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  • Actor Jon Bon Jovi, Rosario Dawson
  • genre Documentary
  • Following director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in America
  • 2018
  • Audience Score 37 vote

Lost in america documentary. | 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.

 

This is exactly what my best friend did, although it was 15 years out of college for him (I was the guy who went out to find himself and he took the business route. After he got fired he grew his hair long, moved out Southern California, took up surfing and had a kid. Nice! Great song with a great story (that must have been unbelievably frustrating. Lost in america author. Lovely rock as it should be.

Lost in america (1985. Lost in america movie clips. I always forget the lyrics and i come here and in like 1st 5 sec i know everything xD. Lost in america poster. Lost in america 2019 trailer. Newly released on DVD and Blu-ray, the 1985 film follows a well-heeled LA couple who decide to become free-spirited wanderers. Critic John Powers says Lost In America is a comedy for the ages. TERRY GROSS, HOST: This is FRESH AIR. Like Woody Allen before him, Albert Brooks gave up standup comedy to make his own films. Our critic-at-large, John Powers, considers Brooks's 1985 film "Lost In America" a masterpiece. It's just been released on DVD and Blu-ray by Criterion. "Lost In America" is the story of a well-heeled LA couple, played by Brooks and Julie Haggerty, who decide to become free-spirited wanderers. John just watched it for the umpteenth time and says it's one of the greatest comedies of the last 40 years. JOHN POWERS, BYLINE: A lot of comedians are funny. But only a handful have the genius to shape the comic terrain. One of them is Albert Brooks, who, in a cosmic bad joke, is probably best known to today's audiences as the voice of Marlin in "Finding Nemo. " But back in the early '70s, in a famous Esquire article and a series of legendary "Tonight Show" performances, Brooks set about gleefully exploding the schticks and traditions of standup comedy. Making comedy about comedy, he blazed the trail for such later masters of showbiz meta as Steve Martin, David Letterman and Bill Murray. By the late '70s, Brooks was making movies, starting with three groundbreaking comedies that explored the triumph of modern narcissism in all its cringe-worthy hilarity. The greatest of these is "Lost In America, " just out in in a gorgeous, new package from the Criterion Collection that I highly recommend - but also widely streamable. Made at the very height of the Reagan years, "Lost In America, " co-written with Monica Johnson, feels as relevant to our selfie-mad times as it did in 1985. Brooks stars as David Howard, an LA ad man who makes "Mad Men's" Don Draper looks like a figure of Shakespearean grandeur. Living a comfortably middle-class life with his wife Linda, played by Julie Hagerty, the neurotic David is looking forward to a promotion so he can buy a new Mercedes and get an even bigger house. When the promotion is denied, he quits his job in a huff and bullies Linda into quitting hers. He insists they must sell off everything, hit the road and be free. Here, Linda responds to his idea of getting a mobile home. (SOUNDBITE OF FILM, "LOST IN AMERICA") JULIE HAGERTY: (As Linda) Well, what do you think a motor home costs? ALBERT BROOKS: (As David) Guess who went motor home shopping? My friends - motor homes for sale. Forty-five thousand - complete for a great one. Thirty feet long, a bedroom, a bath, a kitchen, a microwave that browns, a little TV - beautiful, beautiful. Better than our new house - it has wheels, too. OK. Now, that leaves us $145, 000 in cash. Now, play devil's advocate. Can't you live 20 years on $145, 000 if you're living out of a motor home and just eating and painting and writing books? I mean, this is what we talked about when we were 19. Remember we kept saying let's find ourselves? Well, we didn't have a dollar, so we watched television instead. Linda, this is just like "Easy Rider, " except now it's our turn. I mean, we can drop out, and we can still have our nest egg. I just think that's unheard of. POWERS: Before we know it, the two are cruising east in their Winnebago, doing their own cushy version of "Easy Rider. " But when they stopped to get remarried in Las Vegas, all that bursting neon unleashes unforeseen consequences, including a classic encounter between David and a casino boss played by the late Garry Marshall. From that point on, David and Linda find themselves living in a reality far different to the one they imagined and far funnier in part because its stars are so perfectly matched. Brooks is one of the most majestic ranters and kvetchers is in movie history. And his verbal mania is only fueled by Hagerty's googly-eyed daffiness. Now, Brooks's comic approach is unsentimental and often uncomfortable. David may be all too human. Brooks clearly sees something of himself in the guy. But he's far from lovable. Indeed, pointing the way to "Curb Your Enthusiasm, " Brooks's work creates the prototype of the annoyingly selfish hero who stews in anxiety, bad faith and a sense of always being right. When "Lost In America" came out, it was instantly recognized as a trenchant satire of the emerging species known as yuppies, with their materialism, sense of entitlement and unidealistic belief that the world is their oyster. What was less clear then was that Brooks was also the first filmmaker to capture the essence of bourgeois Bohemianism, the attempt to embrace the cool lifestyle of the rebel while still having money and comfort. That fantasy is alive and kicking among today's urban strivers, who play vinyl, go glamping and drink artisanal coffee as they try to make their millions. While David and Linda are actually uneasy riders, they don't know how to change their lives. The road they travel isn't "Easy Riders" dreamy America, either. At one point, they have a fight in front of the Hoover Dam. This is partly a visual gag about scale. Their personal squabbling is dwarfed by the dam. But we also sense the gap between the grandeur of this depression-era triumph of the collective spirit and the debased landscape they travel in, with its mini-malls and Der Wienerschnitzel fast-food restaurants. If there's more to America than this, they can't see it, which isn't to say that they don't learn anything from being on the road. On the contrary, they find out who they really are and how they really want to live. And this self-knowledge leads to a wickedly upbeat ending that includes the greatest gag ever about finding a parking space in Manhattan. David and Linda only stopped being lost in America when they find out that, given the choice, they'd rather be comfortable than free. GROSS: John Powers is film and TV critic for Vogue and Tomorrow on FRESH AIR... (SOUNDBITE OF ARCHIVED RECORDING) UNIDENTIFIED SINGER: (Singing) Get on the Kellogg's All-Bran wagon. GROSS:.. 'll hear the story of the Kellogg brothers, who invented Cornflakes and other breakfast cereals and ran the Battle Creek Sanitarium, which pioneered the concept of wellness. There's lots of surprises in the Kellogg story relating to the Seventh-day Adventists, abstinence, eugenics, probiotics and exercise machines. My guest will be medical historian Howard Markel, author of the new book "The Kelloggs. " I hope you'll join us. (SOUNDBITE OF THE BRETT GOLD NEW YORK JAZZ ORCHESTRA'S "LULLABY FOR LILY") GROSS: FRESH AIR's executive producer is Danny Miller. Our engineer today is Adam Staniszewski. Our associate producer for online media is Molly Seavy-Nesper. Roberta Shorrock directs the show. I'm Terry Gross. Copyright © 2017 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

DO Someone know much music like that. Who is the guitar player. Lost in america movie trailer. Lost in america movie. Uh... hey beavis... I think I found something out, or something. What is it? I think I can't go to school anymore... uh... because... I ain't got a job. Wow, pretty cool! Me, too. This is not An Amazing work of art. But its GREAT in comparison to what there is today. This is enjoyable. Keep rockin Mr. Cooper. Lost in america 22.

Lost in america 1985. Lost in america release info. I heard it a lot on the radio in LA when it first came out. Just a perfect song. Wayne's World was a unique movie of the 90s. It had all the great jokes, grime & grease of any other movie that would've gotten an R rating, but there wasn't a single four letter word, no sex scenes, and no alcohol or drug use. Hats off to Mike Myers for making such a great movie that I could enjoy when I was 6 years old; a truly awesome film.

Lost in america movie clip. Lost in america youtube. Grande helloween ctmre. Yea Alice cooper, that was great. Cool song, I like Helloween. Lost in america film. Lost in america rotten tomatoes. Lost in america novel. I dont was a vampire? Anyway, epic good song. In this hysterical satire of Reagan-era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. When a stop in Las Vegas nearly derails their plans, they’re forced to come to terms with their own limitations and those of the American dream. Brooks’s barbed wit and confident direction drive Lost in America, an iconic example of his restless comedies about insecure characters searching for satisfaction in the modern world that established his unique comic voice and transformed the art of observational humor. Special Features New, restored 2K digital transfer, supervised by director Albert Brooks, with uncompressed monaural soundtrack on the Blu-ray New conversation with Brooks and filmmaker Robert Weide New interviews with actor Julie Hagerty, executive producer Herb Nanas, and filmmaker and screenwriter James L. Brooks Trailer PLUS: An essay by critic Scott Tobias New cover by F. Ron Miller based on an original theatrical poster Cast & Credits Albert Brooks David Howard Julie Hagerty Linda Howard Michael Greene Paul Dunn Garry K. Marshall Casino manager Maggie Roswell Patty Tom Tarpey Brad Tooley Ernie Brown Pharmacist Joey Coleman Skippy Art Frankel Employment agent Donald Gibb Ex-convict Raynold Gideon Ray Charles Boswell Highway patrolman Michael Cornelison Hotel clerk Radu Gavor Bellman Herb Nanas Mercedes driver Director Written by Monica Johnson Producer Marty Katz Executive producer Director of photography Eric Saarinen Editor David Finfer Production design Richard Sawyer Sound Bill Nelson Music by Arthur B. Rubinstein Casting Barbara Claman Set decorator Richard Goddard Costumes Julie Glick Makeup Rick Sharp Hair Ramsey Still photographer Bruce Birmelin A scene from Lost in America Lost in America with Albert Brooks One of the wittiest chroniclers of modern American life, Albert Brooks talks with filmmaker Robert Weide about how he arrived at the concept for Lost in America. Also: a few words from James L. Brooks. Lost in America: The $100, 000 Box Albert Brooks brings the gift for comic deconstruction he honed in his stand-up career to this uproarious satire of baby boomer values.

Lost in america albert brooks. Lost in america cast. You're poison. Lost in america mr big. Lost in america nest egg. Lost in america blog. I cant say enough how much i appreciate Alice cooper, I recently discovered how amazing of an artist his is. pure legend. Lost in america trailer 2020. Lost in america imdb. I didn't know the story behind the photo. Let me know if you have any copyright issues with it and I'll switch out a different image, but it sounds like you like it.

3:36 holy hell is that Ozzy Osbourne. Lost in america this american life. Lost int. american. Lost in america halloween. Lost in america dvd. America lost in delusion. Lost in america quotes. 2 2, 22... 😂😂😂. Lost in america full movie. Lost int. american airlines. Lost in america watch online free 123movies. Lost in america podcast youtube. Lost in america - film. Albert Brooks’ million-dollar smile and boisterous, overbearing persona had to melt. He started out fully formed, the post-modern comic analyst prepared to peel back the veneer of comedy being the province of well-fed men in tuxedos cracking each other up. The history of comedy had reached one of its many sea changes. The advent of sound in film and the golden age of radio that grew after the advent of commercial programming saw Jack Benny, The Marx Brothers, the Three Stooges, Abbott & Costello, and Laurel & Hardy become superstars. Slowly, America got used to a more frank, bordering on ribald, form of humor, and so the likes of Jerry Lewis, Milton Berle, Jackie Gleason, Burns & Allen, Nichols & May, Buddy Hackett, and, of course, Lenny Bruce rose to prominence. However, the death of Bruce in 1966, just as his act had abandoned jokes for confrontational rants about the state of media, meant that comedy couldn’t go back to the way it was. And by the late ’60s and early ’70s, most of the aforementioned comics became kitsch acts trotted out for Dean Martin roasts and variety TV specials. So, it was time for something new, something that could comment on the waning days of public domain lounge acts or dust-coated punchlines, and Brooks was the man for the job. Brooks made short films on Saturday Night Live that didn’t exactly gel with the stoned smart alecks in the writers room and in front of the camera. Brooks was smarter than John Belushi, Dan Aykroyd, and Chevy Chase, and he was more of a born star than someone like Al Franken or Garrett Morris, and he arrived with ironclad shtick that constantly evolved with current comedy and critiqued itself at every turn. His movies and records were about teaching comedy to the layman, with Brooks acting as the privileged insider who’d learned all its secrets. He’d use his spot making short films on SNL (forerunners of the short form work of The Lonely Island) to hawk his records on primetime while presenting a man who appeared to be above it. When his first feature film debuted, 1979’s Real Life, it opened with a segment that could have been taken in isolation as one of the last great Brooks short films. He introduces himself to the residents of Phoenix, Arizona in their city council building by singing a song with what he could afford of The Mere Griffin Orchestra that includes a few seconds of crowd work and lyrics tailored to the place. It’s a hilariously slick introduction to Brooks, who, by the end of the film, has gone mad and has tried to burn his film to the ground literally to give it an ending akin to Gone with the Wind. Next came 1981’s Modern Romance, in which Brooks is front and center as the most controlling nebbish in the world, riddled with jealousy and his inferiority complex. He’s the villain of his own story but he can’t see it. He thinks he’s got the world and women figured out, much like his early persona had conquered the secrets of comedy, but his surfeit of knowledge just lays him up in a fog of awful curiosity. Every minute he’s not with his girlfriend (then ex-girlfriend, then girlfriend again, then fiancé, then ex-wife) he’s just imagining all the men she’s with instead of him. For his next trick, he’d decimate every piece of the LA Yuppie persona and the supposed enlightenment of the well-to-do. 1985’s Lost in America was his biggest box office success to date and the announcement that the new Brooks persona — the man falling apart at the seams — would be replacing the showbiz wheeler dealer permanently. It opens with a radio interview with Rex Reed (a frequent target of Brooks’ gentle ire) that ends with him saying that if he’s watching a comedy, he doesn’t need to see it in a packed house. “If it’s really funny, I’ll laugh. ” Brooks, who was all about manipulation of expectations and roasting himself, opens with a dare. Brooks plays David Howard, a junior executive at an advertising firm expecting a big promotion so he and his wife Linda (Julie Hagerty) can get buy a new house and really start their lives. When he’s denied the new job, he snaps and quits in as flamboyant a fashion as possible. “I’ve seen the future and it’s a bald man from New York! ” He convinces Linda to abandon their future plans in favor of purchasing an RV and seeing the real America. “We need to touch Indians! ” Is his constant, deeply shallow refrain. He doesn’t seem to understand that the America he thinks he’s about to go explore never existed and he bought it hook, line, and sinker from commercial agencies like the one for which he used to work and movies like Easy Rider — another of Brooks the writers’ favorite hobby horses. Easy Rider was a frequent target of Brooks because settled men in condos idolized the drugged up free spirits on the bikes. The cop who pulls David and Linda over in Arizona loves the film, not realizing he represents everything the movie stands against. Men everywhere saw themselves in Peter Fonda and Dennis Hopper, even as they lived creatively stymied with existences utterly dependent on capitalism and law and order. They’d never throw everything away. Sure enough, it’s not even 24 hours into their journey before David realizes his dreams and reality won’t ever mix. Linda gambles away their money and despite David’s attempts to get it back from a pit boss (played splendidly by an unflappable Garry Marshall), they’re broke, trapped in an RV, and have no job prospects. They never wanted the experience to turn out the way they planned; they wanted the exact comfort, just without the responsibility and the phone bill. Like Dennis Hopper in Easy Rider, Brooks films the few wonders of America they find, like the Hoover Dam, as just the backdrop for the petty bickering of two frustrated boomers. They’re equally helpless, and though they agree they hated their old life, they cannot hack it as pioneers. They’re like indoor cats let out for the first time, suddenly scratching to get back in. The empty promise of the American dream is the implicit subject of most of his films, but in Lost in America, they’re the most exquisitely drawn. Failure and pettiness haunt David and Linda, and Brooks finds compelling ways to frame them. (He was never the most exacting visual stylist, though he had his moments, as in the King Vidor-influenced opening of 1991’s Defending Your Life. By 1996’s Mother, the camera was just there to capture the dialogue and performances, though those never lost their sharpness). The argument at the Hoover Dam has them walking a thin sidewalk while Brooks and his long shadow bear down Hagerty as she tries to hitchhike away from him. It’s lovely to consider, but it’s also the whole movie in one composition. All around them is natural beauty and the open road, but they’re stuck to each other and their awful neediness. The way he handles the blocking in the scene where Haggerty gambles away their nest egg is done in one long, hyperactive take, the camera following a robe-cold Brooks as he rockets between the roulette wheel and Marshall. In scenes like this, the film most resembles Preston Sturges, Brooks most obvious predecessor (his boorish insecurities and her meek messiness recall the pairing of Betty Hutton & Eddie Bracken in Sturges’ best movies). Naturally the film wouldn’t work unless David and Linda are killed as in Easy Rider, which would have been too bleak for a comedy, so he has them come crawling back to the society they fled while Sinatra triumphantly swings on the soundtrack, cynically mythologizing Brooks as he sells right back out. He’s becoming part of something bigger and more important than his and his wife’s own happiness. They never wanted the real America and now they’ll never have to see it again. Where’s It Streaming? HBO Go Trailer:.

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Free Stream Lost in America 720p(hd) Full Length tamil Documentary genre Rated 3.6 / 5 based on 402 reviews.

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