"Bruce Sterling - Sneaking For Jesus 2001 (2)" - читать интересную книгу автора (Sterling Bruce)

readership for the eager though amateurish ILLUMINATI. ILLUMINATI was
written in eight weeks flat, and will have a devil of a time reaching
anybody outside an evangelical chain-store. SNEAKERS, by contrast,
cost millions to make, and has glossy posters, promo lapel buttons,
pre-release screenings, TV ads, and a video release on the way, not to
mention its own book tie-in.

SNEAKERS will also be watched with a straight face a

nd genuine
enjoyment by millions of Americans, despite its "radical" attitude and
its open sympathies with 60s New Leftist activism. ILLUMINATI will
have no such luck. Even after twelve solid years of Reaganism, in
which the federal government was essentially run by panic-stricken
astrologers and the Republican Party kowtowed utterly to its fringe-nut
element, it's still unthinkable that a work like ILLUMINATI could
become a mainline Hollywood film. Even as a work of science fiction,
ILLUMINATI would simply be laughed off the screen by the public. Even
R. A. Wilson's ILLUMINATI would have a better chance at production.
Margaret Atwood's HANDMAID'S TALE, which promotes anti-network paranoia
from a decidedly leftist/feminist perspective, actually made it to the
screen! The Burkett ILLUMINATI's theocratic nuttiness is simply too
ludicrous.

SNEAKERS is a professional piece of Hollywood entertainment and a
pleasant movie to watch. I'm not one of those who feels that Hollywood
movies should be required to teach moral lessons, or to heighten public
taste, even to make basic sense. Hey, let Hollywood be Hollywood:
SNEAKERS has some nice production values, a solid cast, some thrills
and some laughs; money spent seeing it is money well spent.

And yet there's a lot to dislike about SNEAKERS anyhow. The entire
effort has a depressing insincerity, and a profound sense of
desperation and defeat that it tries to offset with an annoying

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nervous-tic mockery. The problem resides in the very nature of the
characters and their milieu. It's certainly an above-average cast,
with Sidney Poitier, Robert Redford, Dan Aykroyd and River Phoenix, who
are as professionally endearing and charismatic as they can manage.
Yet almost everything these characters actually do is deceitful,
repulsive, or basically beside the point; they seem powerless,
hopeless, and robbed of their own identities, robbed of legitimacy,
even robbed of their very lives.

SNEAKERS is remarkable for its fidelity to the ethos of the computer
undergrou