Two quick comments: Pete’s post below called to mind Yuval Levin’s brilliant and engaging presentation at the APSA on what the Republicans should say and do now. Nobody else comes close to touching Pete and Yuval for astuteness on public policy. And, in the spirit of compromise, I will be partly democratic and partly aristocratic and say that, for Paul Seaton, sixty is the new fifty.
So I got an e-mail wondering how I could be associated with NRO, given how, well, over-the-top film critic Armond White has been on this site. White listed 20 films that “effectively destroyed art, social unity, and spiritual confidence. They constitute a corrupt, carelessly politicized canon.” I think he might be at least overreacting in every case, although I haven’t seen quite all the films. I dissent most firmly on the eight listed below:
The Dark Knight (2008) is one of the more philosophical superhero movies.
12 Years a Slave (2013) might be a bit overwrought and uneven in terms of characterization and conversation, but it’s pretty darn good in displaying the moral violence — the spiritualized despotism — caused by the monstrosity of race-based slavery.
Frost/Nixon (2008) provokes thought about the conflicted and somewhat lawless Nixon, even if it overrates the importance of the Frost interviews and Frost generally. Finally, a bit boring because you don’t learn anything you didn’t already know.
Knocked Up (2007) is a vulgar, strangely edifying, pretty funny, somewhat unrealistic pro-life movie.
The Social Network (2010) is a devastating indictment of the wimpy narcissism and small-mindedness at the personal foundation of Silicon Valley. Zuckerberg is portrayed as an a****** wannabe — not even an a******.
The Hangover (2009) is a funny, ridiculous buddy movie with no deeper teaching. I could recommend it if the ten grossest minutes had been left on the cutting-room floor.
Slumdog Millionaire (2008) is extremely well made and all about what’s good and what’s bad — not to mention miserable — about a country on the make. It is shamelessly romantic, but so what?
Lincoln (2012) takes a few liberties with history, but it certainly has nothing to do with Obama. Daniel Day-Lewis’s superb portrayal of Lincoln’s singular greatness — reflected, for example, in his singular manner of speaking — makes up for any and all deficiencies, including possible contemporary subtexts. And the acting is good all around. You also learn something about the messiness of the legislative process.
Although everyone at NRO is against political correctness, we agree to disagree on books, movies, and so forth.