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writed by Rotimi Rainwater

Documentary

countries USA

Lost in America is a movie starring Rosario Dawson, Halle Berry, and Tiffany Haddish. Following director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in

Tomatometer 7,1 / 10

Director Rotimi Rainwater

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Lost in america lyrics helloween. Lost in america movie clips. Lost in america's best. 30+ years and still awesome. Dumbest ending ever. Lost in america pepper. Lost in america documentary 2017. Lost in america first. Lost in america movie clip. Lost in america 2019. Lost in america halloween. This still feels like a typical fantasy of the moneyed class: to dash one’s boring, predictable existence earning a solid wage and go find oneself, to get in touch with all of America rather than whatever city you’ve chosen as your gilded cage. Lost in America undercuts that foolishness not with the kind of broad comedy you’d expect: There’s no scene where David and Linda encounter some aggressive, slack-jawed yokels, no patronizing humor aimed at the “real America” they’re seeking to travel through. The rest of the country is just like them, deeply mediocre. What sets David and Linda apart is their naive belief that they can change that, something Brooks sees as entirely futile. Brooks has long been America’s most pessimistic comedian, the one who’s least interested in having his audiences learn an easy lesson. His most upbeat conclusion to a film probably comes in 1991’s Defending Your Life, in which the central couple that finally gets together is already dead (that film is set in the afterlife). This bleak approach is perhaps why Brooks never quite rose above cult status through his most fertile creative period (the ’80s and early ’90s). There are elements of his nervy, neurotic characters in the oeuvres of so many comic giants working in cinema and television today—Judd Apatow, Dan Harmon, Lena Dunham, and Louis C. K. come to mind. But watch a Brooks movie today and you’ll marvel at his lack of gimmickry, his joy at wringing laughs from straightforward, repetitive dialogue, and his refusal to give his narratives a happy ending. Brooks understands that the Reaganite mores he’s poking at speaks to a larger, nationwide existential crisis. Like so many others in his generation, David has achieved apparent success yet derives no pleasure from it. He’s thus maniacal about everything he sets himself to, be it the promotion he ends up not getting (which sparks a hilarious, minutes-long tantrum, perfectly played by Brooks) or the particular ways in which he plans on relaxing once he’s quit his job. “I’m insane and responsible. This is a potent combination, ” he warns Linda, who is trapped in her own oppressive stasis. Linda’s boredom spins into chaos during a pit stop at Las Vegas, where she gambles away the couple’s entire $180, 000 nest egg at the roulette table in a night. If Lost in America has a high-concept set piece, it’s this: David waking up, going downstairs to the casino in horror, and being taken aside by the manager (a superb Garry Marshall) and told he’s now flat broke. This comes 40 minutes into the movie and 10 minutes into the couple’s planned cross-country trip, completely blowing up the film’s conventional-seeming narrative and never rebuilding it. When confronted, Linda can’t explain her actions, only saying that she, too, had something eating away at her inside.

Lost in america trailer. Lost in america poster. Lost int. american. Lost in america watch online free 123movies. If Alice was the Phantom of the opera signing to Christine. Lost in america imdb. Lost in eng sub download… Lost in America full movie stream free Free LOST IN AMERICA…. Lost in america. Lost in America english full episodes download Download,Lost,in,America,Full,Online. MOVIES 6:17 AM PDT 3/15/2018 by Photofest Julie Hagerty and Albert Brooks in 1985's 'Lost in America' Too often, things are simply too painfully accurate to be particularly funny. On March 15, 1985, Albert Brooks unveiled his R-rated, dark road-trip comedy Lost in America in theaters. The Hollywood Reporter's original review of the Warner Bros. film is below. Lost in America faces an uphill route to its box-office destination. Former Saturday Night Live filmmaker Albert Brooks’ third feature (after Real Life and Modern Romance) is a wry satire of modern-day social malaise, but the deadpan cerebral humor of this Geffen Co. release through Warner Bros. is likely to leave most audiences waiting for the punch line. Brooks (who co-authored the script with partner Monica Johnson) and Airplane ’s Julie Hagerty play a bored, well-to-do Los Angeles couple who impulsively trade in their Mercedes for a motor home and embark on a journey of self-discovery a la Easy Rider. But their odyssey, which begins with wifey sacrificing the family’s entire nest egg to a Vegas roulette wheel and terminates in a windswept Arizona trailer park, soon comes to more closely resemble an upper-tax-bracket edition of National Lampoon’s Vacation. The difference — and the problem — is that Brooks’ movie is often too realistic for its own good. His antiseptic visuals, which perfectly convey the characters’ vapid environments, have an almost harrowing believability. Eric Saarinen’s unobtrusive location photography and the casting of unfamiliar faces in supporting roles (including producer Garry Marshall in a convincing cameo as a casino pit boss) further reinforce the picture’s unnerving documentary quality. Too often, things are simply too painfully accurate to be particularly funny. Still, it’s hard to fault Brooks’ resolutely adult intelligence, and Lost in America — almost in spite of itself, really — is easily his most consistently amusing work to date. The director’s own rather bland screen persona, in most cases a hindrance, here works to particularly identifiable advantage. Indeed the movie’s comic highlights derive from Brooks’ periodic losses of equanimity, outbursts of righteous indignation that demonstrate an uproarious mastery of the slow-burn principle. Brooks has additionally been well served by a capable crew — cinematographer Saarinen, editor David Finfer, production designer Richard Sawyer, composer Arthur Rubinstein — who lends his efforts considerable polish. The filmmakers’ greatest asset, however, is Hagerty. Discarding her customary winsomeness, she imbues an unattractively written role with a sort of tarnished naivete that is perhaps the happiest find of this Lost in America. — Kirk Ellis, originally published on Feb. 13, 1985.

Lost in américain. This is my favoruite song. Alice Cooper Will set your House on Fire if you dislike this Video. Lost in america documentary. Lost in america casino scene. In this hysterical satire of Reagan-era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. When a stop in Las Vegas nearly derails their plans, they’re forced to come to terms with their own limitations and those of the American dream. Brooks’s barbed wit and confident direction drive Lost in America, an iconic example of his restless comedies about insecure characters searching for satisfaction in the modern world that established his unique comic voice and transformed the art of observational humor. Special Features New, restored 2K digital transfer, supervised by director Albert Brooks, with uncompressed monaural soundtrack on the Blu-ray New conversation with Brooks and filmmaker Robert Weide New interviews with actor Julie Hagerty, executive producer Herb Nanas, and filmmaker and screenwriter James L. Brooks Trailer PLUS: An essay by critic Scott Tobias New cover by F. Ron Miller based on an original theatrical poster Cast & Credits Albert Brooks David Howard Julie Hagerty Linda Howard Michael Greene Paul Dunn Garry K. Marshall Casino manager Maggie Roswell Patty Tom Tarpey Brad Tooley Ernie Brown Pharmacist Joey Coleman Skippy Art Frankel Employment agent Donald Gibb Ex-convict Raynold Gideon Ray Charles Boswell Highway patrolman Michael Cornelison Hotel clerk Radu Gavor Bellman Herb Nanas Mercedes driver Director Written by Monica Johnson Producer Marty Katz Executive producer Director of photography Eric Saarinen Editor David Finfer Production design Richard Sawyer Sound Bill Nelson Music by Arthur B. Rubinstein Casting Barbara Claman Set decorator Richard Goddard Costumes Julie Glick Makeup Rick Sharp Hair Ramsey Still photographer Bruce Birmelin A scene from Lost in America Lost in America with Albert Brooks One of the wittiest chroniclers of modern American life, Albert Brooks talks with filmmaker Robert Weide about how he arrived at the concept for Lost in America. Also: a few words from James L. Brooks. Lost in America: The $100, 000 Box Albert Brooks brings the gift for comic deconstruction he honed in his stand-up career to this uproarious satire of baby boomer values.

America lost in delusion. Lost in america (1985. Lost in america blog. Lost in america mr big. Critics Consensus A satire of the American fantasy of leaving it all behind, Lost in America features some of Albert Brooks' best, most consistent writing and cultural jabs. 97% TOMATOMETER Total Count: 32 77% Audience Score User Ratings: 4, 303 Lost in America Ratings & Reviews Explanation Lost in America Photos Movie Info Two dissatisfied yuppies leave their suburban lives behind and embark on a journey to rediscover America and themselves. This idea proves to be far more attractive in theory than actuality -- this satirical comedy follows the descent of the couple's idyllic journey as it rapidly descends into nightmarish confusion. Rating: R (adult situations/language) Genre: Directed By: Written By: In Theaters: Feb 15, 1985 wide On Disc/Streaming: Apr 3, 2001 Runtime: 91 minutes Studio: Warner Bros. Pictures Cast News & Interviews for Lost in America Critic Reviews for Lost in America Audience Reviews for Lost in America Lost in America Quotes Movie & TV guides.

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Every Friday, we’re recommending an older movie that’s available to stream or download and worth seeing again through the lens of our current moment. We’re calling the series “ Revisiting Hours ” — consider this Rolling Stone’s unofficial film club. This week: Matt Zoller Seitz on Albert Brooks ’ 1985 livin’-in-the-USA comedy of Lost in America. You might expect to see a timeless portrait of American greed, class resentment and cluelessness about money in right in the middle of a two-term Reagan era. You may not have expected it to come from Albert Brooks. But go back and watch the comedian/filmmaker’s Lost in America. Go ahead, we’ve got all day. And now tell us that it does not feel like a premonition of the trainwreck that the country would become. It begins as a riff on Easy Rider, the Sixties counterculture movie that reminded folks to tune in, turn on, drop out. It peaks when its protagonist, having just lost everything, does the movie-hero thing and asks an authority figure to show some mercy and give him a take-back. It does not go well. This is the story of a man who went searching for Santa Claus and, circa 1985, could not find him anywhere. David Howard (director-cowriter-star Brooks), a yuppie advertising executive, has just “dropped out” of American life along with his department store manager wife, Linda (Julie Hagerty), after being denied a promotion he believed he was entitled to. Well, that’s not exactly what happened: Let’s say that David didn’t get the promotion and didn’t handle it well. (“Fuck you! ” he shouts at his boss, adding, “Our toupee secret is off! ”) In a fit of pique that’s built partly on his spouse’s misgivings about becoming even more bourgeouis than they already were, the Howards eat the deposit on the “behemoth” of a mansion they were going to purchase, buy a gas-guzzling Winnebago and drive it to Las Vegas. The idea is to renew their wedding vows before embarking on a cross-country odyssey modeled on one of David’s favorite movies — that Dennis Hopper hippie touchstone about the allure of the open road. Then Linda, who apparently always had a horrific gambling problem but never quite realized it, loses the Howards’ nest egg playing roulette at the Desert Inn Hotel and Casino. David, still clad in the bathrobe he donned after waking up alone in their room, sits in the office of the hotel’s manager (the late Garry Marshall). He pleads with him to return their money. There’s no way such a thing could ever happen, but nevertheless, he persists. The former ad man devises a billboard slogan and an advertising jingle (“The Desert Inn has heart! ”), spinning a scenario wherein the casino reaps PR rewards by giving them back their nest egg after “reviewing [their] situation” and agreeing that there’s a “distinct division between the bold, who are out there searching, and all the other schmucks who come here to see Wayne Newton. ” “I like Wayne Newton, ” the manager replies. “It was stupid of me to use an entertainer as a dividing line, ” David pivots. Right before he’s ushered out, our hero suggests bringing in Santa Claus as a new casino mascot. “Las Vegas! ” David exclaims, his desperation turning to madness. “A Christmas place to be! ” “We’re finished talking, ” the casino manager says. The roulette wheel leaves the Howards with less than $1000. Forget retirement: That’s barely enough to feed them and keep the Winnebago in gas for a few months. Although it soon started building a fan base on home video, Lost in America was not a theatrical hit initially; its acidic satire and panoramic ironies were too alarming for Americans in the arch-conservative 1980s. There’s never a perfect moment to release a film about a well-off couple that loses almost everything and has trouble adapting to the kind of life everyone else has to live. But Brooks’ timing was acutely bad in this case. The movie hit theaters on February 15th, 1985, three years after the worst recession of modern times, and only two weeks after the beginning of the second term of President Ronald Reagan, whose administration kicked off a decades-long process of tearing away safety-net social programs, cutting taxes for corporations and well-off people. Everybody else assumed that they’d make money through “trickle-down economics. ” Naturally, the trickle didn’t fill the economic waters and lift all boats as promised. But the underlying appeal to America’s beloved myth of up-by-your-own-boostraps success persisted, and was enshrined in movies about go-getters. The heroes of these stories rose to the top of corporations where they’d only just begun to work ( Secret of My Success, Gung Ho), came in from outside and became stars on the basis of their gumption or big ideas ( Big, Working Girl) or shined as entrepreneurs outside the system, legal or otherwise ( Baby Boom, Risky Business). Lost in America, on the other hand, showed a couple of upper-middle-class, white, educated Americans who’d followed the prescribed track to success their entire adult lives. David calls it a “nowhere road” that “goes around and around in circles …. It’s the carrot and the stick and the watch when you’re 60” — only to find themselves on the other side of 40 wondering when their pot of gold, or happiness, would land in their laps. Worse, they make the catastrophic mistake of assuming that The System, such as it is, would care even a tiny bit about people who no longer wanted to be a part of it, and who somehow managed to make it to middle age without realizing how coldly indifferent people are to any problems that aren’t theirs, especially when they’re as privileged and oblivious as the Howards. When the story begins, Linda is already expressing unease about the repetitious emptiness of their life. “You know, [David] genuinely believes this promotion is gonna change his life, but he believed that about every single promotion, and it never does, ” Linda tells a department store coworker. Most of the characters that the Howards encounter after Las Vegas would’ve been overjoyed to have a quarter of what they had, and their seeming inability to see the humanity in other people dooms them to suffer alone. To quote Keith David’s African-American draftee in the following year’s Best Picture winner Platoon, after learning that the movie’s hero was a pampered white boy who enlisted because he thought the war was unfair to everyone else: “You gotta be rich in the first place to think like that. ” Linda’s compulsive destruction of the nest egg turns her unconscious wish into a reality: Now they really do have to drop out. That’s a frightening prospect, because as David notes, even the nomadic bikers in Easy Rider had a nest egg. “They had all that cocaine! ” he exclaims. She wasn’t wrong to question the falsity of the American dream as it was defined in the late 20th century, a time when people still had a shot at landing lifelong jobs, some of which offered pensions. But Linda (like her husband) has failed to keep things in perspective. “We found ourselves, ” David moans at her post-Vegas, “Oh, boy, did we find ourselves … in the middle of nowhere … with nothing! ” Everything they’d worked so hard for — along with every advantage they’d accrued by virtue of being educated and white — vanished in a blink of an eye. And in begging for sympathy from regular working people, they elicit nothing but mockery, sometimes worse. After a fight at the Hoover Dam, where David screams a lecture at his wife about “the importance of the nest egg, ” she accepts a ride with an ex-convict who later punches her husband in the nose and chases him around the parked Winnebago, telling him, “You remind me of everything I hate. ” When they settle in a trailer park — a place they previously intended to visit, but never wanted to live in — they seem as out-of-place as Thurston and Lovey Howell on Gilligan’s Island. When David visits an employment office, he tells the case manager he used to make $100, 000 a year, and asks if there are any executive jobs available,. The man’s eyes light up at the prospect of being able to torment such a clueless city slicker: “Oh, you mean the $100, 000 box! ” David and Linda are what Breitbart and Fox News Channel would call “coastal elites, ” and part of their humbling involves having to deal with people they either never thought about or condescended to. The hostility is mutual, though it’s often masked with a bright-eyed grin and various signifiers of politeness. David’s mockery of 19-year old fast food restaurant manager named Skippy is a hilarious send-up of the way that cogs in the machine talk like captains of industry in order to convince themselves they aren’t cogs. But it also captures the ingrained condescension that the executive class, represented by David, feels towards anyone who has to wear a nametag, a cap, and a uniform that doesn’t include a jacket and tie. A motorcycle cop who pulls the couple over for speeding lets them off the hook when they cite Easy Rider as their guiding light, only it’s not the bonding experience they hoped for. He’s not exactly a counterculture type. “Remember the ending, when they got blown away? ” he exclaims. “That made my day! ” This is a comedy? My late stepfather didn’t think so. As a college film student, I brought Lost in America home on VHS cassette and showed it to him and my mother. They loved it up right until the roulette wheel scene. Soon afterward, he got up from his ratty corduroy chair and went into the kitchen to wash the dishes. A few minutes later, my mother abandoned the movie for a book she’d already read at least twice. “What happened? ” I asked my stepfather in the kitchen. “You were both laughing. ” “You told me that was a comedy, ” he said over the sound of water running in the sink. “They lost everything. That’s almost the worst thing that could happen to a person. It’s a horror movie. “ Well, yeah, kind of. But it’s also a classic, and the horror movie undertone is what makes it special as well as unsettling. Lost in America stared into a series of national abysses that were decades away from opening up, including the 2008 recession, in which banks, savings and loans and realtors gambled away billions and crashed the economy (and, unlike the Howards, got their money back and were never really punished) and the 2016 election of Donald Trump, which exposed deeper fissures between Red and Blue America that only the pessimistic sociologists had noted. This is a movie that was completely of its time and way ahead of it. It might also have captured certain truths, seemingly eternal, about class resentment in a supposedly classless society, and the frigid indifference of the powerful towards the powerless, be they chronically impoverished or only temporarily humbled. This being a comedy, the Howards achieve some semblance of a happy ending, resetting their lives by groveling for a poor facsimile of what they used to have. The Desert Inn does not have heart. There is no Santa Claus. We have to be kind to each other. In the end, that’s all we’ve got. Previously: Confessions of a Dangerous Mind.

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