Armond White, National Review

Armond White

National Review

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  • New York Post

Recent articles by Armond:

The Madonna-fying of Beyoncé

After the Machiavellian political platitudes and faux black feminism of Lemonade, Beyoncé hones her bubble-gum R & B to inveigle responses to the current sexual-rights movement. She’s become the black Madonna. Not a good thing. → Read More

In Men, the Kavanaugh–Blasey Ford Nightmare Returns

Yet another politicized genre movie, this one pitched to the #MeToo era. → Read More

Grammy and Oscars: The Return of Minstrelsy

The biggest prizes in showbiz mislead consumers to think that all is right with the industry. → Read More

Sam Elliott Abides

By pointing out director Jane Campion’s inauthenticity, Sam Elliott questioned the judgment of Academy voters and, more significantly, provided the critical thinking that barely exists among reviewers and media shills. → Read More

The Batman: A Stockholder’s Report

"The Batman" proves how comic books evolved from marginal adolescent fare into the dominant strain of the modern ethos, and shows Hollywood’s craven manipulation of its easily susceptible audience. → Read More

Being the Ricardos — or Their Activist Alter Egos

Nicole Kidman salvages Aaron Sorkin’s propaganda in this biopic about Lucille Ball and Desi Arnaz → Read More

The Worst Person in the World — The Worst Role Model in the Movies

The Oscar-nominated melodrama justifies Millennial egotism. → Read More

The Kid Rock–Neil Young War

Kid Rock’s constitutional-history song 'We the People" expresses righteous indignation. Although resembling an act of civil disobedience, it's most impressive as an act of cultural dissent. → Read More

The Better-Than List for 2021

This year’s Better-Than List is, more than ever, a reminder of the standards we must hold to keep our sanity and to maintain culture that preserves our humanity and morality. Every Better-Than choice offers alternatives to deceit, ineptitude, and nihilism. → Read More

Red Rocket Unites the States with Shallow Loser Vision

Director-writer Sean Baker conceived Mikey solely in terms of his lower region. The film’s rude title doesn’t just equate Mikey to a thing but specifically to a dog’s inflamed member. Pointless arousal and mischievous abuse describe Baker’s comic cosmic vision. → Read More

House of Hamaguchi

A Japanese import repackages sentimentality for film buffs. → Read More

The Birthing-Person Movie

"The Lost Daughter" is so perfectly rotten that it surely reflects some twisted, deep-seated attitude held by Maggie Gyllenhaal, the actress turned director-writer, again taking to her soapbox for a politically modish statement. → Read More

The Wokening of Steven Spielberg

"West Side Story" exemplifies the old creeds that the progressive Left is determined to dismantle, or — if you look hard at Spielberg’s reboot — change at a fundamental level. Revising American cultural history this way erases "West Side Story’s" original, unrepeatable, indisputable impact. → Read More

Ridley Scott’s Crime Styles of the Rich and Famous

The failure and offense of "House of Gucci" lies in director Ridley Scott’s utter indifference to the tale’s ethical meaning. His trilogy of terror respects no emotion other than ruthlessness and treachery. → Read More

Laurence Olivier’s Othello and the 1619 Hoax

When I first saw Olivier’s Othello at New York’s old Thalia repertory cinema, I was awestruck. It felt like one of the most impressive and revelatory characterizations ever seen on film. → Read More

The Velvet Underground on the Wrong Side of History

Progressives hold to a fantasy of bold oppositional attitudes, so Haynes celebrates VU’s dubious revolution. The Velvet Underground indicates that what Bob Dole later called “the culture of depravity” has won. → Read More

The Many Saints of Newark Is Trash

The fake morality and fake cinema of "Many Saints of Newark" are part of the same Sopranos moral decline that established James Gandolfini’s bullying mob boss Tony Soprano as a PC-era Archie Bunker, allowing some viewers to indulge their sociopathic instincts. → Read More

Don’t Play Us Cheap — A Warning and a Classic

The political tactic of encouraging Americans to be dissatisfied, always in revolt, robs black culture of its edifying richness. It plays Americans cheap. Van Peebles avoided activist indoctrination → Read More

Cry Macho Answers Toxic Masculinity

For movie-watchers who want to see Eastwood as a conservative icon, compare 91-year-old Clint Eastwood to 78-year-old Joe Biden, then spot the difference between teleprompter-reading puppetry and trustworthy self-assurance. → Read More

Amazon’s Cinderella Is Extra Bad

The rags-to-riches story is reimagined through faddish politics, going against the idealistic values formerly associated with the tale. → Read More