Armond White, National Review

Armond White

National Review

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  • National Review
  • New York Post

Past articles by Armond:

Dead for a Dollar Is This Year’s Most American Movie

'Dead for a Dollar' is an all-American panoply as respected by every practitioner of the Western, but director Walter Hill’s sensibility reflects how contemporary American lives and careers get casually destroyed, how sexual and racial covenants are spoken disingenuously to hide political corruption. → Read More

Spielberg Goes Easy on Himself in The Fabelmans

"The Fabelmans" is consistent with Spielberg’s sympathetic eye for human foible, but it suppresses issues about family life and art-making that demand more rigorous scrutiny. → Read More

Raymond & Ray Buries the Idea of Toxic Masculinity

Rodrigo García’s new family drama goes beyond virtue-signaling. → Read More

Sympathy for the Screwup Son

My Son Hunter brings scruples to political satire. → Read More

Bros Wallows in Hollywood Narcissism

Producer Judd Apatow and director Nicholas Stoller can’t make a star of resentful, hang-dog star Billy Eichner. The real goal is to substantiate their industry’s agenda regarding sex, identity, and social position. → Read More

Why Jean-Luc Godard Matters

The New Wave genius, who died this week, transcended politics and changed everything. → Read More

The Subversive Humor of Funny Pages

"Funny Pages" jostles the viewer between meanness and affection through filmmaker Owen Kline’s vision that people are either laughably unlike us or pathetically just like us. → Read More

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