MCN Movies

God Bless America

Genre: Comedy

Director:

  • Bobcat Goldthwait

Writer:

    Cast:

    • Joel Murray
    • Tara Lynne Barr
    • Mackenzie Brook Smith

    Official Site:

    Articles

    Critics Roundup — May 10

    Dark Shadows |Yellow||Green|Red|Green God Bless America (limited) |||Green|Green| I Wish (limited) ||||Green| Under African Skies (limited) ||||Green| Romeo and Juliet in Yiddish (NY) ||||Yellow| Where Do We Go Now? (NY, LA) |Green||Red|Yellow| Patience: After Sebald (NY) |||Green|| You Are Here (NY) |||Green|Green| The Cup|Yellow|||| Steve Jobs: Lost Interview|Yellow||||

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    Review: GOD BLESS THIS MESS

    The only thing worse than the sudden, crushing realization that much of American pop culture is vile, hateful, and stupid is watching a movie in which the main character has this sudden, crushing realization, then proceeds to lecture other characters on said realization. As a result, Bobcat Goldthwait’s “God Bless America” is pretty much doomed from the start, since our hero, Frank (Joel Murray), launches into his diatribe a few minutes after the movie begins.

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    DP/30: God Bless America, writer/director Bobcat Goldthwait

    Earlier with Bob…. after the jump….

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    TIFF ’11 Review: God Bless America

    Think of God Bless America, directed by Bobcat Goldthwait, as kind of a mix of Falling Down and Super — but funnier than Falling Down, considerably more accurately satirical than Super, and relentlessly violent in a blackly comedic way, without being meaninglessly so.

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    Quote Unquotesee all »

    “I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
    ~ Lauren Milici On “The Final Girl”

    “‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
    ~ Greil Marcus On Michael Jackson