Armond White

Chalamet and Safdie salute the me-first nation.

Craig Brewer celebrates Neil Diamond’s ecumenical working-class pop.

Highest 2 Lowest remakes Kurosawa for the DNC.

A Sondheim preservation venture against the odds.

Radu Jude puts a stake through diabolical politics.

This sequel doesn’t improve on what was irredeemable, but at least it’s shorter.

Recalling the film history that inspired National Review.

A warped history of justice, Tarantino-style.

A psychodrama about the West’s diminishing identity.

Del Toro’s remake refuses to grow up.

This Is Spinal Tap’s backward showbiz parody predicts Hollywood liberalism on the wrong side of culture and history.

A showbiz rock ’n’ roll version of Hamilton.

Panahi’s manipulation of liberal sentiment appeals to the Cannes culture that always rewards progressive banalities.

Sandler stares down Anderson.

A timely hit job equates cinema and politics.

An Officer and a Spy parallels the devastating history of the Dreyfus Affair with lawfare.

Even silly distraction is a form of repression.

An overdue exposé of the influencer syndrome.

The Hollywood resistance remakes the Man of Steel.

Despite cowardice and corruption, here are the year’s best movies so far.

In the shadow of Coppola’s collective political fantasy.

F1 insults the audience’s need for thrills.

A fresh look at the blockbuster’s semicentennial.

Gypsy’s famous stage mother, played by shrieking Audra McDonald, is racialized in Broadway’s latest instance of gaslighting.

Behind the artsy façade, a community of media radicals.

The Phoenician Scheme reminds us what matters.

Borrowed politics defeat a former rock-music hero.

Mati Diop plies her guilt trade.

Henry Johnson competes with the American ideal.

The sanctimonious proto-Communist bait of Good Night, and Good Luck.