Search. Zeitgeist Reviews

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House of Gucci (2021)

The Unz Review Staff #DissidentRight #PaleoCon

Dec 22nd 2021

Review: House of Gucci, by Trevor Lynch

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

Casino Royale (2006)

The Unz Review Staff #DissidentRight #PaleoCon

Oct 7th 2021

Review: No Time to Die, by Trevor Lynch

No Time to Die is an excellent Bond film. It belongs in the company of Casino Royale and Skyfall and quite self-consciously reaches for the heights of On Her Majesty’s Secret Service, which is arguably the best Bond film ever. I was especially looking forward to No Time to Die because—although it is very much

Doctor Zhivago (2002)

The Unz Review Staff #DissidentRight #PaleoCon

Sep 29th 2021

Review: the Last Emperor, by Trevor Lynch

When I first saw Bernardo Bertolucci’s The Last Emperor (1987), it struck me as a remake of Doctor Zhivago. Both narratives begin in glamorous and archaic empires that fall to Communist revolutions. Of course, that could just be due to the fact that the Chinese Revolution was something of a remake of the Russian Revolution

Doctor Zhivago (1965)

The Unz Review Staff #DissidentRight #PaleoCon

Sep 25th 2021

Review: Doctor Zhivago, by Trevor Lynch

David Lean’s epic anti-Communist romance Doctor Zhivago (1965) is a great and serious work of art. Doctor Zhivago was initially panned by the critics—probably not because it is a bad film, but because it was very bad for Communism. Nevertheless, it was immensely popular. It is still one of the highest grossing movies of all

The Incredibles (2004)

The Unz Review Staff #DissidentRight #PaleoCon

Sep 1st 2021

Review: the Incredibles and the Incredibles 2, by Trevor Lynch

Brad Bird is the director of three classic animated films: The Iron Giant (1999), The Incredibles (2004), and Ratatouille (2007), as well as the blockbuster sequel The Incredibles 2 (2018). The Incredibles is a superhero film that also pays affectionate homage to the spy movies of the 1960s, especially classic Bond. I also classify The

A Room with a View (1985)

The Unz Review Staff #DissidentRight #PaleoCon

Jun 28th 2021

Review: the Bostonians, by Trevor Lynch

Not every Merchant-Ivory film is a visually lush period drama based on novels by prestigious writers like E. M. Forster and Henry James, but the most memorable ones are, including The Europeans (1979), The Bostonians (1984), A Room with a View (1985), Maurice (1987), and Howards End (1992). Another in this vein is The Remains

The Bridge on the River Kwai (1957)

The Unz Review Staff #DissidentRight #PaleoCon

Jun 18th 2021

The Bridge on the River Kwai, by Trevor Lynch

David Lean’s The Bridge on the River Kwai (1957) is not just a great film, it is a nearly perfect one. Even better, it was recognized as such from the start by virtually everyone. The critics lionized it and continue to include it on their “best” lists. The movie business showered it with prizes. Bridge

Lawrence of Arabia (1962)

The Unz Review Staff #DissidentRight #PaleoCon

Jun 1st 2021

Review: Lawrence of Arabia, by Trevor Lynch

David Lean (1908–1991) directed sixteen movies, fully half of them classics, including three of the greatest films ever made: The Bridge on the River Kwai (1957), Doctor Zhivago (1965), and, greatest of them all, Lawrence of Arabia (1962). Lawrence of Arabia is repeatedly ranked as one of the finest films of all time, and when

Conan the Barbarian (1982)

The Unz Review Staff #DissidentRight #PaleoCon

May 18th 2021

Review: Conan the Barbarian, by Trevor Lynch

Over the years, I caught bits and pieces of John Milius’ 1982 movie Conan the Barbarian—starring Arnold Schwarzenegger as the big lug himself—on cable TV. But I was never tempted to watch the whole film. I finally gave in when I started writing my series on Classics of Right-Wing Cinema, and friends urged me to

Black Narcissus (2020)

The Unz Review Staff #DissidentRight #PaleoCon

Apr 30th 2021

Review: Black Narcissus, by Trevor Lynch

Michael Powell (1905–1990) is one of the tragic geniuses of film: a genius because he is one of the most visually dazzling directors in the history of cinema, tragic because he too often he wasted his talents on inferior scripts, most of them provided by his longtime collaborator, Emeric Pressburger, a Hungarian-Jewish refugee to whom

The Searchers (1956)

The Unz Review Staff #DissidentRight #PaleoCon

Apr 16th 2021

Review: the Searchers, by Trevor Lynch

The Searchers (1956) has been acclaimed not just as one of John Ford’s greatest films, and not just as one of the greatest Westerns, but as one of the greatest films of all time. This praise is all the more surprising given that The Searchers is a profoundly illiberal and even “racist” movie, which means

A Clockwork Orange (1971)

The Unz Review Staff #DissidentRight #PaleoCon

Apr 1st 2021

Review: A Clockwork Orange, by Trevor Lynch

For years now, readers have been urging me to review Stanley Kubrick’s A Clockwork Orange (1971), which adapts Anthony Burgess’ 1962 novel of the same name. I have resisted, because although A Clockwork Orange is often hailed as a classic, I thought it was dumb, distasteful, and highly overrated, so I didn’t want to watch

The Man Who Shot Liberty Valance (1962)

The Unz Review Staff #DissidentRight #PaleoCon

Mar 25th 2021

Review: the Man Who Shot Liberty Valance, by Trevor Lynch

John Ford’s last great film The Man Who Shot Liberty Valance (1962) enjoys the status of a classic. I find it a deeply flawed, grating, and often ridiculous film that is nonetheless redeemed both by raising intellectually deep issues and by an emotionally powerful ending that seems to come out of nowhere. The stars of

American History X (1998)

The Unz Review Staff #DissidentRight #PaleoCon

Feb 22nd 2021

Review: American History X, by Trevor Lynch

Director Tony Kaye’s anti-skinhead morality tale American History X (1998) is proof that propaganda is far from an exact science. Just as Stanley Kubrick’s Full Metal Jacket caused a surge in Marine recruitment, American History X actually increases audience sympathies with neo-Nazi skinheads, despite its best efforts to present them as hateful hypocrites and losers

Magnum Force (1973)

The Unz Review Staff #DissidentRight #PaleoCon

Feb 8th 2021

The Dirty Harry Sequels, by Trevor Lynch

Dirty Harry (1971) is a compelling neo-noir thriller about San Francisco Police Inspector Harry Callahan (Clint Eastwood), who is increasingly forced to choose between liberal legal norms and bringing a sadistic serial killer known as Scorpio to justice. Once Harry kills Scorpio, the movie ends with him throwing away his badge, symbolizing a momentous decision

Dirty Harry (1971)

The Unz Review Staff #DissidentRight #PaleoCon

Jan 30th 2021

Review: Dirty Harry, by Trevor Lynch

Dirty Harry (1971), directed by Don Siegel and starring Clint Eastwood as San Francisco Police Inspector Harry Callahan, is a classic of Right-wing cinema. Dirty Harry was hugely popular with moviegoers, spawning four sequels and a whole genre of films about tough cops whose hands are tied by the system and are forced to go

The Elephant Man (1980)

The Unz Review Staff #DissidentRight #PaleoCon

Jan 20th 2021

Review: the Elephant Man, by Trevor Lynch

David Lynch’s second feature film, The Elephant Man (1980), is one of his finest works. In many ways, The Elephant Man is Lynch’s most conventional “Hollywood” film. (Dune too is a “Hollywood” film, but a failed one.) The cast of The Elephant Man is quite distinguished, including John Hurt, Anthony Hopkins, Sir John Gielgud, Dame

Taxi Driver (1976)

The Unz Review Staff #DissidentRight #PaleoCon

Jan 1st 2021

Review: Taxi Driver, by Trevor Lynch

It began with Dylann Roof. Since then, the Molotov cocktail of autism, inceldom (involuntary celibacy), gallantry, vengeance, and mass murder has exploded with such regularity that I keep dusting off a boilerplate article to condemn it whenever the perpetrators are connected with White Nationalism. But even with Roof’s case, I felt that I had seen

Fanny and Alexander (1982)

The Unz Review Staff #DissidentRight #PaleoCon

Dec 28th 2020

Review: Fanny & Alexander, by Trevor Lynch

Ingmar Bergman’s Fanny and Alexander (1982) is one of his finest works. Fanny and Alexander runs 312 minutes—more than five hours. Bergman cut it down to a 188-minute version for theatrical release. The full version was shown as a miniseries on Swedish television but was also released in theaters, making it one of the longest

How to Get Ahead in Advertising (1989)

The Unz Review Staff #DissidentRight #PaleoCon

Nov 15th 2020

Review: Withnail & I, by Trevor Lynch

Withnail & I (1987) is a masterpiece of British dark-comic satire written and directed by actor, novelist, and screenwriter Bruce Robinson, who went on to write and direct How to Get Ahead in Advertising (1989), another strong film in a similar vein. His career seems to have petered out, though, after a couple of flops

Review: House of Gucci, by Trevor Lynch

Review: No Time to Die, by Trevor Lynch

Review: the Last Emperor, by Trevor Lynch

Review: Doctor Zhivago, by Trevor Lynch

Review: the Incredibles and the Incredibles 2, by Trevor Lynch

Review: the Bostonians, by Trevor Lynch

The Bridge on the River Kwai, by Trevor Lynch

Review: Lawrence of Arabia, by Trevor Lynch

Review: Conan the Barbarian, by Trevor Lynch

Review: Black Narcissus, by Trevor Lynch

Review: the Searchers, by Trevor Lynch

Review: A Clockwork Orange, by Trevor Lynch

Review: the Man Who Shot Liberty Valance, by Trevor Lynch

Review: American History X, by Trevor Lynch

The Dirty Harry Sequels, by Trevor Lynch

Review: Dirty Harry, by Trevor Lynch

Review: the Elephant Man, by Trevor Lynch

Review: Taxi Driver, by Trevor Lynch

Review: Fanny & Alexander, by Trevor Lynch

Review: Withnail & I, by Trevor Lynch

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