Author Archives: Trevor Lynch

Trevor Lynch

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A Star Is Born

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I could have happily lived the rest of my life without seeing any of the now four versions of A Star Is Born (1937, 1954, 1976, 2018). But on a long flight, I decided on a whim to watch the latest version, starring Bradley Cooper and Lady Gaga. I like Bradley Cooper as an actor, and this is also his directorial debut. I was also curious about Lady Gaga, whom I had never actually heard. (Can I refer to her as “Gaga” for short?) Read more …

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New from Counter-Currents!
Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies

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Trevor Lynch
Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
Edited by Greg Johnson
San Francisco: Counter-Currents, 2019
232 pages

Hardcover: $35 

Paperback: $20

Read more …

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The Game of Thrones Finale

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I loved the Game of Thrones series when it first got started. I watched it on the recommendation of Greg Hood’s Counter-Currents reviews of Season One and Season Two. I was so taken with it that, when I ran out of episodes, I actually picked up George R. R. Martin’s books to see how the stories continued, Read more …

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Martin Scorsese’s The Aviator

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My favorite Martin Scorsese film is Gangs of New York (see my review here), but his follow-up film, The Aviator (2004), is a close second and rises in my estimation with each viewing. The Aviator is an epic depiction of the career of Howard Hughes, spanning the years 1927 to 1947, from the creation of his WWI flying epic Hell’s Angels to the successful test flight of the Hercules transport plane, dubbed by his enemies the “Spruce Goose.”

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Starship Troopers

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Robert A. Heinlein’s Starship Troopers (1959) marked his transition from writing juvenile pulp science fiction to serious novels of ideas, in this case setting forth a highly reactionary and militarist political philosophy. Paul Verhoeven’s 1997 film of Starship Troopers takes quite a few liberties with Heinlein’s plot but manages to capture its spirit and communicate its key ideas. Read more …

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David Lynch’s Dune

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David Lynch’s third feature film is his 1984 adaptation of Frank Herbert’s science fiction classic Dune. Herbert’s Dune is widely hailed as a masterpiece, while Lynch’s Dune has a much more mixed reputation, tending toward the negative. When I first saw Lynch’s Dune, I was deeply disappointed. Herbert’s novel had left a powerful and vivid impression on me, and Lynch’s vision was not my vision. Read more …

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Far from the Madding Crowd

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John Schlesinger’s 1967 adaptation of Thomas Hardy’s 1874 novel Far from the Madding Crowd should be a universally recognized cinema classic. But although it received generally positive reviews and did well in England, today it is virtually unknown, even among my friends who are film buffs.

I am going to comment on the movie only, not the book, which I have not read. Read more …

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Glass

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M. Night Shyamalan’s Glass is a sequel to two of his films, Unbreakable (2000), which is my favorite of his works, and Split (2016), which I found to be quite unpleasant, although I must concede that it is brilliantly acted in the lead role(s) by James McEvoy.

Unbreakable is a deeply moving film about how David Dunn (Bruce Willis)—once a brilliant college athlete who has been emasculated by his wife, an overprotective physical therapist—discovers that he is not an ordinary man. Read more …

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Age of Cringe:
Alt-Right: Age of Rage

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Based on a few clips, I was certain that Alt-Right: Age of Rage (2018) would lead to permanent physical damage from sheer cringiness. But I was delighted to have been proven wrong. This is a remarkably fair-minded documentary. On balance, though, I think it will be good for white identity politics. Age of Rage was directed by Adam Bhala Lough, an American of partial South Asian descent.

Read more …

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“Hotter than Georgia asphalt”
David Lynch’s Wild at Heart

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Wild at Heart is not David Lynch’s best movie, but it is my favorite. I would argue, for instance, that Blue Velvet, The Elephant Man, and The Straight Story are all better films. But for some reason they do not call me back year after year like Wild at Heart.

Wild at Heart was released in the summer of 1990, when Lynch was riding high on Twin Peaks mania. It won the Palme d’Or at the 1990 Cannes film festival, albeit over vocal protests. Read more …

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Three Identical Strangers

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Three Identical Strangers is a 2018 documentary directed by Tim Wardle. It premiered at the 2018 Sundance Film Festival, where it won the U.S. Documentary Special Jury Award for Storytelling. You can now watch it online at Amazon.com.

The documentary tells the story of Edward Galland, David Kellman, and Robert Shafran, identical triplets who were separated shortly after birth. Read more …

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Eraserhead:
A Gnostic Anti-Sex Film

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David Lynch’s first movie Eraserhead (1977) combines surrealism, low-budget horror, and black comedy. It rapidly became a staple of the midnight movie circuit and provided endless fodder for coffee-house intellectuals and academic film theorists.

Eraserhead is quite simply a gnostic anti-sex film. The film is premised on a gnostic dualism, which holds that the material world—including sex and childbearing—is fundamentally evil, Read more …

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Children of Men

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Mexican director Alfonso Cuarón’s Children of Men (2006) is loosely based on P. D. James’ 1992 novel of the same name. Cuarón is solidly Leftist, but Children of Men seems more and more like a Right-wing vision of dystopia with each passing year. (Cuarón’s 2001 film Y Tu Mamá También, is basically Marxist propaganda and soft-core porn, but his 2013 hit Gravity could be seen as an argument against putting women in the military or space, although I don’t think this was the director’s intention.)  Read more …

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Jodorowsky’s Dune

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Jodorowsky’s Dune, Frank Pavich’s 2013 documentary, tells the story of the “greatest movie never made,” Read more …

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The Sci-Fi Channel’s Dune & Children of Dune

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David Lynch’s Dune (1984) is a flawed masterpiece. When I first saw it, I was deeply disappointed. Frank Herbert’s original novel made a powerful impression on me. I could see Herbert’s world, and Lynch’s vision was not my vision. But when my initial impression faded and I returned to Lynch’s film with an open mind, I found it immensely imaginative and compelling. Even the score by Toto managed to grow on me.  Read more …

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Jurassic World: Fallen Kingdom

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I loved 2015’s Jurassic World, the reboot of the Jurassic Park “franchise” starring Chris Pratt and Bryce Dallas Howard, directed by Colin Trevorrow, and co-authored by Trevorrow and Derek Connolly. Jurassic World blew away the Jurassic Park films. It is highly entertaining and also surprisingly wholesome. Along with the main attractions, the dinosaurs, Jurassic World is pro-masculine, anti-feminist, and pro-family, with an overwhelmingly white cast and virtually no political correctness. Read more …

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The Expanse

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The Expanse is a SyFy network original series that is now nearing the end of its third season. The Expanse is the most imaginative and absorbing science fiction series since the reboot of Battlestar Galactica (2003–2009). Read more …

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Video of the Day
Trevor Lynch Reviews Solo: A Star Wars Story

8:24

https://www.youtube.com/watch?v=3iJDnlQ8fb8

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Solo: A Star Wars Story

1,283 words / 8:24

Audio version: To listen in a player, click here. To download the mp3, right-click here and choose “save link as” or “save target as.” To subscribe to the CC podcast RSS feed, click here.

I had a bad feeling about this.

It wasn’t just Solo‘s cursed production history: the original directors were sacked near the end of shooting, and Ron Howard was brought in to finish the movie, reshooting 70 percent of it. Read more …

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Unbreakable

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Unbreakable (2000) is many people’s least favorite M. Night Shyamalan film, but I think it is his best: brilliantly conceived and scripted, beautifully acted and filmed, and quite moving. Since the film is almost two decades old, I trust nobody will complain about spoilers.

Unbreakable is a superhero film, but it does not contain any computer animation, strobe-fast editing, or deafening crashes and booms. Read more …

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Batman:
The Dark Knight Returns

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Batman: The Dark Knight Returns is an animated movie adaptation of Frank Miller’s graphic novel The Dark Knight Returns. Released in two 76-minute parts in 2012 and 2013, then combined into a 148-minute edition DVD and Blu-ray, this is lame, sclerotic, constipated, Z-grade animation drawn out to paralyzing lengths, completely lacking the visual style and dynamism of the original graphic novel, which is more animated on the printed page than in this adaptation.  Read more …

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“Only White Nationalism Will Make Wakanda Real”
Black Panther

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I saw Black Panther with a friend in Seattle last week. Judging from the reverent silence in the theater — broken only occasionally by our laughter at unintentional bits of humor — it was an all-white audience. The serious tone of Black Panther is a departure from recent Marvel movies, which constantly undercut heroism with ironic humor. But Black Panther is a movie about numinous, magical Negroes, and some things are sacred. God is not mocked. (Unless he is Thor.)  Read more …

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Dunkerk Christophera Nolana

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English version here

Dunkerk je emocionálně nejsilnější a nejpůsobivější snímek Christophera Nolana. Vypráví o evakuaci 400 000 britských, kanadských a francouzských vojáků, kteří se za 2. světové války po porážce od Němců ocitli v pasti na plážích u Dunkerku. Read more …

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Star Wars: The Last Jedi

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The Last Jedi isn’t an awful film. Not Force Awakens awful. But it is pretty bad. Down there at the bottom of the scrap heap, with The Force Awakens and The Phantom Menace. The question on my mind was whether The Force Awakens was just a Phantom Menace moment, a rocky start to a trilogy that redeemed itself with two pretty good films. (Yes, I like Attack of the Clones and Revenge of the Sith. Fight me.) But no, it was not to be. It was not hard, of course, for The Last Jedi to improve upon The Force Awakens. Read more …

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Justice League

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Watchmen is the greatest superhero movie of all time, and when it was released, its director Zack Snyder was poised to follow Christopher Nolan into the first rank of directors working today. But instead, he has directed an ever worsening series of turkeys: Sucker Punch, Man of Steel, Batman v Superman, and now Justice League, which is one of the worst movies I have ever seen: derivative, dumb, and dull. An assault on the senses and an insult to the intellect. It is also one of the most expensive movies ever made, costing an astonishing $300 million. It is really rather amazing that a director of Snyder’s proven talent, with a solid cast and a $300 million budget, could not have turned in a better movie. Clearly, there’s a lot of rot and a lot of ruin still left in Hollywood, and the sex scandals are just the beginning.  Read more …

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Rashomon & Realism

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Akira Kurosawa’s Rashomon (1950) is commonly found on lists of the world’s greatest movies, and deservedly so. Rashomon features avant-garde narrative techniques (flashbacks, multiple points of view), dynamic black-and-white cinematography by Kazuo Miyagawa, compelling Ravel-like music by Fumio Hayasaka, subtle and intensely dramatic performances, and a complex but tightly edited script, all combined into a fast-paced 88-minute masterpiece with an emotionally devastating climax. Read more …

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Blade Runner 2049

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It is dangerous work, making a sequel to a classic like Blade Runner, Ridley Scott’s 1982 magnum opus. French Canadian director Denis Villeneuve’s Blade Runner 2049 is a very good film, but it inevitably falls short of the original.

I first discovered Villeneuve’s work with his 2016 science fiction film Arrival (discussed with John Morgan here). Arrival impressed me as a highly imaginative science fiction film with an original visual style, told with an appealingly deliberate art-film pacing, with a stunning plot twist and a powerful emotional payoff. Read more …

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Blade Runner

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Czech translation here

Ridley Scott’s 1982 movie Blade Runner is a science fiction classic and surely the director’s finest work. Blade Runner excels on all levels. It is a highly imaginative vision of the future realized with a stunning visual style. The script is intelligent, even poetic. The cast is uniformly strong, with a number of powerful performances, particularly Rutger Hauer as Roy Batty. The gripping action sequences are acrobatic, balletic, and brutal. But the key to the film’s unsettling emotional power is its deep mythic subtext. Read more …

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Cronenberg’s Crash

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I remember the moment in 1996 when I first heard about David Cronenberg’s Crash on National Public Radio. I exploded in outrage. I thought the story of a group of people who made a sexual fetish of car crashes had to be the stupidest movie concept of all time. Not decadent or perverted, mind you—although it was obviously trying really hard in that respect—but just stupid. I had the sense that Western decadence, like a 16,000-page burlesque by the Marquis de Sade, was finally running out of perversions, Read more …

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Alien: Covenant

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I saw Alien: Covenant on the big screen this summer in Budapest. I didn’t write a review then, because another reviewer had it covered. But having seen it for a second time, now on Blu-ray, I feel moved to comment.

Covenant is an excellent film, indeed the best in the series since Scott started it with his path-breaking Alien (1979) — although James Cameron’s Aliens is excellent and iconic in its own right. Read more …

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