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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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United 93

Terror porn, every bit as repellent as that other big-budget snuff movie, Passion of the Christ. I thought Greengrass’s Bloody Sunday was terrific, even though it uses the same quasi-documentary style to recreate a real event. Why was Bloody Sunday so much better? Probably because there’s a more solid consensus about what happened, and there was more context, which allowed you to actually draw some conclusions. With United 93, you’re left with nothing but horror and a big fat question mark–why would anybody do this? The movie just fades to black.

And again, the question of fiction vs. non-fiction. If United 93 wasn’t based on a real event, nobody would want to watch it–it’s a lousy story.

United 93, Paul Greengrass, 2006. *

United 93 at Rotten Tomatoes – 90%! Somebody calls it “A fresh and powerful reminder of the day the music died.” Don’t they have the wrong movie?

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