Now I know this particular recommendation is a little on the controversial side. David Duke has pointed out that it is Neo Con War Propoganda and that it purposefully distorts history.
The Movie 300: Neocon Racial Propaganda for War | The Official Website of Representative David Duke, PhD
It is based on a graphic novel by a Jewish man, Frank Miller and was actually written pre-911. Miller has actually written
Comics can affect culture by allowing the world in, reflecting what we see. There is a reason, Miller says, that most of the great comics heroes were created by Jewish people that lived through the early part of the century. To a certain extent, they were creating a golem, a hero they needed to exist. Their comics were a response to the times they lived, something that comics have largely gotten away from and need to return if they’re going to be a significant voice in modern culture. …
The harsh truth is that we’re facing an enemy that keeps telling us what they are and what they want,” declared Miller, adding that people refuse to believe it. “They have made it plain they want to exterminate the Hebrews, to bring down the West, to achieve world dominion,” Miller warned, likening Islamic extremists to the Nazis in the 1930s. …
He pointed out that all of the major superheroes of the 1940s were created by Hebrews during a time of anti-Semitic persecution: “Superman was a golem.” … Miller nonetheless issued a call to his fellow authors: “Let’s revive our tradition and get back on the job.”
However, others say this movie seems like White Nationalist propaganda.
If 300, the new battle epic based on the graphic novel by Frank Miller and Lynn Varley, had been made in [the past], it would be studied today as a textbook example of how race-baiting fantasy and nationalist myth can serve as an incitement to total war. Since it's a product of the post-ideological, post-Xbox 21st century, 300 will instead be talked about as a technical achievement, the next blip on the increasingly blurry line between movies and video games.
But what's maddening about 300 (besides the paralyzing monotony of watching chiseled white guys make shish kebabs from swarthy Persians for 116 indistinguishable minutes) is that no one involved—not Miller, not Snyder, not one of the army of screenwriters, art directors, and tech wizards who mounted this empty, gorgeous spectacle—seems to have noticed that we're in the middle of an actual war. With actual Persians (or at least denizens of that vast swath of land once occupied by the Persian empire [actually Persia is Iran, not Iraq, that's Babylon-Alex Ham].
In at least one way, the film is true to the ethos of ancient Greece: It conflates moral excellence and physical beauty (which, in this movie, means being young, white, male, and fresh from the gyms of Brentwood).
Here are just a few of the categories that are not-so-vaguely conflated with the "bad" (i.e., Persian) side in the movie: black people. Brown people. Disfigured people. Gay men (not gay in the buff, homoerotic Spartan fashion, but in the effeminate Persian style). Lesbians. Disfigured lesbians. Ten-foot-tall giants with filed teeth and lobster claws. Elephants and rhinos (filthy creatures both). The Persian commander, the god-king Xerxes (Rodrigo Santoro) is a towering, bald club fag with facial piercings, kohl-rimmed eyes, and a disturbing predilection for making people kneel before him.
The battle epic 300 reviewed. - By Dana Stevens - Slate Magazine
Having seen this movie once before reading Dr. Duke's review, then once after, I can honestly say I thoroughly enjoyed it twice and highly recommend it. It does not make me want to go to war with Iran.
I know there are many historical inaccuaracies (Xerxes was White, the Persians had a similiar dress to the Greeks, they were not Black, etc.) But as whole, the movie had a feeling of White unity and loyalty and a message of holding back the Colored hordes.