“Armageddon Time,” a new film by the writer and director James Gray, is, in effect, a naturalistic horror story of a practical crime and a moral crime.
that it places late-twentieth-century Queens at the epicenter of recent American societal pathologies. It depicts that borough’s white middle class as a hotbed of casual racism, a beneficiary of the baked-in racism of mainly white-run institutions, and the vanguard of the reactionary right’s—and the Trump family’s—political emergence.
The interstices of “Armageddon Time” are filled with the cultural effluvia of secular New York Jewry, starting with the neighborhood itself—when Mr. Turkeltaub calls the roll, its first few names include Ashkenazy, Breslow, and Cohen.
From the rest of his family, however, Paul gets mixed messages. When Irving mistakes Johnny for a prowler, the scene spotlights another racist shibboleth: the association of Black people with crime—a scurrilous association that still carries significant political weight.
I’ve long considered Gray’s hard, physically and emotionally bruising cinematic realism to be a faux realism, in a positive sense, and “Armageddon Time” highlights the peculiar singularity of that form. His representational images and consistent dramatic and character psychologies mask a shatteringly intense subjectivity—his own—and a maelstrom of historical forces.
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