J. Hoberman

In 1994, the Voice went behind the scenes of “the most polished, least sentimental, and best movie that Redford has ever directed.”

“Cop­pola and copilot Mario Puzo blast off for some cosmic Shakespear­ean netherworld of tearful solilo­quies and dynastic tragedy,”

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“No less than Charlie Chaplin, its only pop rival for the affection of Jazz Age aesthetes, Krazy Kat synthesized a particular mixture of sweetness and slapstick, playful fantasy and emotional brutality.”

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“Improbable as it may seem, Michael Douglas currently commands a per-picture salary of some $15 million just to play That Evil White Guy You’re Always Com­plaining About.”

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“As the New Dole dawns, we peer into our Kristol ball and see two years in Limbaugh with our Newtered president making ever more feeble attempts to recast himself as an old-fashioned TruMan.”

25 years ago, we asked if Disney’s latest would “spawn a new American trade­mark.” Was there really any doubt?

Reflections on film, culture, sport, and freedom — from the United States

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