Tag: Trevor Lynch

You can buy Trevor Lynch’s Classics of Right-Wing Cinema here.

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Greg Johnson joined Mark Collett, Natty, and Bill Atheling on a recent broadcast of the Patriotic Alternative Book Club to discuss Trevor Lynch’s Classics of Right-Wing Cinema, a collection of film reviews that delve into cinematic features that are of particular interest to nationalist viewers. An audio recording of the broadcast is now available for download and online listening. (more…)

You can buy Trevor Lynch’s Classics of Right-Wing Cinema here.

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Do you ever find yourself bored on the couch, surfing nearly-identical streaming services or, if you still have it, cable? Do you succumb to watching something you’ve already seen in lieu of trying something new? In an era of content overload, there’s never been so little to watch or read. The sheer amount of garbage that is pumped onto screen and page alike almost seems by design, and it probably is.

Luckily, we have Counter-Currents’ Trevor Lynch book series, the latest of which is Trevor Lynch’s Classics of Right-Wing Cinema. It is a collection of film reviews published over the past few years on movies, many that we’re already familiar with, which give a specific Right-leaning impression. (more…)

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I am reviewing two films together because they don’t merit stand-alone reviews, but I want to say something about them anyway. It is just a coincidence that they both star Brad Pitt.

First, the good news. If you like Guy Ritchie’s comic crime capers like Snatch or Lock, Stock, & Two Smoking Barrels or The Gentlemen, you will love David Leitch’s Bullet Train.

Guy Ritchie basically took Quentin Tarantino’s formula of eccentric, wise-cracking criminals, non-linear narratives, and blood and guts, then purged it of all auteur pretensions. (more…)

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Gore Vidal once said to Dwight McDonald, “You realize we have nothing more to say; only to add.”

I feel the same way in this review of Todd Field’s Tár, the recent film so artfully described in Trevor Lynch’s review (“The Talented Miss Tarr”), but the film made an immediate impression on me in terms of how it dealt with life and power when applied to art. I recall Lynch’s discomfort with Tár’s opening monologues which could, by virtue of their length and the fact of there being two in sequence, could easily kill a film. (more…)

Agatha Christie

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There’s a reason why Agatha Christie is the world’s best-selling author. Her whodunnits are cleverly crafted, well-written, and highly entertaining. I also find them wholesomely Eurocentric, which is problematic these days.

Death on the Nile (1937) is one of her best novels. A shot rings out onboard a luxurious Nile steamer. It is clearly a case of foul play. But the two prime suspects have airtight alibis. Moreover, practically everybody else on the ship had means, motive, and opportunity to do the deed. Even Hercule Poirot’s famous gray cells are baffled . . . for time. (more…)

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Todd Field’s Tár is the story of the rise — or perhaps I should say “social climb” — and fall of Lydia Tár, a pioneering ethnomusicologist, conductor, and the first female Music Director of the Berlin Philharmonic, who is brilliantly played by Cate Blanchett. Shot on location in New York and Berlin, Tár very effectively conjures up the world of contemporary classical music, from the concert halls and conservatories to the journalistic latrine flies. (more…)

Santi di Tito, Portrait of Niccolò Machiavelli, ca. 1550.

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Gregory Hood was host Greg Johnson‘s guest on the latest broadcast of Counter-Currents Radio, and they discussed James Burnham and Machiavellianism, the overturning of Roe v. Wade by the Supreme Court, and answered YOUR QUESTIONS, and it is now ready for download and online listening. (more…)

Meat Loaf

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“We didn’t know each other, we were each other.” — Meat Loaf on Jim Steinman[1]

On Thursday, as it must to all men, death came to Marvin Lee Aday, known professionally as Meat Loaf. Mr. Loaf was perhaps an acquired taste, but he was certainly an energetic performer — on one occasion, falling off the stage, only to insist on completing his tour in a wheelchair. Despite his prodigious girth and periodic drug abuse, he more than fulfilled his Biblical three score and ten, dying at 74. (more…)

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Larry and Andy Wachowski’s The Matrix (1999) is a science fiction classic. The setting is a devastated Earth in the far future. The premise is that humanity has been enslaved by artificial intelligences. Human beings spend our lives in what are essentially coffins while mechanical vampires drain our energy. We don’t know it, because we are asleep, dreaming that we are in a radically different world. This is the Matrix. Today we would call it a multiplayer online game.

Like many dystopias, The Matrix is actually too optimistic. The Wachowski brothers thought the human race would have to be forced into the pods. (more…)

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House of Gucci is a highly entertaining combination of comedy, tragedy, and farce, tracing the decline of the Gucci fashion empire from an Italian family business to a global capitalist brand.

House of Gucci would have been the best Martin Scorsese movie in years — if it hadn’t been directed by Ridley Scott. It has all the Scorsese touches: lots of Italians (albeit Italian-Italians rather than Italian-Americans), a plush running time, studies of characters who are seldom admirable but always interesting, (more…)

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You have to give the Left credit. They never take a day off. The eye of Sauron never blinks. They are frenzied and relentless in their attempts to overthrow our civilization. They softened us up for a long time, rotting away our character and identity by promoting vice, cynicism, and nihilism — all while playing the victim. Now that we are too weak to resist and too deracinated to care, they have launched a ferocious campaign of iconoclasm against our forefathers’ heroes: Christopher Columbus, Thomas Jefferson, Robert E. Lee, etc. (more…)

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Howard Hawks’ Red River (1948) is one of the greatest Westerns. Red River has it all: charismatic performances by John Wayne and Montgomery Clift, a solid ensemble cast to back them up, a beautifully economical script, dramatic black-and- white cinematography, and a surprisingly good score from Dimitri Tiomkin, who had always struck me as a hack. All of these elements are masterfully drawn together by Hawks. His sense of pacing and visual drama never fails. He grabs your attention with stark contrasts between dark and light, vast landscapes and closeups. He’ll sweep you up in action, then stop you dead in wonder. (more…)