American - Novelist | April 20, 1950 -
Alejandro Jodorowsky is one of the supreme nut jobs in movie history, and of course I mean that in the nicest way.
Steve Erickson
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There's no rule that we have to like the characters movies are about.
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To an extent, our relationship with the movies is always subjective. Our capacity to be involved says as much about each of us; I've never fathomed why anyone would want to spend four hours in the company of the exceedingly tiresome Scarlett O'Hara.
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It's not always clear whether the filmmaker intends our alienation or is even aware of it.
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Americans should be ashamed of how aflutter they get about Downton Abbey - it's unpatriotic. I seem to remember we fought a revolution so as not to put up with this nonsense, where notions of station are so unforgiving that upper and lower echelons are practically different species.
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Meryl Streep and Julia Roberts act themselves senseless in 'August: Osage County,' and by the time they're finished, they've acted their movie senseless, too.
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Nothing manifests more persuasively the American contradiction than that the author of the Declaration of Independence, a slave owner, wrote an antislavery clause into the document - as if to compel himself to be better than he was - which then had to be edited out so the Southern states, including Thomas Jefferson's own, would sign it.
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White Americans believe we've made more progress since the end of slavery in 1865 than do black Americans for whom '12 Years a Slave' documents a collective memory, passed down in the genes and by the lore of generations.
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The beautifully composed imagery of '12 Years a Slave' underscores the savagery of its subject, which is an American South not of knights and ladies but obscene values and a grotesque pageantry, every gorgeous shot of the languid landscape radiating toxicity like a hyperlush blossom that's poison to the touch.
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'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.
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Condemning art as manipulative is a non sequitur, of course. All art is manipulative.
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Drawing the desperate and the adrift, Los Angeles has long been the dumping ground of dreams both real and cinematic.
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