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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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Bound



Movies about The Money are always about Trust, too, and the unofficial theme song of the heist thriller is Bob Dylan’s Absolutely Sweet Marie:

Well, six white horses that you did promise
Were fin’lly delivered down to the penitentiary
But to live outside the law, you must be honest
I know you always say that you agree
But where are you tonight, sweet Marie?

The double-cross isn’t just a staple of the gangster film, it’s built into its DNA in a way that few screenwriters seem to be able to resist. Therefore, it’s a pleasure to see criminals who don’t screw each other over for the loot. For a movie that got attacked for its perceived cynicism, The Ice Harvest put a particularly nice spin on the problem, and Bound surprised us in this regard, too.

You see, trust becomes the central problem in the developing love affair between Gina Gershon and gangster moll Jennifer Tilly when mobster Joe Pantoliano steals a bunch of money, they steal it from him, somebody gets shot, and so forth. A tight, sexy, and violent chamber play, the first feature by the Wachowski brothers has enough clever moments and directorial flourishes to stay entertaining while it lasts. In the long run though, I don’t expect to remember much aside from what the poster rightfully promised: fetishistic images of women in black leather, all tied up.

Bound. Andy and Larry Wachowski, 1996. ***

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