Armond White is a Film Critic at National Review. He focuses on the intersection of arts and entertainment, particularly within the realms of film and cinema, as well as theater, exploring the nuances of the film industry and the world of plays and musicals. Armond's insights and critiques have been featured in Knowledia, National Review, and MSN.
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Brand New Day offers the same old banality. T he amnesia conceit behind Spider-Man: Brand New Day is torturous.
An anti- Hamilton blowout hits the screen. T he lead performers of the hit stage show Six are not just female victims; they're famous
The Drama pales next to Oshima’s masterpiece.
The latest self-hating Millennial non-rom-com I t's too bad that Joachim Trier already used the title The Worst Person in the World for his
How Don’t Say Good Luck redeems Millennial feminism.
Chasing the history of Exorcist II: The Heretic.
Warner Bros. devours its own legacy, again. H ow much do the makers of Coyote vs. Acme love the Warner Bros. Looney Toon cartoons?
The no-future love story that took Hollywood by storm.
A political hustle and horror show.
The films that take stock of cultural memory.
