Memory runs by its own itinerary, departing and arriving at stations of the past on its own schedule.

The witch-hunting McCarthy era found Hollywood's view of the press growing bleaker along with the decade's view of everything else.

Italian writer-director Paolo Sorrentino makes zombie movies, which probably comes as a surprise to him. At the center of his best and most recent pictures are the walking dead, characters in a race with themselves across mortality's finish line, their spirits arriving before the rest of them.

Walter Cronkite was the last newsman everyone trusted in the same way that the Beatles were the last music everyone loved and Marilyn was the last star everyone concurred was worthy of the word.

I don't know how many modern families watch 'Modern Family,' but then one of the points of 'Modern Family' is that it's hard to tell what a modern family is anymore, let alone what it does.

Hopefully it doesn't come as too much of a shock that artists we love watching or listening to for an hour or two aren't always people with whom we otherwise would want to spend 20 minutes.

Meryl Streep and Julia Roberts act themselves senseless in 'August: Osage County,' and by the time they're finished, they've acted their movie senseless, too.

Drawing the desperate and the adrift, Los Angeles has long been the dumping ground of dreams both real and cinematic.

David Cronenberg's 'Maps to the Stars' is a Hollywood monster movie in which Hollywood is the monster.

Americans disagree about America because the most common consensus as to what America is or has ever been or ever was meant to be eludes us, and it eludes us because we want it to.

The beautifully composed imagery of '12 Years a Slave' underscores the savagery of its subject, which is an American South not of knights and ladies but obscene values and a grotesque pageantry, every gorgeous shot of the languid landscape radiating toxicity like a hyperlush blossom that's poison to the touch.

Ironically, if only because over the years I've known so many - from college deans to studio executives to European expats - who come to Los Angeles aspiring to nothing other than living in Topanga, I wound up there by accident.

Julianne Moore and Michael Keaton began in 1980s soap operas and 1970s sitcoms, respectively, such ancient history by show business standards that you need carbon dating to measure their careers.

Slavery was the betrayal of the American Promise at the moment that promise was made.

'The Company You Keep' is about outgrowing not just the delusions that accompany youth but the harsh certainties driving our lives and then trapping them before the years outpace the velocity of our dreams.

'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.

I own one movie by fellow Swede Ingmar Bergman, because I have to. You can't be a movie critic with a collection of six or seven hundred DVDs that includes everything from 'Tokyo Story' to 'Poison Ivy: The New Seduction' and not have a Bergman movie.

That godfather of the modern action blockbuster, 'The Godfather,' is entirely character driven, propelled by the transformation of a crime lord's youngest son, who breaks bad when he evolves from white-sheep war hero to blood-soaked inheritor of his father's empire.

The 1988 biopic of bebop immortal Charlie Parker, 'Bird,' was the film that opened my eyes to Clint Eastwood's potential as a filmmaker.

Among the gorges and ravines that hang on Los Angeles's shoulders like a necklace, Topanga - nestled in the cleavage of the Santa Monica Mountains - is the most singular of ornaments.

By the nature of cinema and how it literalizes what we envision, movies can have difficulty replicating that connection we make with a classic book.

Redford always has been a cool presence both before and behind the camera. His best movie as a filmmaker, 1994's 'Quiz Show,' exhibits a classicism verging on self-repression, and the social indignation in many of his films engages more than moves you.

'Homeland' was a sensation out of the gate in 2011, gathering acclaim and sweeping up Emmys, and the reason such shows are so overrated is because, unlike with other forms of popular art, success in TV is measured almost purely by how obsessive we become.

In journalism, as in politics, other people's lives are a currency to be bartered on behalf of notoriety and influence.

For half a century, the Sunset Strip was the asphalt timeline of American popular music. My most distinct memory, from more years ago than I'll confess to, is waiting for a table at the Olde World, which occupied a wedge of territory at Sunset and Holloway Drive, where the daiquiris became more vicious the longer you sat in the sun.

Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.

Besides inquiries as to our general well-being, the first thing asked about us, in our first seconds of being alive, is whether we're a boy or girl. Our first passport through this world is our genitals.

The most telling thing about 'Fargo,' both the now-classic movie and the television series, is that it doesn't take place in Fargo.

If 'Fargo' is about anything, it's American madness.

I'm not sure there's a difference between books that affected the way I see the world and books that influenced me as a writer.

I rode the buses in L.A. until I was in my early 30s, and there's something about driving or riding through L.A. after sundown, when the Utopian city goes into hiding and another city comes out, more Doors and less Byrds.