Ever since Harvey Weinstein got exposed for doing what everyone in Hollywood knew he was doing — for decades, no less — the mask of third wave feminism has come clean off.
The grandest lie of the cult called ‘feminism’ is that being a feminist doesn’t mean you hate men. However, whenever a self-proclaimed feminist receives a nine figure production budget to produce a movie, you can bet your bottom dollar that men are about to take a bigger beating than that time Leonard DiCaprio tried to 1v1 a bear in The Revenant.
Hollywood’s intersectional feminism cries out that men hate women, as they smash you in the head with a baseball bat. As a result, there has been an abundance of films that have sown nothing but hatred and strife against men.
Before anyone tries to tell you that these movies don’t exist, let’s look at the top 10 most misandrist movies of the #MeToo era.
10. Charlie’s Angels (2019)
You put the woman in charge of the Pitch Perfect series to write and direct a $55 million dollar action film and then wonder why it bombs at the box office.
The new Charlie’s Angels begins with our ‘heroes’ getting one up on a bunch of sexist men who probably committed the mortal sin of mansplaining, or something.
The art of progressive filmmaking has become so lazy that the only way to get any enjoyment out of it is to turn it into a drinking game.
- Are all the men in the film portrayed as buffoons? Take a shot!
- Are all women smart, powerful, and like other women? Take a shot!
- Are the characters lecturing you about the #MeToo movement? Take a shot!
- Did some sexist pig ask you to smile? Take a shot!
- Are all the male characters villains? Take a shot!
- Are female characters kicking men in the balls as a repeat comedy gag? Take a shot!
9. The Woman King (2022)
It’s bad enough that a film whitewashes the history of some of the most violent slave traders in human history but The Woman King actually tries to push the matriarchy on top of it.
The movie turns Viola Davis into the female King of Africa because not even the King’s own wife respects his authority.
Feminist Storytelling says a woman cannot be shown as being ‘equal’ to a man by her own merits, but only by tearing down men and making them look inferior.
Nothing more than historical fantasy, the film portrays strong female warriors brutally murdering unrighteous men in hand-to-hand combat. Not letting the truth get in the way of a good narrative is the takeaway message of The Woman King.
8. Last Night In Soho (2021)
Last Night In Soho is, in all honestly, a decent film up until the charade is over and the mask comes off.
The story introduces audiences to a young impressionable countryside girl named Ellie (Thomasin McKenzie), who has a sixth sense that allows her to travel back in time and relive moments of the past.
She jumps into the body of a a local singer from the 1960s named Sandie (Anya Taylor-Joy), discovering she was the victim of a brutal murder and that her killer may still be alive in the present day.
The film ends with a finale that can only be described one way: sociopathic. As it turns out, Sandie was alive and she was the killer the whole time. Because Sandie was a girl who wanted to be famous, she hooked up with a club booker who turned her into a prostitute for powerful men.
Ellie has the opportunity to expose Sandie for her crimes but she doesn’t. Why? Because Sandie was the real victim and all the men that she killed deserved it. Sandie is actually the hero. No! Just because you willingly made a deal with the devil, that doesn’t make you the victim when it is time to collect.
To make the proclamation that her johns deserved to die based on some loose connection to the #MeToo movement is stunningly narcissistic and borderline psychotic. You don’t get a pass for killing more people than Dylann Roof just because you believed you were wronged. #MeToo does not justify mass murder.
7. Don’t Worry Darling (2022)
Don’t Worry Darling is a film that tries to magnify that men controlling anything is bad and everything would be so much better if we just let the women be in charge.
Directed by the woman who was BFFs with disgraced Hollywood producer Harvey Weinstein, Olivia Wilde crafts a film set in the 1950s because — in the minds of intersectional progressive feminists — this was the worst era for women in the history of the United States.
A world where the women are housewives as the men work for the mysterious ‘Victory Project.’ When we get to the end, we discover that the whole thing is a front, as the women have been kidnapped by their men, against their will, to live in a virtual reality where they are housewives and their men work to pay off their debts in the real world.
Why? Because men cannot exist unless they control women and the women need to be liberated so they can work a 60-hour week and come home absolutely miserable.
You read that right. Women are better of working 60-hour shifts at the hospital on 3 hours of sleep than be a stay-at-home wife. Great messaging Hollywood.
6. Black Christmas (2019)
If you thought the 2006 version of Black Christmas was bad, wait until you find out about the misandry-heavy 2019 remake.
In this film, toxic masculinity has made college campuses more dangerous for women than the streets of Gotham.
Women are forced to navigate their lives around the horrors of sexist professors. Riley (Imogen Poots), along with every woman on campus, finds herself at the barrel of a toxic society of fratboys and rapists.
So her sorority sisters decide to publicly humiliate them with an extremely poor song dedicated to attacking rape culture on campus (this is not a joke, stop laughing). Naturally, the manbabies are threatened by the presence of strong women, and the girls are hunted down by an army of masked killers.
In a thrilling tale of survival, the women must overcome the patriarchy, a world that refuses to believe them, the Time Up Movement, misogynistic white males, and complacent systematic oppression — oh, and a killer. There’s a killer in this movie too.
Black Christmas is so woke, it’s f—king asleep.
5. Gretel & Hansel (2020)
This list only gets worse from here so, how about a film that entices young women with a Satanic message encouraging women to ditch men in order to unlock their real potential?
Gretel & Hansel looks appealing until you discover what it truly is, a flavorless reboot with some questionable anti-family messaging.
An evil Satanic witch, played by Alice Krige, straight up tells a young Gretel to give up on her brother who is holding her back. The message is that Gretel, who plays a parental guardian to her brother, needs to let him go; an argument constantly repeated by those who reject motherhood in order to reach their perceived potential.
A message is especially disturbing given the context of Gretel adopting the ideology of a Satanic cannibalistic witch in some sort of a pseduo-friendship.
When the devil tells you to hate men, you may not be on the right side of history.
4. Chaos Walking (2021)
Chaos Walking begins in a dystopian future, on a planet far from Earth where a disease called ‘the Noise’ affects all animals and men — fully exposing their thoughts.
With the exception of our main character Todd (Tom Holland) and his “two adoptive fathers,” every man in the film is portrayed as a villain. Speaking of homosexuality, Tom Holland and Daisy Ridley might as well play gay characters because they have zero chemistry on screen.
The film leads us to believe that native aliens killed all the women, because reasons. But surprise! It turns out that it was the men who killed them, because they couldn’t handle women knowing all of their thoughts.
Make no mistake, progressive storytelling (aka anti-storytelling) is the death rattle of a dying industry desperate for foreign money to keep itself afloat.
3. Barbie (2023)
No surprise here…
Ladybird director Greta Gerwig never meant create a film for young girls to understand and enjoy. This is a movie that only appeals to unhappy women in their 30s and 40s, as the overwhelming majority of the dialogue in this film painfully panders to that demographic.
Stereotypical Barbie wakes up every day and her life is perfect in a world that is run by women. However, Ken’s journey to the real world brings much more dangerous results, as he decides to adopt and introduce ‘the patriarchy’ in Barbieland — turning the magical place into your local Buffalo Wild Wings.
In order to make the other Barbie understand that they don’t need a man because they are their own woman, Stereotypical Barbie must then share the gospel of feminism. The only group that bashes more than men are women looking to be happy with men.
2. Unpregnant (2020)
A film where our protagonist steals her boyfriend’s engagement ring and pawns it in order to pay for an abortion that he doesn’t want… and somehow HE is the bad guy.
The baby’s father did not pressure her into terminating her pregnancy like many other men would, he wanted to step up, marry her and be a father. She didn’t care.
Unpregnant even goes as far to have a black female pawn star owner pull a 12 gauge shotgun in the face of the boyfriend and threaten to kill him if she didn’t allow the girl to go forward with the abortion.
The only person audiences are supposed to like in this film is Veronica’s friend, Bailey, because she’s fat, nihilist, gay, and the avatar of progressive community in modern society.
Who cares if you actually want to be part of a support system that is loving, caring, and willing to be there with you through the roughest of time? Because, dammit, it’s my body and my choice… to murder my child.
Unpregnant is proof that, if you give your enemy enough rope, they will hang themselves.
1. Widows (2018)
The number one spot goes to Widows, the type misandrist film full of progressive dogma and not so subtle messages about gender, class, race, politics, etc, that gets a 91% score on Rotten Tomatoes.
“I think that any film that’s not feminist is a bad picture,” co-writer and director Steve McQueen — not to be confused with the Bullitt and The Great Escape star — said of the film. “I assume everyone is a feminist. That’s where I’m coming from. For me, it has to be a feminist movie to be a good movie.”
Every man in this film are racists, sexists, homophobes, wife beaters, incestuous cheaters, murders, creeps, politicians; even ISIS recruits aren’t as evil as the men here. I’m not joking by saying that there is only ONE redeemable man in the film… and they kill him.
The entire plot of Widows is that the women are being threatened to pay back 2 million, so they have to do a heist to save their lives. Well, they never paid back the guy they owed, which was the entire point of the film. They killed one of his guys and none of the women even skip town when it’s all over.
If you really reflect on the plot, you realize that half the women weren’t even relevant to the story. They just needed a group of women — most of which are built like men — to pull off a man’s plan that a group of teenagers could have pulled off in fewer Emergency Room trips.
Widows is pure misandry disguised as a feminist heist film.