His thesis, fiercely argued, and indeed with an extreme of rhetoric faintly reminiscent of Nietzsche, was that the culture of his day, both bourgeois and modernist, was in fact so thoroughly feminized as to make the redemption of masculinity impossible outside of an
apocalyptic scenario; and that this, and not some alleged patriarchal bias, was the root of all
modern decadence (and violence).
An unwelcome addition, and one made more galling by his ocker tones, is a newfound need to inject quips and wisecracks into the dialogue,
modern banter at odds with the seriousness of both the film's
apocalyptic scenario and source material.