Arlington Road

Not rated yet!
Director
Mark Pellington
Runtime
1 h 57 min
Release Date
19 March 1999
Genres
Crime, Drama, Thriller, Mystery
Overview
Threats from sinister foreign nationals aren't the only thing to fear. Bedraggled college professor Michael Faraday has been vexed (and increasingly paranoid) since his wife's accidental death in a botched FBI operation. But all that takes a backseat when a seemingly all-American couple set up house next door.
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  • Arlington Road

    [1]888 words

    Arlington Road is a terrific film. From the gripping opening scenes, it is a psychological and political thriller that is suspenseful, stylishly directed, and superbly acted. But the amazing plot twist at the end raises it to something much higher.

    I am sad that I did not hear about this movie when it was released.  But it turns out that Arlington Road was shelved by the studios for a year before release, and it was not effectively promoted. I can see why: From the point of view of Hollywood’s overall propaganda line, it goes “off message” in a major way.

    Director Mark Pellington is apparently a white man who is primarily known for his music videos.

    Jeff Bridges plays Michael Faraday, a widowed professor of American History at George Washington University in Washington, D.C. He lives in a McMansion subdivision in Northern Virginia, where he is raising his nine year old son Grant.

    Faraday’s research focuses on domestic terrorism, with a special focus on patriotic militia groups. His interest can justly be deemed an obsession, and he has a very personal motive. His wife, an FBI agent, was killed three years before in a botched FBI raid/standoff that is an amalgam of the Ruby Ridge and Waco incidents.

    It is remarkable that this incident is presented as a mistake by the government. The target of the raid was a law-abiding firearms collector who had just applied for a dealer’s license (shades of Waco), but the FBI charged in, killing the target’s wife and young son (shades of Ruby Ridge). This is the first way in which the film goes “off message.” (You’ll have to see the movie to learn about the other ways.)

    Faraday is portrayed as a neglectful father and a bad neighbor. He does not even know the Lang family across the street until he finds their son Brady covered with blood after an accident. Faraday rushes Brady to the hospital (he recovers) and as a result becomes friends with Oliver and Cheryl Lang (Tim Robbins and Joan Cusak).

    The friendship seems off to a good start. Grant and Brady become playmates when Brady is released from the hospital.

    But Faraday begins to suspect that Oliver Lang is not who he claims to be. He begins to investigate Lang and discovers that he is really named William Fennimore and that he was imprisoned when he was 16 for sending a pipe bomb to the Bureau of Land Management. (The bomb never went off.) His motive was resentment against the federal agency that destroyed his family’s livelihood and drove his father to suicide.

    Fennimore/Lang finds out that Faraday is on to him, and there is an emotional confrontation in which he explains himself, seemingly resolving the issue between them. Faraday even turns to the Langs for solace when his girlfriend Booke is killed in a car accident.

    The misgivings, however, begin to mount again. Faraday begins to suspect that Fenimore is behind an Oklahoma City-style bombing of a Federal building in Saint Louis, a bombing that had been blamed on a single suicide bomber.

    Lang, however, is one step ahead. He kidnaps Grant, holds him hostage, and tells Faraday that all he has to do to get his son back is be a good neighbor for a couple of days. Lang is clearly planning another bombing. Faraday, of course, tries to stop the bombing and rescue his son. But actions often have unintended consequences . . .

    I highly recommend this film. It is suspenseful and well-made, but beyond that it provides much food for thought.

    To my mind, the biggest question is the identity and motives of the bombers. They are portrayed as ordinary suburban white people who have beefs with the federal government. They are not portrayed as racists or White Nationalists, but they are all white, and the whites in the movie have a definitely “majority American” look, with names like Fennimore and Faraday. The only black character is an FBI agent, the former partner of Faraday’s wife.

    Perhaps the best reason to think they are not White Nationalists is that they are part of a large, well-funded, well-organized network that is adept at strategic chess games and psychological profiling. Harold Covington could have come up with a plot like this, but nobody in the WN world could ever bring it off.

    Of course the people who made this movie might not know that. Arlington Road might be merely the projections of paranoid left-wingers who have made us out to be something we are not.

    But another interpretation suggests itself: Lang and company work for the government. They are the ultimate “controlled opposition”: terrorists spawned by the system in order to justify the creation of an ever-tightening surveillance state.

    The Langs have Federal law enforcement written all over them. They are a nice, white family that moves around the country frequently, going from one safe, manicured subdivision to another. Dad is a bit vague about what he does for a living. Mom stays at home with the three kids. They seem to have plenty of money for a comfortable upper middle-class lifestyle. And when one job is completed, the “for sale” signs go up, and they await word on where they are being transferred next. Cheryl says “I hope it is someplace safe.” Oliver answers “Always.”

    ...
    (Review Source)
  • New from Counter-Currents! Son of Trevor Lynch’s White Nationalist Guide to the Movies
    (”Arlington Road” is briefly mentioned in this.)

    [1]1,140 words

    Trevor Lynch
    Son of Trevor Lynch’s White Nationalist Guide to the Movies
    Edited by Greg Johnson
    San Francisco: Counter-Currents, 2015
    214 pages

    Kindle E-book: $4.49 [2]

    A print edition will appear shortly, $35 for hardcovers and $18 for paperbacks. 

    Since 2001, Trevor Lynch’s witty, pugnacious, and profound film essays and reviews have developed a wide following among cinephiles and White Nationalists alike. Lynch deals frankly with the anti-white bias and Jewish agenda of many mainstream films, but he is even more interested in discerning positive racial messages and values, sometimes in the most unlikely places.

    Son of Trevor Lynch’s White Nationalist Guide to the Movies is his second collection of essays and reviews, covering 51 movies and 4 television shows, spanning a 14-year period, from his very first review (Mulholland Drive) to his last to date (The Hobbit: The Battle of Five Armies).

    Lynch offers penetrating and sometimes surprising philosophical readings of Ridley Scott’s Blade Runner, Alejandro Jodorowsky’s The Dance of Reality, the Coen brothers’ A Serious Man, M. Night Shyamalan’s Signs, and Francis Ford Coppola’s Youth Without Youth; sympathetic interpretations of Bollywood musicals and Zhang Yimou’s wuxia movies; and hilarious pans of Atlas Shrugged: Part I, Prometheus, The Hobbit trilogy, The Monuments Men, Machete, Predators, Secretary, Sucker Punch, and other worthy targets.

    Return of Trevor Lynch’s White Nationalist Guide to the Movies cements its author’s status as a leading cultural critic of the North American New Right.

    Contents

    Preface

    1. Agora
    2. Alexander
    3. Arlington Road
    4. Atlas Shrugged: Part I
    5. Blade Runner
    6. Burn Notice
    7. Coco Chanel & Igor Stravinsky
    8. The Dance of Reality
    9. Die Another Day
    10. 8 Mile
    11. Firefly
    12. Hero
    13. The Hobbit: An Unexpected Journey
    14. The Hobbit: The Desolation of Smaug
    15. The Hobbit: The Battle of Five Armies
    16. Hooray for Bollywood: Devdas & Kabhi Kushi Kabhie Gham
    17. House of Flying Daggers
    18. The Interpreter
    19. Law & Order: Special Victims Unit
    20. Legally Blonde 2: Red, White & Blonde
    21. Lovecraft: Fear of the Unknown
    22. Machete
    23. Man of Steel
    24. Men in Black II
    25. Minority Report
    26. Moneyball
    27. The Monuments Men
    28. Mulholland Drive
    29. Nebraska
    30. Person of Interest
    31. Predators
    32. Prometheus
    33. Red Dragon
    34. The Road
    35. Secretary
    36. Serenity
    37. A Serious Man
    38. Signs
    39. Spy Kids 2: The Island of Lost Dreams
    40. Star Wars: Episode II—Attack of the Clones
    41. Sucker Punch
    42. The Tourist
    43. Vanilla Sky
    44. Youth Without Youth

    Appendix
    45. Ten Favorite Films

    Index (Print edition only)

    Praise for Trevor Lynch

    “Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film—one that will send you running to the video rental store for a look at some very worthwhile movies—although he is also quite willing to tell you what not to see. He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession. Trevor Lynch’s collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West.”

    —Kevin MacDonald, author of The Culture of Critique

    “Hollywood has been deconstructing the white race for nearly a century. Now Trevor Lynch is fighting back, deconstructing Hollywood from a White Nationalist point of view. But these essays are not just of interest to White Nationalists. . . . These essays combine a cultural and philosophical sophistication beyond anything in film studies today with a lucid, accessible, and entertaining prose style. Every serious cineaste needs to read this book.”

    —Edmund Connelly

    “The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn’t stand a chance.”

    —F. Roger Devlin, author of Sexual Utopia in Power

    “This is not some collection of vein-popping rants about Hollywood’s political agendas. It’s a thoughtful and engaging examination of ideas in popular films from a perspective you won’t find in your local newspaper or in Entertainment Weekly. Lynch has chosen films that—in many cases—he actually enjoyed, and playfully teased out the New Right themes that mainstream reviewers can only afford to address with a careful measure of scorn. How many trees have been felled to print all of the Marxist, feminist, minority-pandering ‘critiques’ of contemporary celluloid over the past fifty years? Isn’t it about time we read an explicitly white review of The Fellowship of the Ring, or Traditionalist take on take on The Dark Knight?”

    —Jack Donovan, author of A Sky Without Eagles

    “Hunter Thompson said that Las Vegas was ‘what the whole hep world would be doing Saturday night if the Nazis had won the War.’ Like liberalism, that’s clever but wrong. If the Good Guys had won, we ‘hepsters’ would be at the movies, experiencing the ultimate art form, but made by racially aware white artists, not today’s Hollywood culture-distorters. This book is the next best thing: Trevor Lynch reviews today’s films from an artistically sensitive, culturally informed, but most of all unfailingly pro-white perspective. He doesn’t just warn you away from the obviously bad, but explains how the poison works and where it comes from, and even finds racially uplifting stuff where you’d least expect it—Pulp Fiction? Read it, and you’ll never feel the need to pay good money to be seen weeping at another Holocaust movie again.”

    —James J. O’Meara, author of The Eldritch Evola . . . & Others

    “What I find most remarkable about Trevor Lynch’s writings on film is his ability to use philosophy to illuminate film, and vice-versa, with an intellectual virtuosity and lucidity of style that blows away anything in the vast Open Court and Blackwell series of Philosophy and Popular Culture books.”

    —Jef Costello

    “‘Trevor Lynch’ is not precisely a real person himself. Rather, he is the alter-ego of a tiresome and self-important fellow named Greg Johnson who runs a vastly pretentious website called Counter-Currents.com . . . . Lynch/Johnson . . . might be considered shocking, if only he weren’t such a bore. A consummate nerd and self-described “LOTR [Lord of the Rings] fanatic,” he’s the kind of guy who finds himself at parties at which ‘Pulp Fiction’ is described as a film about ‘greatness of soul at the end of history,’ and who complains as lustily about ‘lowbrow’ appropriation of the term ‘postmodern’ as he does about the supposed Jewish scheme to undermine ‘higher morality’ by putting ‘dangerous truths’ ‘in the mouths of monsters’ like the racist skinheads of ‘American History X’.”

    —Leah Nelson, Southern Poverty Law Center Intelligence Report

    “The most bizarre of the white supremacist titles, though, is Trevor Lynch’s White Nationalist Guide to the Movies. . . . Mr Lynch’s review of summer blockbuster ‘Django Unchained’ calls it ‘another Jewish wet dream’ before saying that ‘hateful fantasies about teaming up with blacks to harm whites are staples of the Jewish imagination.’”

    —Ryan Gorman, The Daily Mail

     

    ...
    (Review Source)
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
    (”Arlington Road” is briefly mentioned in this.)

    [1]1,161 words

    Trevor Lynch
    Son of Trevor Lynch’s White Nationalist Guide to the Movies [2]
    Edited by Greg Johnson
    San Francisco: Counter-Currents, 2015
    214 pages

    Hardcover: $35 [2]

    Paperback: List price: $20; our price: $18 [2]

    Print copies will ship by March 21, 2015.

    To visit our secure order page, click here [2]

    Since 2001, Trevor Lynch’s witty, pugnacious, and profound film essays and reviews have developed a wide following among cinephiles and White Nationalists alike. Lynch deals frankly with the anti-white bias and Jewish agenda of many mainstream films, but he is even more interested in discerning positive racial messages and values, sometimes in the most unlikely places.

    Son of Trevor Lynch’s White Nationalist Guide to the Movies is his second collection of essays and reviews, covering 51 movies and 4 television shows, spanning a 14-year period, from his very first review (Mulholland Drive) to his last to date (The Hobbit: The Battle of Five Armies).

    Lynch offers penetrating and sometimes surprising philosophical readings of Ridley Scott’s Blade Runner, Alejandro Jodorowsky’s The Dance of Reality, the Coen brothers’ A Serious Man, M. Night Shyamalan’s Signs, and Francis Ford Coppola’s Youth Without Youth; sympathetic interpretations of Bollywood musicals and Zhang Yimou’s wuxia movies; and hilarious pans of Atlas Shrugged: Part I, Prometheus, The Hobbit trilogy, The Monuments Men, Machete, Predators, Secretary, Sucker Punch, and other worthy targets.

    Return of Trevor Lynch’s White Nationalist Guide to the Movies cements its author’s status as a leading cultural critic of the North American New Right.

    Contents

    Preface

    1. Agora
    2. Alexander
    3. Arlington Road
    4. Atlas Shrugged: Part I
    5. Blade Runner
    6. Burn Notice
    7. Coco Chanel & Igor Stravinsky
    8. The Dance of Reality
    9. Die Another Day
    10. 8 Mile
    11. Firefly
    12. Hero
    13. The Hobbit: An Unexpected Journey
    14. The Hobbit: The Desolation of Smaug
    15. The Hobbit: The Battle of Five Armies
    16. Hooray for Bollywood: Devdas & Kabhi Kushi Kabhie Gham
    17. House of Flying Daggers
    18. The Interpreter
    19. Law & Order: Special Victims Unit
    20. Legally Blonde 2: Red, White & Blonde
    21. Lovecraft: Fear of the Unknown
    22. Machete
    23. Man of Steel
    24. Men in Black II
    25. Minority Report
    26. Moneyball
    27. The Monuments Men
    28. Mulholland Drive
    29. Nebraska
    30. Person of Interest
    31. Predators
    32. Prometheus
    33. Red Dragon
    34. The Road
    35. Secretary
    36. Serenity
    37. A Serious Man
    38. Signs
    39. Spy Kids 2: The Island of Lost Dreams
    40. Star Wars: Episode II—Attack of the Clones
    41. Sucker Punch
    42. The Tourist
    43. Vanilla Sky
    44. Youth Without Youth

    Appendix
    45. Ten Favorite Films

    Index (Print edition only)

    Praise for Trevor Lynch

    “Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film—one that will send you running to the video rental store for a look at some very worthwhile movies—although he is also quite willing to tell you what not to see. He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession. Trevor Lynch’s collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West.”

    —Kevin MacDonald, author of The Culture of Critique

    “Hollywood has been deconstructing the white race for nearly a century. Now Trevor Lynch is fighting back, deconstructing Hollywood from a White Nationalist point of view. But these essays are not just of interest to White Nationalists. . . . These essays combine a cultural and philosophical sophistication beyond anything in film studies today with a lucid, accessible, and entertaining prose style. Every serious cineaste needs to read this book.”

    —Edmund Connelly

    “The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn’t stand a chance.”

    —F. Roger Devlin, author of Sexual Utopia in Power

    “This is not some collection of vein-popping rants about Hollywood’s political agendas. It’s a thoughtful and engaging examination of ideas in popular films from a perspective you won’t find in your local newspaper or in Entertainment Weekly. Lynch has chosen films that—in many cases—he actually enjoyed, and playfully teased out the New Right themes that mainstream reviewers can only afford to address with a careful measure of scorn. How many trees have been felled to print all of the Marxist, feminist, minority-pandering ‘critiques’ of contemporary celluloid over the past fifty years? Isn’t it about time we read an explicitly white review of The Fellowship of the Ring, or Traditionalist take on take on The Dark Knight?”

    —Jack Donovan, author of A Sky Without Eagles

    “Hunter Thompson said that Las Vegas was ‘what the whole hep world would be doing Saturday night if the Nazis had won the War.’ Like liberalism, that’s clever but wrong. If the Good Guys had won, we ‘hepsters’ would be at the movies, experiencing the ultimate art form, but made by racially aware white artists, not today’s Hollywood culture-distorters. This book is the next best thing: Trevor Lynch reviews today’s films from an artistically sensitive, culturally informed, but most of all unfailingly pro-white perspective. He doesn’t just warn you away from the obviously bad, but explains how the poison works and where it comes from, and even finds racially uplifting stuff where you’d least expect it—Pulp Fiction? Read it, and you’ll never feel the need to pay good money to be seen weeping at another Holocaust movie again.”

    —James J. O’Meara, author of The Eldritch Evola . . . & Others

    “What I find most remarkable about Trevor Lynch’s writings on film is his ability to use philosophy to illuminate film, and vice-versa, with an intellectual virtuosity and lucidity of style that blows away anything in the vast Open Court and Blackwell series of Philosophy and Popular Culture books.”

    —Jef Costello

    “‘Trevor Lynch’ is not precisely a real person himself. Rather, he is the alter-ego of a tiresome and self-important fellow named Greg Johnson who runs a vastly pretentious website called Counter-Currents.com . . . . Lynch/Johnson . . . might be considered shocking, if only he weren’t such a bore. A consummate nerd and self-described “LOTR [Lord of the Rings] fanatic,” he’s the kind of guy who finds himself at parties at which ‘Pulp Fiction’ is described as a film about ‘greatness of soul at the end of history,’ and who complains as lustily about ‘lowbrow’ appropriation of the term ‘postmodern’ as he does about the supposed Jewish scheme to undermine ‘higher morality’ by putting ‘dangerous truths’ ‘in the mouths of monsters’ like the racist skinheads of ‘American History X’.”

    —Leah Nelson, Southern Poverty Law Center Intelligence Report

    “The most bizarre of the white supremacist titles, though, is Trevor Lynch’s White Nationalist Guide to the Movies. . . . Mr Lynch’s review of summer blockbuster ‘Django Unchained’ calls it ‘another Jewish wet dream’ before saying that ‘hateful fantasies about teaming up with blacks to harm whites are staples of the Jewish imagination.’”

    —Ryan Gorman, The Daily Mail

    Hardcover: $35 [2]

    Paperback: List price: $20; our price: $18 [2]

    Print copies will ship by March 21, 2015.

    To visit our secure order page, click here [2].

     

    ...
    (Review Source)
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
    (”Arlington Road” is briefly mentioned in this.)

    Trevor Lynch
    Son of Trevor Lynch’s White Nationalist Guide to the Movies
    Edited by Greg Johnson
    San Francisco: Counter-Currents, 2015
    214 pages

    Kindle E-book: $4.49 [1]

    Since 2001, Trevor Lynch’s witty, pugnacious, and profound film essays and reviews have developed a wide following among cinephiles and White Nationalists alike. Lynch deals frankly with the anti-white bias and Jewish agenda of many mainstream films, but he is even more interested in discerning positive racial messages and values, sometimes in the most unlikely places.

    Son of Trevor Lynch’s White Nationalist Guide to the Movies is his second collection of essays and reviews, covering 51 movies and 4 television shows, spanning a 14-year period, from his very first review (Mulholland Drive) to his last to date (The Hobbit: The Battle of Five Armies).

    Lynch offers penetrating and sometimes surprising philosophical readings of Ridley Scott’s Blade Runner, Alejandro Jodorowsky’s The Dance of Reality, the Coen brothers’ A Serious Man, M. Night Shyamalan’s Signs, and Francis Ford Coppola’s Youth Without Youth; sympathetic interpretations of Bollywood musicals and Zhang Yimou’s wuxia movies; and hilarious pans of Atlas Shrugged: Part I, Prometheus, The Hobbit trilogy, The Monuments Men, Machete, Predators, Secretary, Sucker Punch, and other worthy targets.

    Return of Trevor Lynch’s White Nationalist Guide to the Movies cements its author’s status as a leading cultural critic of the North American New Right.

    Contents

    Preface

    1. Agora
    2. Alexander
    3. Arlington Road
    4. Atlas Shrugged: Part I
    5. Blade Runner
    6. Burn Notice
    7. Coco Chanel & Igor Stravinsky
    8. The Dance of Reality
    9. Die Another Day
    10. 8 Mile
    11. Firefly
    12. Hero
    13. The Hobbit: An Unexpected Journey
    14. The Hobbit: The Desolation of Smaug
    15. The Hobbit: The Battle of Five Armies
    16. Hooray for Bollywood: Devdas & Kabhi Kushi Kabhie Gham
    17. House of Flying Daggers
    18. The Interpreter
    19. Law & Order: Special Victims Unit
    20. Legally Blonde 2: Red, White & Blonde
    21. Lovecraft: Fear of the Unknown
    22. Machete
    23. Man of Steel
    24. Men in Black II
    25. Minority Report
    26. Moneyball
    27. The Monuments Men
    28. Mulholland Drive
    29. Nebraska
    30. Person of Interest
    31. Predators
    32. Prometheus
    33. Red Dragon
    34. The Road
    35. Secretary
    36. Serenity
    37. A Serious Man
    38. Signs
    39. Spy Kids 2: The Island of Lost Dreams
    40. Star Wars: Episode II—Attack of the Clones
    41. Sucker Punch
    42. The Tourist
    43. Vanilla Sky
    44. Youth Without Youth

    Appendix
    45. Ten Favorite Films

    Index (Print edition only)

    Praise for Trevor Lynch

    “Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film—one that will send you running to the video rental store for a look at some very worthwhile movies—although he is also quite willing to tell you what not to see. He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession. Trevor Lynch’s collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West.”

    —Kevin MacDonald, author of The Culture of Critique

    “Hollywood has been deconstructing the white race for nearly a century. Now Trevor Lynch is fighting back, deconstructing Hollywood from a White Nationalist point of view. But these essays are not just of interest to White Nationalists. . . . These essays combine a cultural and philosophical sophistication beyond anything in film studies today with a lucid, accessible, and entertaining prose style. Every serious cineaste needs to read this book.”

    —Edmund Connelly

    “The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn’t stand a chance.”

    —F. Roger Devlin, author of Sexual Utopia in Power

    “This is not some collection of vein-popping rants about Hollywood’s political agendas. It’s a thoughtful and engaging examination of ideas in popular films from a perspective you won’t find in your local newspaper or in Entertainment Weekly. Lynch has chosen films that—in many cases—he actually enjoyed, and playfully teased out the New Right themes that mainstream reviewers can only afford to address with a careful measure of scorn. How many trees have been felled to print all of the Marxist, feminist, minority-pandering ‘critiques’ of contemporary celluloid over the past fifty years? Isn’t it about time we read an explicitly white review of The Fellowship of the Ring, or Traditionalist take on take on The Dark Knight?”

    —Jack Donovan, author of A Sky Without Eagles

    “Hunter Thompson said that Las Vegas was ‘what the whole hep world would be doing Saturday night if the Nazis had won the War.’ Like liberalism, that’s clever but wrong. If the Good Guys had won, we ‘hepsters’ would be at the movies, experiencing the ultimate art form, but made by racially aware white artists, not today’s Hollywood culture-distorters. This book is the next best thing: Trevor Lynch reviews today’s films from an artistically sensitive, culturally informed, but most of all unfailingly pro-white perspective. He doesn’t just warn you away from the obviously bad, but explains how the poison works and where it comes from, and even finds racially uplifting stuff where you’d least expect it—Pulp Fiction? Read it, and you’ll never feel the need to pay good money to be seen weeping at another Holocaust movie again.”

    —James J. O’Meara, author of The Eldritch Evola . . . & Others

    “What I find most remarkable about Trevor Lynch’s writings on film is his ability to use philosophy to illuminate film, and vice-versa, with an intellectual virtuosity and lucidity of style that blows away anything in the vast Open Court and Blackwell series of Philosophy and Popular Culture books.”

    —Jef Costello

    “‘Trevor Lynch’ is not precisely a real person himself. Rather, he is the alter-ego of a tiresome and self-important fellow named Greg Johnson who runs a vastly pretentious website called Counter-Currents.com . . . . Lynch/Johnson . . . might be considered shocking, if only he weren’t such a bore. A consummate nerd and self-described “LOTR [Lord of the Rings] fanatic,” he’s the kind of guy who finds himself at parties at which ‘Pulp Fiction’ is described as a film about ‘greatness of soul at the end of history,’ and who complains as lustily about ‘lowbrow’ appropriation of the term ‘postmodern’ as he does about the supposed Jewish scheme to undermine ‘higher morality’ by putting ‘dangerous truths’ ‘in the mouths of monsters’ like the racist skinheads of ‘American History X’.”

    —Leah Nelson, Southern Poverty Law Center Intelligence Report

    “The most bizarre of the white supremacist titles, though, is Trevor Lynch’s White Nationalist Guide to the Movies. . . . Mr Lynch’s review of summer blockbuster ‘Django Unchained’ calls it ‘another Jewish wet dream’ before saying that ‘hateful fantasies about teaming up with blacks to harm whites are staples of the Jewish imagination.’”

    —Ryan Gorman, The Daily Mail

    ...
    (Review Source)

Amerika.org Staff1
Amerika.org



(Reviewers' Site/Bio)

  • Suburban Isolation
    (”Arlington Road” is briefly mentioned in this.)

    Suburban Isolation

    by Frank Azzurro on August 9, 2011

    Look at a suburban neighborhood thirty or forty years ago, and you’d see some pleasant images: neighborhood kids policing their own imaginary worlds in kickball, fort-building, and other games; neighbors getting together for barbecues and maybe even block parties and pool parties; open garages and screen doors letting in fresh air and even glances from the neighbors.

    Today, walk down that same street, and you’ll find the following:

    • People don’t know each other: The film Arlington Road relied in part on the idea that it’s easy to fake being the token Jones’ next door in our modern world while living a life of crime behind the scenes. If you don’t know your neighbors, how much prying is too much; how much should you know about your neighbors?
    • Neighborhoods don’t exist anymore in the sense they did decades back. No more do we allow our children to play in the streets of a cul-de-sac unsupervised. Youth justice might at times be cruel, but it’s important for kids to learn social rules outside the home.  If a kickball is always thrown at me harder by this one kid, do I fight? Would I win? What else can I do?  Kids don’t think in these terms, but the kernels are there at a young age and experience teaches them valuable lessons they won’t find inside the house.
    • Kids know less kids in their neighborhood, and more kids who would otherwise be strangers were it not for Mom’s groups or extracurricular activities. These pursuits aren’t inherently bad, but the extreme focus on socialization and comparison with kids at earlier ages is due to people who don’t have any common thread, even a street name, getting together with other kids at random. This type of socialization represents a consumer choice to new-age parents. Why be stuck socializing with the people you happen to live near? That idea is so 1970s, man.On a higher level, this follows the modern trend to centralize as much as possible – on an economic and social basis.

    Part of the isolation in our quiet, suburban lives is due to removing the idea of community in a place set up perfectly to let it foster. But what caused that to begin with?

    The idea of privacy taken to an individualistic extreme is one cause. It’s fine to crave privacy when the blinds are drawn and the doors closed. But when this is the de facto standard for every house in most neighborhoods, it gives the neighborhood a sense of isolation.

    That family who lives four houses down, and has a kid who will be in the same Kindergarten class as your little one? You saw them drive by twice this summer and waved and smiled, but that’s it. Their shades are always drawn; their garage always closed.

    We have replaced natural socialization with some fake, randomized version in the same neighborhoods thirty years later. One reason is too many children of the original suburbanites grew up in homes that ended up broken after the move to the ‘burbs. They figure, something about their community must have been the cause, so the suburbs are bad – but if there’s nowhere else to go, the way things were done way back then must have been bad.

    So let’s change things up – screw everyone else, we don’t need them! Paying a service to get together with other people so there’s no hard feelings if I don’t like them is easier; more like a consumer choice.

    What isn’t mentioned is that the people who happen to be in office at the time gain more power through lack of feedback in the community. “Everyone wants to sit around and watch TV, and let us run the town for them? Sure, why not? No one is paying attention, so I’ll [insert corrupt act here].”

    It follows through to the grandchildren of the original suburban transplants. Where kids learned from a very young age that if you were the youngest/smallest/weakest in the group, you’d be last picked for sports until you got bigger or stronger, now kids are forced to intermingle and behave even during what was once free time devoid of constant supervision.

    This was the time kids were able to exercise imagination to its fullest. Thank the idea of equality for this – we can’t have kids policing themselves in any way, shape or form because some kids might be bullied; or worse, learn something about themselves they could (should) improve upon:

    “One of our goals is to help [bystanders] understand that even though they’re not active participants, just observing and the silence allows the bullying to continue,” Hall said in an interview. “One of the main goals is to reach this group of individuals; if we can do that successfully, we stand a good change of reducing bullying.”

    In order to allow for better communication between staff members and to have a more integrated reporting system, Gormley said the school district would be purchasing software for online reporting.

    Boston.com

    First up: Software to report bullying. Next up: prosecute the offending bystanders!

    It’s interesting that it took years of micromanaging the lives of children before we finally started talking about bullying. Some sharp words that get to the gut of the matter:

    The result of forced, random socialization via a generation of faithless, selfish people born from an even more selfish group, is an unfortunate feeling of isolation in places that are supposed to be warm and welcoming.

    There are exceptions.  In the same sense that not every suburb was a Leave It To Beaver paradise of sewing circles in the past, not every suburban street is a lonely place. But many have lost an important sense of identity, and when identity is lost, there are no cultural norms by which people adhere. So we shut ourselves in, and the house next door is just a point of comparison more than a place with welcome hosts and like-minded ideas.

    The people have become soulless and empty, not the suburbs themselves.

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