I think all of us have a bit in Frank, or Roxy, deep down inside of us.

Everyone should watch this movie. Especially now.

The writer and director are obviously not very good at movie business: you have to skip the first 20 minutes as the movie is interesting only after the first 20 minutes.

I watched this on DVD recently. I didn't know what to expect, but what stood out most was the excellent story telling and character development. The relationship between Frank & Roxy was believable, and by the end I had developed a 'Thelma & Louise like' fondness for them which left me feeling quite sad. The film launches with pace, and without a second thought, the audience is onboarded travelling with Frank & Roxy on a one way road trip to an enevitably unhappy ending. The script is frequently insightful, sincere and amusing which serves to balance the impact of the more violent scenes. It has a rather entertaining surreal quality, which makes the whole film seem almost like a dream, but of course it's not. The social commentary hits home, although as a non american citizen I found it somewhat incidental. The film looks good on screen with pleasing cinematography and strong soundtrack elements. Highly recommended, but perhaps not for a younger audience as the 15 rating seemed too generous.

A dark comedy, in the fullest sense of the term, that pulls no punches and really pushes the limits. From the opening scene you'll know if it has the edge you need or if it's just too much. Some of the diatribes and social commentary are borderline great and second to none... because most films won't go as far as this did. God bless America, indeed, the only country something like this can be made and distributed to the public.

I kinda enjoyed the movie in 2011, but damn, this really didn't age well. It's still well acted and everything, but I don't think you can feel any satisfaction watching the main character shoot up a cinema in 2023.

One of those guilty pleasure movies. All of us once in a while get cynical and want to just kill someone but would never do it. In this movie, you can watch others do it against a cliched comedic backdrop. No serious messages in this film, nothing to learn, just a fun (but dark and bloody) movie with great acting and chemistry between an unconventional and unlikely duo.

This movie was wild. Even I couldn't believe how much ish went down. Those two went on a bloody damn rampage.

It's an awful premise, and I laughed through all of it! The acting is great, the jokes are hilarious and dark, and the characters are well developed for such an absurd movie. It is a very dark movie and has some very odd/weird (bordering on gross) character dynamics and story lines but the fact that it sticks to the dark theme through out the movie and never breaks character makes it well worth the watch. It may not be for the faint of heart but for those that love dark and sarcastic comedy that parodies the absurdities of our society there is no better movie to watch than this.

Points for an interesting premise - man with inoperable brain tumor decides to go out in a blaze of glory by killing people who are obnoxious. Meets a teenage girl and they become a Bonnie & Clyde killing team. Amazingly not as dark as you would think. Couple of issues.... Murray has always been a supporting character - he doesn't strike me as a leading man. He gives a couple of cringy speeches as to why he is mad as hell and not gonna take it - this has been done MUCH better in other movies. Barr is supposed to be a teen, but she comes off as a 29 year old Che Guevara. There is some insightful and funny dialogue, but there is also some awful dialogue, and when you are making a movie like this, better to take your politics off the table.

Tara Lynne Barr who plays Roxy steals every scene.

A radical left wing rip off of Falling Down.

I'll take "Movies that don't hold up in 2020" for $500

If I wanted to be preached at, I would go to church. I found myself rolling my eyes at the inevitable diatribe in every scene. Yeah we get it, the writer thinks modern society is broken and hates smart phones or something. Not particularly well acted by anyone in the film.

The film is a much-overlooked jeremiad against reality 온라인카지노추천 and the general decline of American culture. The film's opening sequence is one of comic savagery as Frank, who suffers from migraines, fantasizes about blowing his neighbors and their squalling baby away with a shotgun. After being diagnosed with an inoperable brain tumor, Frank finds an unlikely sidekick in the 16-year-old Roxy and sets out on a cross-country killing spree, targeting political and religious extremists, people who talk in movie theaters, and other personas non grata. In Frank, Goldthwait has created a brilliant amalgam of Travis Bickle from "Taxi Driver" and Howard Beal from "Network."

Ultra-violent, but in this day and age that's hardly remarkable. This is a pretty unique and very introspective black humor shoot-em-up flick that lampoons low brow culture in the USA (e.g. crude radio disc jockeys & vapid reality 온라인카지노추천 stars). Not for everyone, but pretty entertaining. Watched 4/08/2020 w/ MK

A personal favourite. Not for everyone, quite controversial and surely violent; more of a cathartic experience than a movie itself.

This film breaks all the rules in the most cathartic way. It's just as dark as it is hilarious. Definitely a fun movie and well worth checking out

While Bobcat Goldthwait's later film Willow Creek (2013) wasn't my favorite, this film is actually an impressive comedy. It features a memorable performance by Joel Murray, who plays a character that we really feel for. And while it features some of the darkest comedy out there, what's also impressive about God Bless America is that it has a deeper message to it, on the modern mocking internet culture we live in. It's funny and contains a bunch of fun gory shoot-outs. It's unfortunate that this movie didn't go into the mainstream. But anyways, good dark comedy and recommended!!

I feel like so many people are missing the fact that this movie is as much about uncomfortable truths as it is about some well-trod social commentary. Almost every review seems to overlook the fact that the movie is also about honesty, a running theme in all of Goldthwait's movies. It's almost enough of a subplot to count as the co-plot. So, I'm just going to ignore what I'll call Plot 1 (Frank and Roxy shoot-em-up blah blah blah), and talk about Plot 1A. WARNING: SPOILERS OUT THE WAZOO Plot 1A begins with Roxy's first (and note-perfect) line: 'Hey, creepy. Isn't the whole high-school girl thing a little played out?' This is what I call Roxy's Spider-Sense Moment. It's not that Frank is a creep, but it is telling who he chooses as his first victim, especially since he then takes on Roxy, a high school girl, as his rampage partner. Roxy, I believe, senses this weak spot in Frank (our everyman, representing well-meaning but deeply flawed humanity), and why she feels confident in seeking him out. Later, in the thrift store scene, she tests him, and becomes angry not just because Frank doesn't give her the answer she wants, but also because she believes he's not being honest with her. You can see her irritation in the increasing crudity of her questions, as Frank continues to give the answers we expect (both in terms of what we expect from the scene, and what we'd expect of a moral, ethical adult in that situation). Frank does the right thing, here, but the viewer can't be certain yet he's doing it because he is devoid of that weakness or because he's in denial. When he evades her, she soft-pedals the question, trying to wrangle an honest answer from him. The scene culminates with Frank lashing out at her for making him uncomfortable, and Roxy storming off, incensed. And remember, Plot 1A is about honesty. It's not about whether or not Frank and Roxy would/could/should get romantically involved, any more than Goldthwait's examination of honesty in relationships in Sleeping Dogs Lie was about women blowing dogs. We all know they shouldn't, and we all wish they wouldn't, but this isn't the point. It's truth-telling through another of Goldthwait's agonizingly uncomfortable devices. Frank and Roxy have abdicated; they've chosen to walk away from our world. They're creating their own, with its own rules, in which murder is not just okay and even fun, but a moral imperative (they're making their world a better place, after all). So who's to say what other rules they may decide to make up as they go along? This tension builds throughout the film, subtly, as the relationship between these two lost souls deepens. Frank gruffly attempts to maintain his distance, while Roxy - who has less responsibility to be the adult - inches ever closer. It's not long before they share the bed (in as safe and respectful and platonic a manner as possible), and Roxy is nursing Frank's migraines with her pressure point hand-massaging. They begin to go out on what are cringingly close to dates. They slow dance to karaoke. Roxy leaves the bathroom door open as she begins to undress for her shower, and Frank hurries to close it - after a moment of hesitation. It comes to a head in a diner scene, in which Frank - fresh from discovering new lease on life due to a clerical error at his doctor's office - agrees to Roxy's proposal to move to France and live a less homicidal life... together... ish. All this time, Frank has maintained a distance from Roxy which is - if not entirely innocent - is at least entirely proper. Roxy leaves for the restroom, and a nearby patron asks Frank how much for the girl. Frank dismisses the man, who derides Frank's protests of innocence. (This is probably the biggest misstep in Plot 1A. It wasn't necessary to make the man a monster. I get that he's a dark mirror of Frank, and justifies what Frank does later, but the point would have been more impactful had he merely been looking askance at the middle-aged man clearly starting to respond to Roxy in less than morally upstanding terms.) Disturbed by this encounter, Frank later finds the man and strangles him to death. Most reviews/recaps cite Frank being upset to discover Roxy lied to him about her horrible parents - who turn out to be completely normal and loving - as the reason. This is, IMHO, wrong. Perhaps Frank is upset to learn Roxy lied to him, but this is the thinnest of pretexts. He murders the man because the man was right to assume Frank had lost his way with Roxy. Frank is killing a manifestation of his weakness. Using the same thin pretext, he argues with Roxy and leaves her, with the excuse that she lied to him. (This is ironic, since he's really leaving because he's afraid he may not be able to maintain the lie he's been telling her: that he would never consider any romantic involvement with her, because she's a child, and it would be horribly wrong.) Leaving aside the murdering, Frank isn't a monster. He never behaves inappropriately toward Roxy, and we get the sense he might never, even in France. But that's said with heavy emphasis on the 'might'. Throughout the film, Roxy's own feelings are less ambiguous, seeing in Frank the life she's always wanted, even if it comes in a chunky, middle-aged package. It's never made clear she sincerely wants to be with Frank in that way, but she drops enough hints about not discounting the possibility for the viewer to deduce she only lacks encouragement. If she ever got that encouragement (or got it before she became an adult), then Frank *would* be a monster. In the final act, the viewer gets a little cheat to resolve the question of honesty between Frank and Roxy. Knowing he is going to die, and caring enough to let her die on her own terms, he finally answers her question. 'You are,' he says, knowing he'll never have to face the consequences of the admission, 'a pretty girl.' Despite dodging the creepy implications by promptly killing both characters, the film offers closure. Frank is finally able to be honest with Roxy, and Roxy is satisfied her friend had told her the truth. Honesty. Frank can't be honest with Roxy until the end, but Bobcat Goldthwait can be honest with the viewer, and more to the point, won't let the viewers lie to themselves. Youth and beauty are powerful attractors, and the measure of our goodness isn't in denying that, but in choosing to act morally given this basic truth. Goldthwait makes the point by allowing Frank to fail before the viewer's eyes, then rescues the audience from blood-curdling cringe by killing him off. Had the movie ended in France, could the viewer believe Frank would maintain his decency? After watching him slowly give way to the preference for ninety-odd minutes? The audience is spared such questions, but the point is made. Honesty between people isn't always the best idea, but it's always important within ourselves. So, despite all the critical comparisons between God Bless America and Falling Down (which was hardly the first movie to canvass this well-worn territory), they are different movies, with only a few superficially similar themes. Both films have been done many times (as has the older man/younger woman trope), but Goldthwait manages to wring truths from both plots few if any of the other treatments have. Frankly, I suspect many of the negative reviews to be knee-jerk denials of the truths in Plot 1A, rather than Goldthwait's spin on Plot 1. (On a side note, I also suspect it would have multiplied its $123,000 box office earnings by orders of magnitude had it been made in 2018.)