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    "A fast, complex, exhilarating roadster ride through history and time.... Kino is an intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme

    "Jürgen Fauth's deft mashup of genre and historical period is both a full-throttle literary thriller of ideas and a contemplative examination of film and fascism. Kino is a debut of great intellectual  force."– Teddy Wayne

    "A surprising alternative history. Kino brings the golden age of German cinema to light with loving, sometimes gritty, detail and great precision." – Neal Pollack, author of Jewball.

    "A delirious melange of conspiracy, magic, sex, history, bad behavior, and cinema, Kino is a stellar entertainment, and Jürgen Fauth is a writer of rare, sinister imagination." – Owen King, author of Reenactment

    "A light-hearted romp that leads straight into darkness and back through the shadows on the wall."– Ben Loory, author of Stories for Nighttime and Some for the Day

    "Movie nuts arise! A happy and felicitous debut."– Terese Svoboda

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Pan’s Labyrinth


Of course: the evil stepfather was a fascist! Guillermo del Toro mashes up fairy tales with the Spanish Civil War; the villain is With a Friend Like Harry’s Harry (Sergi Lopez) as evil stepfather in a captain’s uniform vs Maribel Verdú, the teenager-devouring doomed hottie from Y Tu Mama Tambien in a role straight out of For Whom the Bell Tolls, along with a secret garden, golden keys, magic chalk, mandrake root, and gnarly CGI creatures that Terry Gilliam only wished he’d had the budget for in The Brothers Grimm. The plot ends up not quite as fresh as I would have wished, but then again, there are only so many ways to make myths new (they’re supposed to tell the same story.) Some of the images–liquor seeping through the gauze on a stitched-up face, fairies chomping down on raw bacon, the Cronenbergish pale man with eyes in his hands, others I won’t spoil–are bound to haunt my dreams.

Pan’s Labyrinth, Guillermo del Toro, 2006. ****

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  1. We saw this again yesterday, and I’ll take back what I said about the plot–it’s plenty fresh, within the confines of the monomyth. This time, it struck me as both more cruel and more hopeful than the first time around. This is going to open after Christmas, and it’ll be interesting to see how Picturehouse is going to market it, or what kind of rating the MPAA will slap on it. It’s certainly not a children’s movie by modern standards. Then again, by those standards, the Brothers Grimm are way too grim for children, too.

    Marcy adored it.

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