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The Criminals, Part 5: The Teenager's Nightmare
Movie

The Criminals, Part 5: The Teenager's Nightmare

1977 • Unknown

Woke Score
1.4
out of 10

Plot

Shaw Brothers Exploitation Flick, 5th installment in "The Criminals" series.

Overall Series Review

This Shaw Brothers exploitation flick from 1977, which chronicles various true crimes in an anthology format, contains no detectable influence from the modern 'woke mind virus.' The narrative is a nihilistic depiction of criminal acts and their graphic consequences, completely removed from the contemporary Western cultural battles over identity, privilege, and intersectionality. The film’s depravity focuses on visceral crime, robbery, and sexual assault, not ideological lectures. The characters are East Asian and the setting is Hong Kong, meaning categories like 'vilification of whiteness' and 'hostility toward Western civilization' do not apply. The film is a raw, non-political product of the 1970s exploitation genre, presenting a moral vacuum rooted in criminal pathology rather than a critique of social structures through a progressive lens. The themes are solely amoral human action and grim realism.

Categorical Breakdown

Identity Politics1/10

The film originates from Hong Kong, features an East Asian cast, and focuses entirely on criminal pathology. There is no 'race-swapping,' vilification of 'whiteness,' or forced diversity; the narrative is locally authentic. Characters are judged solely by the amoral content of their actions as criminals or victims, which aligns with universal meritocracy of consequence. The intersectional lens is completely absent.

Oikophobia1/10

As a 1977 film from Hong Kong, the narrative is not focused on Western civilization. The grim, nihilistic ending critiques local corruption and criminality, not core Western institutions like liberty or the nation. The criticism is local and targeted at lawlessness rather than a generalized civilizational self-hatred of a foreign culture. No external cultures are depicted as morally superior to the 'West.'

Feminism2/10

The segment 'The Teenager's Nightmare' involves a rapist targeting girls, which places women in a vulnerable victim role. This is the antithesis of the 'Girl Boss' trope. Male characters are depicted as violent, amoral criminals and abusers, which shows 'toxic masculinity' but does so in a traditional criminal sense, not to emasculate men as bumbling idiots for a feminist lecture. The film focuses on sexual violence and crime, not anti-natalism or career-over-motherhood messaging.

LGBTQ+1/10

The plot focuses strictly on non-ideological, predatory crime, including robbery and sexual assault. The narrative contains no elements of alternative sexualities being centered, nor does it attempt to deconstruct the nuclear family or lecture on gender theory. The structure is entirely normative and focused on crime-horror shock value.

Anti-Theism3/10

The overall nihilistic tone of the true crime anthology reflects a moral vacuum where objective truth is absent, and the world is defined by brutal power dynamics. However, the film is a Hong Kong crime picture and does not specifically vilify Christianity or traditional religion, which is the core criteria for a high score in this category. The moral vacuum is a result of criminality, not a religious critique.