Willie Osterweil in The New Inquiry on an emergent genre of film, “ancient apocalypse” cinema:
[W]hile every single hair on the rotting scalp of zombie cinema has been analyzed under bloodstained microscopes, a new subgenre has been emerging that wields the potent thought of the end of the world to even more reactionary ends. It uses the trope of apocalypse to project current power into the future by situating catastrophe and its overcoming in the past. These movies give voice to the blind hatred of the disgruntled agents of collapsing empire. […]
This is what makes many of these films more than just conservative or reactionary but right-revolutionary: They imagine a fundamentally overturned world in which the political and economic structures are destroyed but current forms of social organization (the anti-black racial order, patriarchy, militarism) are strengthened in the process of their ending. […]
In all these films, perhaps the most consistent trait is horror at being in society, the nightmare of the social in general. In any scene in which people are in “the public sphere”—from drinking in a tavern to mass political decision-making—the crowd is pictured as disgusting, weak, violent, bloodthirsty, ignorant and cowardly. […]
[T]he films reveal what yearning for apocalyptic survival as comeuppance actually is: a celebration of hate, prejudice, and a desire for death. Without a belief in a future unity-in-Christ, or the secular image of a post-apocalyptic utopia, all the apocalypse cult has to look forward to is its self-immolation in the cleansing and murderous distribution of “justice”.