The Last Kings of Hollywood: Coppola, Lucas, Spielberg―and the Battle for the Soul of American Cinema

 

I was really looking forward to this book, it's a great premise and I'm a big fan of all three directors. But I had a number of issues. My main issue is that so much of this has been covered in many, many other books and documentaries. How many times do I have to read about the time Lucas screened Star Wars for his filmmaking buddies? Coppola losing his mind during the making of Apocalypse Now? The making of Jaws? Spielberg and Lucas creating Indiana Jones while vacationing? The list goes on. Why is there so much material on Scorsese, once again, mostly recycled from other books? The author also seems oddly obsessed with FFC's personal life. He had affairs, we know! Big deal. Lucas comes off as a petty penny pincher. Spielberg's portrayed as socially maladjusted and sort of pathetic as a young man. BOO! Much of this reads like Easy Riders, Raging Bulls by Peter Biskind, only the prose is less sharp. It reads like AI edited this book; there's no energy to the prose. The tone is detached and devoid of passion, which is a shame considering the rich subject matter. For a newcomer wanting to learn about the subject, this book could maybe work as a primer. But there's so much better material out there.

Beyond Criterion: Movies as Memory, Not Status

Let me just say at the top: Criterion is an awesome company; they do incredible work with preserving movies and keeping film culture vibrant. I have my own modest collection of DVDs and Blu-rays from the label. We all love watching our favorite stars and directors go into the Criterion closet and talk about their favorites. Their home entertainment releases feature erudite essays, engaging extras, and the commentary tracks are fantastic. But, what about the rest of cinema? 

Many YouTube channels are now dedicated to the label where the hosts make a huge deal about "release announcements" the same way international bankers await minutes about the latest meeting of the Federal Reserve Board. We get the requisite "haul videos" of trips to Barnes & Noble during 50% off flash sales. The creators of these videos are sincere in their passion for film, but framing the history of cinema as a race to achieve Criterion status feels arid. 

People want killer recommendations, and YouTube often delivers. Criterion provides their customers with a sense of taste. I'd hate to see film discourse evolve into comparing vintage wines, there's a much wider world of cinema out there. 

If there is a counterpoint to Criterion culture, I would point to the Lex G podcast. Lex began podcasting in 2021, delivering long unfiltered riffs on the career of Tom Cruise or doing a free form deep dive into Brian De Palma's filmography. He lives in a small apartment, hates his cubicle job, often speaks of his misspent youth and his Hollywood dreams crashing with reality through sardonic anecdotes. 

Lex often speaks of Gen Z movie culture, admiring their precocious approach to films. They idolize the Criterion Channel and mainlined Ozu and Bergman during high school. Their refined tastes are in stark contrast to the 80s generation who watched worn-out VHS tapes of The Last Starfighter or Lethal Weapon 2. International cinema, outside of the occasional Siskel and Ebert segment, was not part of the average 80s kid's cultural diet.

Lex uses movies to reflect on and make sense of his past, not as a signifier of status or taste. His relationship with movies often gets complicated. There was a string of episodes that got a bit dark with Lex lamenting he ever became a "movie guy" and had not embarked on a more practical path. While the middle-aged angst remains, Lex's attitude has been more positive over the past few years.

What makes the podcast special are the small details. Tales about being a movie obsessed kid in suburban Pittsburgh channel the wistfulness of Jean Shepherd. Recording your favorite movies on a cassette tape as they played on TV or going on video store sojourns to locate a copy of The Eiger Sanction. Much of movie discourse these days is more hyper-concerned with optics and checklist critiques, a consumerist tone permeates everything. 

Canonizing for a niche audience serves a noble purpose, but movies are a popular medium and were never intended to be an intellectual obstacle course. Criterion preserves film; Lex G reminds us that films often shape us and the lives we've lived. Movies flow from all corners of culture, and most of them are forgotten with the passage of time. Movies are just as much about memory and identity as they are about cultural cachet. 

Who Benefitted from the Anti-Woke Panic?

Over the past week I've been closely watching the ICE invasion of Minneapolis. Scenes of masked, uniformed figures snatching people off the streets recall some of the most terrifying imagery from the 20th century. In widely circulated footage, Renee Nicole Good, a 37-year-old mother of three, was killed during an ICE operation. Predictably, those running the operation are playing Orwellian games with the video, disputing what's clearly visible.

Throughout the Obama, Trump, and Biden eras I read all about the excesses of the progressive left. Woke mobs on Twitter. Woke college students symbolizing the death knell of democracy. Editorials decrying BLM rhetoric as going too far. The 1619 Project challenging conventional narratives of U.S. history. Panics over transgender athletes playing sports, pronoun usage, pop culture diversity, even freakouts over beer ads. It's worth asking now not whether wokeness went too far, but who benefitted from these controversies?

Anti-Woke pundits presented progressive culture as a grave threat to Western Civilization. They described themselves as classical liberals and defenders of institutions, always claiming free speech and "Western values" was under attack. But their obsession with the excesses of progressive ideologies inadvertently fueled reactionary forces. Their outrage was misallocated. They mistook their own discomfort with cultural trends for oppression, but we are now confronted with the real thing.

The concerns of progressive activists were viewed as overblown and not based in reality. Educators, librarians, and activists were often singled out. As those decrying cancel culture and safe spaces enjoyed the lecture circuit and glowing profiles written about them at elite publications, class divisions widened and state power inflated. Even Libertarians got more mileage over mocking the latest progressive trends instead of tracking the authoritarian creep. 

It's not that progressives are above criticism. Not at all.  But anti-woke punditry got lost in the cultural debates, forgetting that being a cultural critic is not about gatekeeping, but realizing art should be in conversation with the past, not keeping it frozen in amber. MAGA poses no threat to these pundits, but a college course on feminist lit theory was seen as a more serious existential threat than militarizing the police or rampaging militias. 

The fixation on progressive policies and campus culture indirectly gave moral cover to authoritarians by priming people to fear cultural change more than state violence. Anti-Woke pundits will occasionally voice tepid criticism of Trump's reckless social media posts or lament his ignorance, but their ire is more often aimed at the Gen Z server from their favorite restaurant who corrected their pronoun usage. 

Meanwhile the citizens of Minneapolis worry about late-night knocks on the door from masked men with military-style weapons or reports of ICE checkpoints at schools or street corners demanding proof of citizenship. It's hard to imagine they are losing sleep over "woke" college students lecturing them about racism or gender identity. 

Film Discoveries 2025

Some notable first-time watches from last year, in no particular order.

1) Going In (2023, Evan Rissi) This was cool, the year is 1989, two old buddies'/rivals' team up to stop a drug epidemic. All aqua and neon, the video arcade sheen is like New Wave cinema meets mid-80s Atari. Going In totally feels like a movie from 1989 reimagined from the 2020s. 

2) Dead Calm (1989, Phillip Noyce) A solid psychological thriller on a boat with Nicole Kidman, Sam Neill, and Billy Zane. Orson Welles attempted to film the story in the late 60s, but it was never finished.

3) Knox Goes Away (2023, Michael Keaton) Reminded me of a film Clint Eastwood would've made 10-15 years ago, a contract killer is dealing with rapid onset dementia as he tries to tie up loose ends. Keaton achieves both menace and a shred of sympathy, well-constructed and clever. Also, many films are starting to depict dementia, I thought this one did it with grace. 

4) All Quiet on the Western Front (1930, Lewis Milestone) Many powerful scenes that obviously set the template for the war film genre. A couple of non-combat scenes stuck with me though. When the protagonist revisits the school and is disgusted by the empty-headed nationalism of his teacher, and then the reaction of the young men in the classroom to his downbeat view of the war, little has changed. Also, when the soldier watches those dumbass dudes playing armchair general, reminded me of all the blowhards on social media. And the combat scenes are riveting and terrifying. The entire film is unflinchingly downbeat. 

5) Doomed! The Untold Story of Roger Corman's Fantastic Four (2015, Marty Langford) I'm sure the actual film is charming and fun (available on YouTube). The documentary features interviews with most of the cast and crew. The experience of making the film clearly meant something to them and it's a shame showbusiness shenanigans prevented the film from getting a proper release. The "lost film" documentary subgenre is a favorite of mine. 

6) Mississippi Masala (1991, Mira Nair) Impressively made, a drama about an Indian and African American family dealing with legacy change in 1990s America. Free of cliches. 

7) True Stories (1986, David Byrne) Byrne's anthropological dissection weird Americana is both offbeat and endearing - it's like a blend of Burton, Demme, and Altman. John Goodman steals the film in a star making performance, always good to see Spalding Gray. 

8) The Crossing Guard (1995, Sean Penn) A bleak tale of middle-age descent, Jack Nicholson is a jewelry salesman mourning the death of his daughter who was killed by a drunk driver. He spends his days drinking and nights at strip clubs. Poetic tale of sad redemption.

9) That's The Way of the World (1975, Sig Shore) Harvey Keitel stars as rock music producer "Buckmaster", an impresario who's in the business strictly for the music - not to make money. He's working with Earth, Wind, and Fire (The Group) who are primed to go big time. But his company wants to push a white pop group who perform square, wholesome music. The record company head believes kids are tired of all the revolution stuff and just want good times music. Buckmaster reluctantly takes on "The Pagers" and turns one of their corny songs into a hit. Keitel carries the film along well and there's strong dialogue in the script by Robert Lipsyte, mainly known for his sportswriting. 

10) Grosse Point Blank (1997, George Armitage) Nostalgia for the 80s was already cropping up by the late '90s! John Cusack plays a contract killer attending his class reunion. On the surface it sounds like a bad film school script, but everything from the writing to the acting are done with seamless confidence. Maybe best cinematic depiction of a class reunion ever? The vibe felt just right. 

11) Billy Lynn's Long Halftime Walk (2016, Ang Lee) Many films attempted to make sense of the Bush II era; Ang Lee's film captures the rage, grandiosity, and desperation seeping into the American psyche. The entire film is set at a football game where a military unit will be recognized during the halftime show, interspersed with flashbacks of what they experienced in Iraq. The film slyly inverts the "thank you for your service" sentiment, there are many points where the veterans are mocked by the so-called patriotic football fans. Also, I like how many in the cast went against type: Vin Diesel as a sensitive sergeant and Steve Martin as the opportunistic team owner. Films about the Iraq War never had the cultural influence of Vietnam era films, possibly because they were regressive, like a bad TV rerun of the same story, different place minus the boomer nostalgia. 

12) Exotica (1994, Atom Egoyan) A critical favorite of the mid-90s, it would pair well with The Crossing Guard, sad middle aged men taking refuge at an upscale Toronto strip club, Leonard Cohen themed no less. 

13) DEVO (2024, Chris Smith) One of the best music docs of the past year, DEVO said what they wanted to say and got the hell out. I'll confess to feeling really down about being stuck in Ohio for most of my life, but DEVO makes me proud. Members of Devo were among the protestors at Kent St. and decided their art would be in response to the tragic events of that day. 

14) Black Moon (1975, Louis Malle) Malle really could do it all, possibly the most versatile and compelling of the French New Wave generation. This film is like a Twilight Zone episode, only far more provocative and stranger. A global civil war is being fought between men and women.

15) The Glass Shield (1994, Charles Burnett) Set in the aftermath of Rodney King riots, this moody '90s cop drama critiques racism at a cliquish precinct. 

16) The Chant of Jimmy Blacksmith (1978, Fred Schepisi) Set in in early 1900s Australia, this true story follows an Aboriginal man trying to conform to white culture. Met with contempt everywhere he goes, it all explodes in a paroxysm of violence. Brutally confrontational. Schepisi's 1984 film Iceman dealt with similar themes in a more humanistic way.

17) Perfect Days (2023, Wim Wenders) Memorable and meditative, we follow a man who cleans city toilets in Tokyo, as he listens to cassette tapes of classic rock, and reads. Classic Wenders, I only wish we had learned more about the protagonist and his early life. 

18) The Family Stone (2005, Thomas Bezucha) We lost Diane Keaton this year, and here she leads an ensemble cast as the matriarch of a slightly dysfunctional family. Watch if you're tired of Christmas Vacation or The Christmas Story. Double it with Arnaud Desplechin's A Christmas Tale for more holiday dysfunction.

19) Rude Boy (1980, Jack Hazan, David Mingay) Excellent snapshot of The Clash during their prime, interspersed with asides on the political turmoil of late 70s Britain. Resonant, there's a memorable scene with Joe Strummer trying to convince a young man to not buy into fascist propaganda. Apparently, the band was unhappy with the film, but it's valuable for depicting how Punk appealed to alienated young people, many confused about their political ideology as Thatcherism loomed.

20) The Night of . .  (2016, Steven Zaillian) Gripping, Riz Ahmed and John Turturro give some of the best performances you'll ever see anywhere. Both legal drama and bleak prison survival narrative. Highly recommend, An 8-part HBO series.

21) The Sure Thing (1985, Rob Reiner) John Cusack and Daphne Zuniga are incredibly charming as college kids on a road trip over Christmas vacation. Smarter than the average '80s youth comedy.

22) Film Geek (2023, Richard Shepard) A manual on channeling passion. Shepard recalls his moviegoing adventures in New York during the 70s and 80s. It's also about his father, a man he never truly understood. 

23) The Daytrippers (1996, Greg Mottola) Iconic 90s indie with many familiar faces, satisfyingly low stakes. 

24) The Duelists (1977, Ridley Scott) The Barry Lyndon influence is unmistakable, but the approach is pulpier. Beautiful cinematography. Keith Carradine and Harvey Keitel are two officers during the Napoleonic Wars who engage in a number of dangerous duels.

25) Old Joy (2006, Kelly Reichardt) A simple, but subtle, tale of two estranged friends trying to reconnect. As usual, Reichert fashions a distinct setting that gets the most out of every moment. 

26) Bullet in the Head (1990, John Woo) Propulsive, brutal, pure cinematic energy, follows three buddies getting involved in drug smuggling during the Vietnam War. Makes The Deer Hunter look tame.

27) Fatal Beauty (1987, Tom Holland) A mid-80s neo noir with Whoopi Goldberg and Sam Elliot who have great chemistry. Lots of inappropriate humor, best of the scummy late Reagan era.

28) Three Ages (1923, Buster Keaton and Edward F. Cline) Early feature length film from Buster, playing characters living in different ages. Endlessly inventive and funny. 

29) It Could Happen to You (1994, Tom Bergman) A Capraesque fable that goes down easy. Nicolas Cage plays a down-to-earth every man who shares a lottery win with kindly waitress played by Bridget Fonda.

30 Flow (2024, Gints Zibalodis) Animated film, a majestic adventure about a cat who survives a flood and finds community.