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  1. country=USA
  2. review=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
  3. Halle Berry
  4. genre=Documentary
  5. Scores=22 Votes

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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Torrent cinema lost in america tv. Torrent cinema lost in america crossword. Torrent Cinema Lost In america's best. Torrent Cinema Lost in america. Torrent cinema lost in america 2. Torrent Cinema Lost In american. Torrent cinema lost in america movie. PRESS PLAY TO VIEW TRAILER Its tragic that in the worlds wealthiest country, 4. 2 million teenagers are homeless. To make change, the public needs to know not just numbers, but faces and stories behind those numbers. ‘Lost In America is doing just that. Don't judge, don't think these kids are bad. Fill in your definition of bad. Don't think they are bad, they are in circumstances. And they need our help. There can be no keener revelation of a society's soul than the way in which it treats its children.

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Torrent cinema lost in america free. 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 familys 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 Lampoons 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 Saarinens 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 pictures unnerving documentary quality. Too often, things are simply too painfully accurate to be particularly funny. Still, its 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 directors own rather bland screen persona, in most cases a hindrance, here works to particularly identifiable advantage. Indeed the movies 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.

Torrent cinema lost in america 2017. Torrent cinema lost in america lyrics. Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy 1996-2014, Inc. or its affiliates. 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, 301 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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Roger Ebert March 15, 1985 Every time I see a Winnebago motor home, I have the same fantasy as the hero of "Lost in America. In my dream, I quit my job, sell everything I own, buy the Winnebago and hit the open road. Where do I go? Look for me in the weather reports. I'll be parked by the side of a mountain stream, listening to Mozart on Compact Discs. All I'll need is a wok and a paperback. In "Lost in America. Albert Brooks plays an advertising executive in his 30s who realizes that dream. He leaves his job, talks his wife into quitting hers, and they point their Winnebago down that long, lonesome highway. This is not, however a remake of "The Long, Long Trailer. Brooks puts a different spin on things. Advertisement For example, when movie characters leave their jobs, it's usually because they've been fired, they've decided to take an ethical stand or the company has gone broke. Only in a movie by Brooks would the hero quit to protest a "lateral transfer" to New York. There's something intrinsically comic about that: He's taking a stand, all right, but it's a narcissistic one. He's quitting because he wants to stay in Los Angeles, he thinks he deserves to be named vice president and he doesn't like the traffic in New York. "Lost in America" is being called a yuppie comedy, but it's really about the much more universal subjects of greed, hedonism and panic. What makes it so funny is how much we can identify with it. Brooks plays a character who is making a lot of money, but not enough; who lives in a big house, but is outgrowing it; who drives an expensive car, but not a Mercedes-Benz; who is a top executive, but not a vice president. In short, he is a desperate man, trapped by his expectations. On the morning of his last day at work, he puts everything on hold while he has a long, luxurious telephone conversation with a Mercedes dealer. Brooks has great telephone scenes in all of his movies, but this one perfectly captures the nuances of consumerism. He asks how much the car will cost - including everything. Dealer prep, license, sticker, add-ons, extras, everything. The dealer names a price. "That's everything. Brooks asks. "Except leather. the dealer says. "For what I'm paying, I don't get leather. Brooks asks, aghast. "You get Mercedes leather. Mercedes leather? What's that. Thick vinyl. This is the kind of world Brooks is up against. A few minutes later, he's called into the boss's office and told that he will not get the promotion he thinks he deserves. Instead, he's going to New York to handle the Ford account. Brooks quits, and a few scenes later, he and his wife ( Julie Hagerty) are tooling the big Winnebago into Las Vegas. They have enough money, he conservatively estimates, to stay on the road for the rest of their lives. That's before she loses their nest egg at the roulette tables. "Lost in America" doesn't tell a story so much as assemble a series of self-contained comic scenes, and the movie's next scene is probably the best one in the movie. Brooks the adman tries to talk a casino owner ( Garry K. Marshall) into giving back the money. It doesn't work, but Brooks keeps pushing, trying to sell the casino on improving its image. I'm a high-paid advertising consultant. These are professional opinions you're getting. There are other great scenes, as the desperate couple tries to find work to support themselves: An interview with an unemployment counselor, who listens, baffled, to Brooks explaining why he left a 100, 000-a-year job because he couldn't "find himself. And Brooks's wife introducing her new boss, a teenage boy. "Lost in America" has one strange flaw. It doesn't seem to come to a conclusion. It just sort of ends in midstream, as if the final scenes were never shot. I don't know if that's the actual case, but I do wish the movie had been longer and had arrived at some sort of final destination. What we do get, however, is observant and very funny. Brooks is especially good at hearing exactly how people talk, and how that reveals things about themselves. Take that line about "Mercedes leather. for example. A lot of people would be very happy to sit on "Mercedes leather. But not a Mercedes owner, of course. How did Joni Mitchell put it? Don't it always seem to go, that you don't know what you've got, till it's gone. " Reveal Comments comments powered by.

Every Friday, were recommending an older movie thats available to stream or download and worth seeing again through the lens of our current moment. Were calling the series “ Revisiting Hours ” — consider this Rolling Stones 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/filmmakers Lost in America. Go ahead, weve 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, thats not exactly what happened: Lets say that David didnt get the promotion and didnt handle it well. (“Fuck you! ” he shouts at his boss, adding, “Our toupee secret is off! ”) In a fit of pique thats built partly on his spouses 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 Davids 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 hotels manager (the late Garry Marshall. He pleads with him to return their money. Theres 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 theres 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 hes 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! ” “Were finished talking, ” the casino manager says. The roulette wheel leaves the Howards with less than 1000. Forget retirement: Thats 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. Theres 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 theyd make money through “trickle-down economics. ” Naturally, the trickle didnt fill the economic waters and lift all boats as promised. But the underlying appeal to Americas 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 theyd 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 whod followed the prescribed track to success their entire adult lives. David calls it a “nowhere road” that “goes around and around in circles …. Its the carrot and the stick and the watch when youre 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 arent theirs, especially when theyre 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 wouldve 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 Davids African-American draftee in the following years Best Picture winner Platoon, after learning that the movies 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. ” Lindas compulsive destruction of the nest egg turns her unconscious wish into a reality: Now they really do have to drop out. Thats 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 wasnt 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 theyd worked so hard for — along with every advantage theyd 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 Gilligans 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 mans 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 its often masked with a bright-eyed grin and various signifiers of politeness. Davids 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 arent 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 doesnt 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 its not the bonding experience they hoped for. Hes 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 didnt 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 shed 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. Thats almost the worst thing that could happen to a person. Its a horror movie. “ Well, yeah, kind of. But its 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, thats all weve got. Previously: Confessions of a Dangerous Mind.

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