact that the black man's white defense attorney is not a death penalty abolitionist, but a pistol-weilder, and that the NAACP is shown to be opportunistic and a local black preacher avaricious, does not, by a country mile, make up for the boatload of pernicious libel against an entire traditional way of life in the white Christian South, which this movie represents.

In "A Time to Kill" the usual Hollywood suspects (Milchan and Schumacher) are hell-bent on a hate campaign against Christianity and traditional Southern Christian culture. A wicked Klan kidnapper is depicted wearing a Christian cross around his neck. The movie's pro-rapist fantasy-Klan, recruits only "God-fearing" whites. Ad nauseum.The Confederate battle flag insignia is made into a veritable sigil for the reign of rapists. Whenever it is shown the scene is one of absolute evil.

Local White people are depicted--in 1996!--as exhibiting monolithic support on racial grounds for two dead white rapists and certain to convict a noble black father who justifiably executed them.

That the Confederacy arose in part to defend all women from rape, is as far from this stupid script as Mississippi is from the moon. This is a movie that can only be given credence when the audience is a gaggle of public-school-miseducated, TV-spectating fools.

The most notorious child-rape case in recent memory, was the rape three black soldiers perpetrated against a 12 year old Okinawan girl. This crime created an international incident and the people of Okinawa have voted to ban American troops from their island, as a result. This is the reality, but Hollywood is not about reality, it's about making enormous profits by splashing buckets of lying filth upon white people.

Shortly before this movie was released, a young white father in Carolina, Michael Westerman, was gunned down by a carload of African-American youths who no doubt learned their homicidal, anti-white prejudice, in part from films like this one. The white Carolina youth was killed for the crime ofhaving a Confederate flag sticker on his truck.

Now enter John Grisham--supposed upholder of "old-fashioned values and morals"--with assistance from the Milchan and Schumacher duo--furnishing yet another flick which incites the murder of white southerners who adhere to their traditional culture, a culture which abominated precisely the kind of rape depicted in this film--be it black or white.

The Money Men would never dare finance this hate-Southern-whitey garbage if there was a financial penalty attached to it. But obviously there isn't. We've become numb to our own destruction. We've retired Captain Boycott to the closet.

The class element is also painfully transparent in "A Time to Kill." With the exception of one maimed white deputy sheriff, the good guys are all either blacks or upper class whites, while the white working men ("redneck assholes" as the "righteous" black sheriff terms them), are all repulsive monsters.

Of the many idiocies in this racist schlock, one of the most revealing is the scene in which one of the white bad guys uses the "N word" and then immediately apologies for doing so. No such apologies are ever tendered during the innumerable scenes when the "R word" (Redneck) is tossed about.

I remain in absolute, flabbergasted awe at the march of time and its irony, whereby we witness one of the most gallant societies on earth--the white Christian Southland--besmirched to such a degree that an entire traditional culture is reduced to a piece of mass media toilet paper, for the benefit of bucks for Hollywood and the satisfaction of the entertainment appetite of a jaded and degenerate audience.

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