About Trevor Lynch’s Classics of Right-Wing Cinema

Trevor Lynch views cinema and television from the Right. Trevor Lynch’s Classics of Right-Wing Cinema is his fifth anthology. Lynch looks at Right-wing themes—anti-liberalism, anti-Communism, masculinism, vigilantism—in such films as Taxi Driver, American History X, Dirty Harry and its sequels, Conan the Barbarian, The Bostonians, The Incredibles, The Last Emperor, Withnail & I, and John Ford’s The Searchers and The Man Who Shot Liberty Valance. Lynch also gives Rightist takes on David Lean’s The Bridge on the River Kwai, Lawrence of Arabia, and Doctor Zhivago; Michael Powell’s Black Narcissus, The Life & Death of Colonel Blimp, and The Red Shoes; David Lynch’s The Elephant Man, Twin Peaks, and Twin Peaks: Fire Walk with Me; and Ingmar Bergman’s Fanny & Alexander.

Praise for Trevor Lynch

”I can honestly say that if it wasn’t for Counter-Currents‘ Trevor Lynch movie reviews there wouldn’t have been a Morgoth’s Review. Reading essays dissecting Hollywood movies from a thoroughly illiberal perspective made such an impact on me that I thought ‘I want to do this,’ and Morgoth’s Review was born.”

—Morgoth

“The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn’t stand a chance.”

—F. Roger Devlin, author of Sexual Utopia in Power

“Trevor Lynch reviews today’s films from an artistically sensitive, culturally informed, but most of all unfailingly pro-white perspective. He doesn’t just warn you away from the obviously bad, but explains how the poison works and where it comes from, and even finds racially uplifting stuff where you’d least expect it. Read it, and you’ll never feel the need to pay good money to be seen weeping at another Holocaust movie again.”

—James J. O’Meara, author of Passing the Buck: Coleman Francis and Other Cinematic Metaphysicians