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2019. runtime 105minute. rating 8,8 of 10. Halle Berry. Description Lost in America is a movie starring Rosario Dawson, Halle Berry, and Tiffany Haddish. A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of.
Lost in america 22. The Last Temptation 24 years today. 12th of July 2018) And this song has only 1,5 million views at the moment. Well I guess every song can't become a huge hit. Lost in america roger ebert. 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.
1 win & 1 nomination. See more awards » Learn more More Like This Comedy | Romance 1 2 3 4 5 6 7 8 9 10 7 / 10 X Albert Brooks directs himself as a successful film editor with far too many issues that affects the relationship between him and his remarkably patient girlfriend. Director: Albert Brooks Stars: Albert Brooks, Kathryn Harrold, Tyann Means A film crew sets out to record a year in the life of an average family, but things quickly start going wrong. Dick Haynes, Matthew Tobin Drama Fantasy 7. 2 / 10 In an afterlife way station resembling a block of hotels, the lives of the recently-deceased are examined in a court-like setting. Meryl Streep, Rip Torn 6. 9 / 10 A neurotic, twice-divorced sci-fi writer moves back in with his mother to solve his personal problems. Debbie Reynolds, Paul Collins 5. 3 / 10 To improve its relations with Muslim countries, the United States government sends comedian Albert Brooks to south Asia to write a report on what makes followers of Islam laugh. Sheetal Sheth, John Carroll Lynch Take two rival television reporters: one handsome, one talented, both male. Add one Producer, female. Mix well, and watch the sparks fly. James L. Brooks William Hurt, Holly Hunter 5. 7 / 10 With his career on the skids, a Hollywood screenwriter enlists the aid of a modern-day muse, who proves to test his patience. Sharon Stone, Andie MacDowell Crime A free-spirited woman "kidnaps" a yuppie for a weekend of adventure. But the fun quickly takes a dangerous turn when her ex-convict husband shows up. Jonathan Demme Jeff Daniels, Melanie Griffith, Ray Liotta Documentary 8. 1 / 10 A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in America. Rotimi Rainwater Rosario Dawson, Halle Berry, Tiffany Haddish 6. 8 / 10 When a happily married woman discovers a love letter written by her husband to an unknown party, she enlists her dysfunctional family to discover the truth. Greg Mottola Hope Davis, Stanley Tucci, Parker Posey A devious sexpot steals her husband's drug money and hides out in a small town where she meets the perfect dupe for her next scheme. John Dahl Linda Fiorentino, Peter Berg, Bill Pullman Musical A small but growing Texas town, filled with strange and musical characters, celebrates its sesquicentennial and converge on a local parade and talent show. David Byrne David Byrne, John Goodman, Annie McEnroe Edit Storyline David and Linda Howard are successful yuppies from LA. When he gets a job disappointment, David convinces Linda that they should quit their jobs, liquidate their assets, and emulate the movie Easy Rider, spending the rest of their lives travelling around a Winnebago! (This is a kind of large, luxurious mobile home which suits a 1980's yuppie more than the counterculture dropout approach of Easy Rider. ) His idealized, unrealistic plans soon begin to go spectacularly wrong. Written by Reid Gagle Plot Summary Add Synopsis Details Release Date: 8 February 1985 (USA) See more » Also Known As: Lost in America Box Office Opening Weekend USA: $154, 877, 17 March 1985 Cumulative Worldwide Gross: $10, 179, 000 See more on IMDbPro » Company Credits Technical Specs Color: Color (Technicolor) See full technical specs » Did You Know? Trivia In the roulette scene, Julie Hagerty's character, Linda, is playing (and rooting for) number 22. This is the same number a man plays in the roulette scene in the classic "Casablanca" movie with Humphrey Bogart. See more » Goofs The hair color, thickness and grooming of Paul Dunn, David's boss, changes radically several times in a matter of moments. See more » Quotes Desert Inn Casino Manager: You're a nice guy, you make me laugh. But our policy is: we can't give your money back. See more » Connections References The Twilight Zone (1959) Soundtracks Born to Be Wild Written by Mars Bonfire (uncredited) Performed by Steppenwolf Courtesy of MCA Records, Inc. See more ».
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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.
I can't get a girl 'Cause I ain't got a car I can't get a car 'Cause I ain't got a job I can't get a job So I'm looking for a girl with a job and a car Don't you know where you are Lost in America Lost in America, lost I got a mom but I ain't got a dad My dad's got a wife but she ain't my mom Mom's looking for a man to be my dad But I want my mom and dad to be my real Mom and dad Is that so bad? Oh, I think I've been had Well, I live at the 7-11 Well, I'm tryin' to play this guitar Well, I'm learning "Stairway to Heaven" 'Cause Heaven's where you are I can't go to school 'Cause I ain't got a gun I ain't got a gun I ain't got a job 'Cause I can't go to school So I'm looking for a girl with a gun and a job And a house with cable! Oh, I'm Lost. Writer(s): ALICE COOPER, DAN WEXLER, BUD SAYLOR Lyrics powered by.
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Lost in america author. Lost in america by candelario lesson plan pdf free printable template word. Lost in america daniel kadawatha. Lost in america gambling scene. Lyrics Yeah. Yeah we're gonna fight We do it every night Baby when you scratch You know I'm gonna bite You can make me die I can make you cry Opposites attract That's the reason why No one else could make you feel like I do, I do, I do No one ever gets as deep inside you, as I do baby Our love is a bed of nails Love hurts good on a bed of nails I'll lay you down and when all else fails I'll drive you like a hammer on a bed of nails. First we're gonna kiss Then we're gonna say Dirty little words Only lovers say Rocking through the night Rolling on the floor When they hear you screaming They'll be breaking down the door No one else could make you feel like I do, I do, I do No one ever gets as deep inside you, as I do baby Our love is a bed of nails Love hurts good on a bed of nails I'll lay you down and when all else fails I'll drive you like a hammer on a bed of nails. Bed of nails Bed of nails I'll drive you like a hammer on a bed of nail Ow, ow, ow, ow, ow Gonna drive you like a hammer Gonna put in my slammer Oh yeah! Our love is a bed of mail Love hurts good on a bed of nails I'll lay you down and when all else fails I'll drive you like a hammer on a bed of nails Our love is a bed of mail Love hurts good on a bed of nails I'll lay you down and when all else fails I'll drive you like a hammer on a bed of nails.
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Glam metal suited him beautifully... Lost in america bill deasy. Lost in america podcast youtube. Lost in america mr big. Just amazing <3. Lost in america lyrics. Lost in america alice cooper video. Lost in america watch online free 123movies. Lost in america movie clips. Lost in america 2019 trailer. Lost in america 2019. Happy to see him soon in august at an open air festival in Switzerland. Lost in america. Lost in america trailer. I was hesitant to watch this film as many reviews I've seen from critics and general audiences seem to call it extremely boring. But, I really wanted to see it as it did win Best Picture and the shots I've seen of the film looked BEAUTIFUL AND Meryl Streep's in it so I just had to watch. I watched it last night for the first time and I thought it was one of the most beautiful films I've seen in a very long time. Absolutely incredible and there was never a time I felt it was boring. I find movies so interesting how one person can hate a movie and find it extremely boring with glacial pacing yet another person could LOVE IT be immensely intrigued by the exact same film. (sorry for the long comment, i'm rambling)Overall, you should watch this film if you haven't. Who knows if you'll love it or not.
Lost in america the gathering field. Lost in america by dave barry. Lost in america full movie. "Lost in America" Single cover Single by Alice Cooper from the album The Last Temptation B-side " Hey Stoopid (Live) " Released May 1994 Recorded 1994 Genre Hard rock, heavy metal Length 3: 54 Label Epic Records Songwriter(s) Alice Cooper, Dan Wexler, Bud Saylor Producer(s) Alice Cooper Alice Cooper singles chronology " Feed My Frankenstein " (1992) " Lost in America " (1994) " It's Me " (1994) " Lost in America " is a single by musician Alice Cooper taken from his 1994 album The Last Temptation. It was the most popular single from the album. “Lost in America” has been a live staple since its release,  and is the solitary song from The Last Temptation that Cooper has performed live from 2000 onwards. The single featured a B-side, a live version of " Hey Stoopid ". Music video [ edit] A music video was made for the song, but it received almost no airplay at all. The music video features a young boy (supposedly Steven) reading the Marvel comics adaptation of the album, written by Neil Gaiman. The comic book comes to life as Alice Cooper and his band playing the song with several video clips referencing the song's lyrics. Personnel [ edit] Alice Cooper - vocals Stef Burns - guitar, background vocals Greg Smith - bass, background vocals Derek Sherinian - keyboards, background vocals Ricky Parent - drums Dan Wexler - additional guitar Chart positions [ edit] Chart (1994) Position Australian Singles Chart  65 New Zealand Singles Chart  46 UK Singles Chart  22 References [ edit] External links [ edit] Lyrics of this song at MetroLyrics v t e Alice Cooper Alice Cooper Ryan Roxie Chuck Garric Tommy Henriksen Glen Sobel Nita Strauss Original band members Former solo band members Studio albums Pretties for You (1969) Easy Action (1970) Love It to Death (1971) Killer (1971) School's Out (1972) Billion Dollar Babies (1973) Muscle of Love (1973) Welcome to My Nightmare (1975) Alice Cooper Goes to Hell (1976) Lace and Whiskey (1977) From the Inside (1978) Flush the Fashion (1980) Special Forces (1981) Zipper Catches Skin (1982) DaDa (1983) Constrictor (1986) Raise Your Fist and Yell (1987) Trash (1989) Hey Stoopid (1991) The Last Temptation (1994) Brutal Planet (2000) Dragontown (2001) The Eyes of Alice Cooper (2003) Dirty Diamonds (2005) Along Came a Spider (2008) Welcome 2 My Nightmare (2011) Hollywood Vampires (2015, Hollywood Vampires album) Paranormal (2017) Rise (2019, Hollywood Vampires album) Live albums The Alice Cooper Show (1977) Toronto Rock 'n' Roll Revival 1969, Volume IV (1982, recorded 1969) Live at the Whiskey a Go-Go, 1969 (1987, recorded 1969) A Fistful of Alice (1997) Brutally Live (2000) Live at Montreux 2005 (2006) Singles " Reflected " " I'm Eighteen " " Caught in a Dream " " Under My Wheels " "Be My Lover" " School's Out " " Elected " " Hello Hooray " " No More Mr. Nice Guy " " Billion Dollar Babies " " Halo of Flies " " Teenage Lament '74 " " Only Women Bleed " " Department of Youth " " Welcome to My Nightmare " " I Never Cry " " You and Me " " How You Gonna See Me Now " " Clones (We're All) " " 7 and 7 Is " " I Am the Future " " He's Back (The Man Behind the Mask) " " Teenage Frankenstein " " Freedom " " Poison " " Bed of Nails " " House of Fire " " Only My Heart Talkin' " " Hey Stoopid " " Love's a Loaded Gun " " Feed My Frankenstein " " Lost in America " " It's Me " " Brutal Planet " " Gimme " " Keepin' Halloween Alive " Compilations and box sets School Days: The Early Recordings (1973) Greatest Hits (1974) Prince of Darkness (1989) The Beast of Alice Cooper (1989) Toronto Rock 'n' Roll Revival 1969, Volume IV Classicks (1995) The Life and Crimes of Alice Cooper (1999) Mascara and Monsters: The Best of Alice Cooper (2001) The Definitive Alice Cooper (2001) The Essentials: Alice Cooper (2002) Hell Is (2002) School's Out and Other Hits (2004) Videography Good to See You Again, Alice Cooper (1974) The Nightmare (1975) Welcome to My Nightmare (1976, filmed 1975) Alice Cooper and Friends (1978, filmed 1977) The Strange Case of Alice Cooper (1979) The Nightmare Returns (1987, filmed 1986) Alice Cooper Trashes the World (1990, filmed 1989) Live at Montreux 2005 (2006, filmed 2005) Super Duper Alice Cooper (2014, documentary) Tours Welcome to My Nightmare Tour (21. 3. 1975 – 4. 4. 1977) Theatre of Death Tour (31. 7. 2009 – 27. 11. 2010) Masters of Madness Tour (1. 6. 2013 – 21. 2013) Related articles Discography Filmography Nights with Alice Cooper Solid Rock Foundation The Hollywood Vampires Hollywood Vampires (band) Book Category.
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