J. Hoberman

“Perhaps because he himself is so utterly a product of American mass culture, mass culture has proved unusually responsive to Ronald Reagan.”

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George Herriman’s drawings are masterpieces of dramatic economy, achieving miracles of individuation and expression through body language and suggestive absences.

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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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“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?