Demons
RazörFist
(Review Source)
Dirty Harry
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
This is the time of year for movie critics to roll out their awards and their ten-best lists, and I am forced to take a long, hard look at the cinema from the fact that I cannot come up with a “ten best” list at all. For in the cinema we must wage the same struggle that we should have been fighting in the rest of the culture since the turn of the twentieth century: on behalf of the old, bourgeois values and against the morbidity and unreason of the avant-garde. Unfortunately, the avant-garde has now become “the garde”, and so it becomes more important than ever, in the movies as well as in literature, art, and music, to raise the standard of the arriere-garde — a rear-guard struggle against a diseased culture. The carriers of the disease are of the course the intelligentsia…..

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 4.11, January 1973
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
Death Wish. with Charles Bronson. dir. by Michael Winner.
Death Wish is a superb movie, the best hero-and-vengeance picture since Dirty Harry. Bronson, an architect whose young family has been destroyed by muggers, drops his namby-pamby left-liberalism, and begins, to pack a gun, defending himself brilliantly and uncompromisingly against a series of muggers who infest New York City. Yet he never kills the innocent, or commits excesses. Naturally, even though he is only defending himself against assault, the police, who have failed to go after the muggers and who acknowledge the fall in the crime rate due to Bronson’s activities, devote their resources to pursuing him instead of the criminals who terrorize New York. It is a great and heroic picture, a picture demonstrating one man’s successful fight for justice.
As might be expected, Death Wish has been subjected to hysterical attacks by…

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 6.8, August 1974
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
John Wayne moves into the role of tough cop hero in McQ, dir. by John Sturges. There is no such thing as a bad John Wayne picture, and it is good to have Big John, or Lt. McQ, on hand to carry on a one-man struggle against the rackets and against crooked colleagues. And yet, the picture is no better than workmanlike. It is surprisingly slow, for one thing, and the creaky action only highlights the age of Wayne and Eddie Albert. Also, the standard behavior of the females in falling all over the hero lacks a certain amount of credibility in the case of the aging Wayne. Al Lettieri makes a promising, shambling villain, but the female leads lend no help: Diana Muldaur seems to have only one expression: hangdog, while Colleen Dewhurst—billed on all sides as one of the great actresses of our epoch—croaks her way through a terrible performance. Warning to Warner Brothers: if McQ is going to stick around, you’d better come up with faster action and a better director.
The tough cop picture has done far better by Clint Eastwood. His first effort, in Dirty Harry, was one of the great films of the last several years. The leftist intellectuals virtually…

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 6.1, January 1974
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
Defense of Dirty Harry. Andrew Sarris, in a review of The Enforcer in the Village Voice (Jan. 24), presents a fine, insightful defense of Clint Eastwood and his Dirty Harry persona. Sarris asks how it is that New York left-liberals, while exulting in films of violence starring such actors as Dustin Hoffman and Robert DeNiro, balk loudly at the “violence” in the far less violent films of Clint Eastwood. There is, of course, the “right-wing individualism” of the Dirty Harry series, “directed both at vote-grubbing politicians and thrill-seeking punks.” (An ideology that Sarris disapproves of but is willing to overlook). But Sarris perceptively sees that there is something more going on: namely, that as an actor, Eastwood is a strong, decisive, private person, while in contrast the antiheroes of the films approved by the liberal intelligentsia exude their neuroses all over the screen. It is not that Eastwood “doesn’t act”, but that he acts brilliantly in the old heroic Cooper-Wayne tradition…

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 10.4, April 1977
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
Star Wars, dir. by George Lucas. With Alec Guinness and Carrie Fisher.
First came the hype. That Star Wars is going to be the biggest popular film success since Jaws means very little. So every season is going to have its oversold smash hit, so what? But the difference, the new.hype, with Star Wars was its overwhelming acclaim among the critics. Usually the masses whoop it up for a Jaws while the critics go ape over Bertolucii or Fassbinder. Yet here they were in joint huzzahs, with the critic from Time flipping his wig to such an extent as to call it the best movie of the year and making Star Wars the feature of that week’s issue.
But the oddest, the most peculiar part of it was what my fellow-critics were saying: “Hurrah, a fun movie-movie”; “good escape entertainment”; “a return to good guys vs. a happy ending again”; “movie fare for the entire family”; “like Flash Gordon” etc. Here were men and women who have spent the greater, part of their lives deriding these very virtues…

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 10.6, June 1977
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
Red Dawn, dir. by John Milius.
It’s not only the Supreme Court that follows the election returns. Hollywood, too, does its bit, and movie theatres have been increasingly filled with right-wingy patriotism, like the rest of the media this endless summer. I went to see Red Dawn expecting a bout of anti-Soviet warmongering, bat instead was pleasantly surprised. This is hardly a great picture, and is indeed flawed. But Red Dawn is an enjoyable teen-age saga, and, apart from right-wingy pro-NATO credits at the beginning of the film, it is not so much pro-war as it is anti-State. The warfare it celebrates is not interstate strife, but guerrilla conflict that the great radical libertarian military analyst, General Charles Lee, labelled “people’s war” two centuries before Mao and Che.
The beginning of the picture is exciting, if idiotic. Cuban, Nicaraguan, Mexican and other Commie Hispanic troops, headed by Soviet advisors, parachute into and successfully conquer the entire prairie MidWest, from the Rockies to the Mississippi. In the opening sequence…

Read the rest via The Complete Libertarian Forum (1969-1984) Vol. 18.7–8, July–August 1984
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
First came the hype. That Star Wars is going to be the biggest popular film success since Jaws means very little. So every season is going to have its oversold smash hit, so what? But the difference, the new hype, with Star Wars was its overwhelming acclaim among the critics. Usually the masses whoop it up for a Jaws while the critics go ape over Bertolucii or Fassbinder. Yet here they were in joint huzzahs, with the critic from Time flipping his wig to such an extent as to call it the best movie of the year and making Star Wars the feature of that week’s issue. But the oddest, the most peculiar part of it was what my fellow-critics were saying: “Hurrah, a fun movie-movie”; “good escape entertainment”; “a return to good guys vs. a happy ending again”; “movie fare for the entire family”; “like Flash Gordon” etc. Here were men and women who...
(Review Source)
Murray N. Rothbard (a.k.a. Mr. First Nighter)
(”Dirty Harry” is briefly mentioned in this.)
For once, the Academy Awards were tolerable-not the ceremony which was longer, more boring, and more Politically Correct than ever-but the awards themselves. The Unforgiven was neither my favorite picture of the year, nor a particularly good movie or Western, but it was not too bad, and certainly infinitely better than the repellent Crying Game, which it just beat out by a nose. The great Clint Eastwood deserves an Oscar, and so this can be considered a "lifetime award." But he was only able to receive it for a genre hated by left-liberals because he made deep obeisances throughout the movie about the evils of violence, or of revenge, about the torments of "killing a man" and all the rest of the liberal swill. In other words...



Read the rest via The Irrepressible Rothbard pg. 426
(Review Source)
RazörFist
(Review Source)
Libertarian Agnostic
It’s bizarre re-watching childhood movies now that I’m “redpilled.” I truly was colorblind in many ways back then. Because holy crap, are there a lot of black people in this film. Compared to 2018 affirmative action, it’s nothing, but still … Continue reading
(Review Source)
Dolphin Tale
Libertarian Agnostic
REVIEW BY: Other reviews by Libertarian Agnostic: Search all Staff Reviews from STFU Hollywood:
(Review Source)
Libertarian Agnostic
REVIEW BY: Other reviews by Libertarian Agnostic: Search all Staff Reviews from STFU Hollywood:
(Review Source)
Doom
Stefan Molyneux
(Review Source)
Libertarian Agnostic
Yup. Another overly simplistic plot line about evil capitalists who try to exploit the environment at all costs. And of course they just HAD to make it clear that they were Republicans. In one scene, the cartoonishly evil fat cats … Continue reading
(Review Source)
Stefan Molyneux
(Review Source)