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Gore Vital: The United States of Amnesia Review


Not only is this documentary a superbly well-assembled biography of the notorious author-commentator, but it's also a bracingly clear-eyed look at the America most people don't want to admit exists. The late Gore Vidal was a thorn in society, using his snappy intelligence to speak the truth even if it left him persona non grata. But when asked about his legacy, he famously replied, "I couldn't care less."

This echoes in his main message that America is resolutely ignoring its own history. "We miraculously forget everything," he said. "The lessons we should be learning we will have forgotten in no time at all." But history was his passion, as he wrote novels, plays, films and essays about the USA's evolution from a republic to an empire. No one wanted to hear this, even as he astutely noted how the nation essentially turned into a military monolith after WWII, and then became even more driven after 9/11, waging war without provocation or respect for any other country while using the Patriot Act to remove fundamental rights of habeas corpus and due process at home.

Filmmaker Wrathall packs the film with interview footage, allowing Vidal to narrate his own story and deliver his own lacerating comments (there's also narration from his literary executor Parini). And the screen is littered with Vidal's pithy, eerily astute remarks about politics ("Our form of democracy is bribery on the highest scale") and life in general ("Love is a fan club with only two fans"). This is all set within the framework of Vidal's life story. Descended from a long line of authors, politicians and innovators, he was raised to be a deep, free thinker. So it's no wonder that he took on society's "basic values", which he knew were false notions of what is natural.

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'Charlie St. Cloud' Los Angeles Premiere held At The Regency Village Theatre

Burr Steers - Burr Steers and guest Westwood, California - 'Charlie St. Cloud' Los Angeles Premiere held At The Regency Village Theatre Tuesday 20th July 2010

Igby Goes Down Review

2002 is the year of Kieran Culkin. After a rock-star performance in the one great film this year that everyone missed -- The Dangerous Lives of Altar Boys -- Kieran Culkin delivers another knockout performance as a rebel without a clue or a cause in Igby Goes Down.

Igby Goes Down tells the tale of one boy's rebellion against the 'old money' ways in which he was born. Igby Slocumb (Culkin) lives within a quirky family unit complete with a schizophrenic father (Bill Pullman) - whose last episode earned him a one-way ticket to the funny farm years back, a self-absorbed, Mommie Dearest of a mother (Susan Sarandon), and a repugnant Young Republican reptile of a brother (Ryan Phillippe). His constant attempts at searching out a better life away from his family's stifling dysfunction lead to a number of high school expulsions and an abnormal amount of prescription sedatives for his mother.

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How to Lose a Guy in 10 Days Review

Here's a little something to think about, should you find your unfortunate, misguided, sorry ass dragged to see this utter waste of a movie. Who's more masculine-looking: Matthew McConaughey, with his Goldilocks looks and enormous pecs, or Kate Hudson, with her creepy, angular features and ironed-straight Guns N' Roses hairdo?

This spurious conjecture is sadly far more interesting than How to Lose a Guy in 10 Days, a film which effectively loses its audience inside of 10 minutes.

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Pulp Fiction Review

Royale with cheese, baby, royale with cheese. The film of that single-handedly changed the face of American -- and world -- cinema in 1994, Quentin Tarantino's Pulp Fiction is a rare masterpiece that is unlikely to be repeated by him, or his imitators. And believe me, many have tried, with varying levels of success.

This set of interlocking tales involving gangsters, boxers, druggies, and plain old joes is alternately exciting and funny -- and often both at the same time. Whether it's John Travolta's Vincent Vega doing the twist with his gangster boss's wife and later miraculously pulling her out of a drug overdose, Samuel L. Jackson reciting the Bible or picking splattered brain out of his enormous afro, Tim Roth and Amanda Plummer robbing a diner, Bruce Willis throwing a boxing match and later ending up facing a couple of oversexed hillbilly degenerates, or Ving Rhames overseeing the whole proceedings, the movie is utterly brilliant, hilarious, and thrilling. Even the little things are perfect: Tarantino has never since quite managed to recapture his masterful use of the close-up and fantastically interesting lighting choices. It's one of only a handful of films that gets better every time you watch it.

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