Quotes from Armond White

Anyone who sees the realism in Lynch truly understand poetry!

Toy Story 3 is so besotted with brand names and product-placement that it stops being about the innocent pleasures of imagination -- the usefulness of toys -- and strictly celebrates consumerism.

Never use a clip from a movie you cannot match or surpass.

Clearly there are kinds of sentimentality that media mobs favor. They condemn others as a way to pretend intellectual superiority.

Progressives have finally convinced everyone to think alike, but without joy, satisfaction, or social harmony in return — just self-righteousness and misery.

In the stout-hearted person of Harrison Ford, Indy was a new generation's Ethan Edwards—a young John Wayne-bwana dispatched to curate the Third World. Not an identity-cloaked sci-fi superhero but a bullwhip-toting, fedora-wearing, two-fisted sophisticate who respected the Bible and saved the children of India—a superb hero yet an intrinsically nostalgic figure.

The story in Lincoln dramatizes the President's efforts to install a 13th Amendment to the Constitution that abolishes slavery. His struggle is more than politically correct; it is presumed inarguably correct which takes the movie outside of history; outside of dramatic immediacy. Watching Lincoln is very much like observing a flesh-and-blood diorama. Everything is soon to be settled (within 2½ hours); there's no emotional suspense.

A once-great filmmaker has taken on a new avatar less heroic than Parzival. It is the avatar of a pandering crowd-pleaser. Spielberg, the D. W. Griffith of the sound era—who ironically, when the politically correct putsch began in 1999, turned his back on Griffith by failing to speak up as the Directors Guild of America stripped Griffith's name and legacy from its awards—now celebrates Hollywood's most craven tendencies. The crowd-pleaser has outdone himself.

Now that the Harry Potter series is over, maybe the truth can be realized: This has been the dullest franchise in the history of movie franchises.

The corniest movie ever made about the white man's need to lose his identity and assuage racial, political, sexual and historical guilt.