American History X - * * * 1/2*

American History X is a powerful examination of the destructive allure of racism and hatred. Boistered by some impressive performances, paints a vivid picture of how mindless hatred can tear society, and an individual family, apart.

Derek Vinyard (Edward Norton) is the perfect skinhead poster boy: he’s handsome, charismatic, athletic, smart, and full of hatred. As a youth, he teamed up with a local white supremacist, Cameron Alexander (Stacy Keach), and organized a powerful skinhead gang in Venice Beach.

However, after committing murder in an ideologically racist zeal, Derek is sent to prison. While there, he reevaluates his life, and years later, returns home a changed man.

What he finds there frightens him. His young brother, Danny (Edward Furlong), idolizes him, and has followed in his footsteps. Danny has become a virulent skinhead, even turning in a school book report on Mein Kampf. Derek’s must struggle to reclaim his brother from the same depths of hatred which ruined his own life.

The heart of this movie is Edward Norton, and he delivers a powerful performance. It’s a gutsy move to make his initially racist character so compelling to begin with. There’s even a point where the movie gets seductively close to endorsing the “white power” platform. However, soon the bottom drops off into a well of self-destructive hatred. Norton is able to show the full evolution of his character, from the innocent, to the hate-filled youth, to the regretful adult…all with a believable intensity.

Many of the actors in the supporting cast are excellent as well. Avery Brooks portrays a passionate high school principal who’s not willing to give up on his misguided students. Edward Furlong gives a layered performance as Danny, much better than his one-note sappiness in Pecker… perhaps there’s a good actor in there after all.

Director Tony Kaye (who wanted his name taken off this film due to editorial differences) also served as the film’s cinematographer, and there his talents truly shined. From the film’s effective use of black and white flashback sequences, to a well-handled slow-motion water motif, the film is always visually stimulating.

The overall message of the film might smack a bit of self-importance (particularly when considering the film’s conclusion). However, although a few excesses are made, the film does have a deserving message, which it effectively delivers.

American History X is a moving and involving film, tackling the tough subject of racism in America, displaying its causes and allures, as well as its ultimate senselessness.

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Orgazmo - *

Orgazmo is a movie that feels like one of those “before they were famous” photos. Made by the creators of South Park, before that show ever hit the air, this spoof of “adult” films and kung-fu movies shows some comic potential, but it just misses the mark.

Elder Joe Young (Trey Parker) is the stereotypical clean-cut Mormon, doing his mission work on the seedy side of L.A. One day, he has the misfortune to accidentally interrupt the shooting of a porno film. The director, Maxxx Orbison (Michael Dean Jacobs), sics his goons upon Joe. But when Joe defends himself with some impressive kung-fu moves, Maxxx hires him on the spot.

Now, Joe has a few moral issues with starring in a pornographic film. But, since Joe desperately needs the money for his upcoming marriage to his sweet fiancee Lisa (Robyn Lynne Raab), he is able to look past the ethics (besides, it’s only acting). And so, Joe becomes the porn star, Captain Orgazmo.

However, things begin to get strange when his real life identity and his alter ego start to converge. Ben (Dian Bachar), Captain Orgazmo’s sidekick Choda-Boy, is a closet genius, inventing all sorts of techno-gadgets. When a group of thugs threaten Ben’s friend G-Fresh (Masao “Maki” San), Joe and Ben must become Captain Orgazmo and Choda-Boy to thwart the evildoers and their evil scheme.

If all this sounds rather odd, and in poor taste, well, it is. This IS from the makers of South Park, after all. However, few of the jokes here seem inspired…most are blatantly obvious, and only a few are funny.

Surprisingly, the best parts of the film are when it is spoofing the kung fu genre, rather than its outlandish soft porn. Simple gags, such as Ben’s mystical “hamster-style” martial arts provide much of the film’s humor.

But, unfortunately, it’s not enough to support the whole film. Even with a relatively short running time, the film quickly gets repetitive. This one might make a good midnight movie on cable…but it’s not worth the effort at your local movie theater.

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Life is Beautiful - * * * *

Life is Beautiful is a rare treat: a lighthearted comedy that tackles a very serious subject without committing the sins of being disrespectful, or, even worse, humorless. It combines a charming romance with a dash of farce, stirs in a little poignancy, and ends up a very enjoyable movie. It’s an Italian film, but don’t let that discourage you. Subtitle-phobes will be missing a wonderful experience.

Life is Beautiful opens as a sweet romantic comedy, with the clownish, but good natured Guido (Roberto Benigni) arriving in a rustic Italian town to work as a waiter for his uncle. The year is 1939, and Guido literally stumbles into the girl of his dreams, Dora (Nicoletta Braschi). Their romance seems to be picture perfect, with only one stumbling block: she’s already engaged to another man. Can Guido overcome the odds and win his girl? What do you think?

However, five years later, things have taken a turn for the worse in Italy. The fascists have stepped up their race initiatives, which is bad news for the Jewish Guido and his new son Giosue (Giorgio Cantarini), who are rounded up and shipped off to a concentration camp.

Unable to protect his boy in any other way, Guido attempts to shield his young son from the horrors of the labor camp. He pretends that everything is all an elaborate game, with points awarded for such tasks as hiding, being brave and being very very quiet.

As you can tell from the description, Life is Beautiful has two very different tones, but manages to excel at both of them. As a romantic comedy, it is sweet and funny. As a bitersweet tale of hope amid despair, it is touching.

Roberto Benigni’s work here has been compared with some of the best of Chaplin’s, and it is easy to see why. He is able to run the gamut of comic expression, from slapstick to farce, with a warm-hearted feeling that celebrates his downtrodden hero’s “triumph of the underdog” spirit.

Life is Beautiful treads a thin line when it turns its attentions to the Holocaust. However, it is able to successfully navigate the minefield, without demeaning the gravity of the horrors involved, nor without losing its humorous edge that allows you to smile through the tears.

With Life is Beautiful, Benigni has created a triumphant, but bittersweet comedy. It’s quite simply one of the most enjoyable times I’ve had at the movies this year.

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Soldier - [No Tickets]

Soldier

What’s that smell? Why, it’s Soldier, an insipid science fiction action yarn that makes you long for the realism of Pigs in Space.

Right now, under our very noses, if you believe the timeline the film gives us, an elite unit of men trained exlusively to be killing machines are being raised by a top secret military unit. Apparently stolen from their cradles, these children are raised, in a Clockwork Orangian fashion, to only understand discipline and violence.

Apparently, wars of the future are fought on a very small scale. There are only 20 of these soldiers (who survive their training, anyway), and they’re involved in what seems to be each and every war or conflict in space. (Oh, yes, by the way, in the next thirty years, humankind has colonized the known galaxy). The best of these 20 men is known only as Todd (Kurt Russell), as you can read from the tattoo on his cheek.

In any case, this elite group of soldiers has never lost a single man (at least until the main plot of the movie gets underway, that is). You see, the soldiers are being replaced. There’s a new breed of tougher, faster, stronger soldiers (without hair, even) which are being introduced. And, since there can only be 20 soldiers in the entire galaxy, Todd’s unit is being retired…forcably.

For some reason, even though this replacement project must have been in the works for most of the time he’s been in command, the head of Todd’s soldier unit, Captain Church (Gary Busey), knows nothing about the replacements, and doesn’t believe in their superiority. What better way to test your men than to have them fight to the death? Well, you can guess the outcome… Todd’s unit has been replaced, and Todd (mistakenly thought to be dead) is simply thrown down the nearest trash chute. Hey, do you have a better way to dispose of a corpse?

Well, conveniently, Todd’s coma lasts for the entire duration of an interstellar flight to the local trash planet, where he’s luckily dumped on the top of a giant trash heap (rather than underneath it). Strangely, this planet has incredibly strong windstorms that apparently ignore these huge trash piles, which remain standing despite the 300+ mph winds.

Anyway, as luck would have it, there’s a lost colony of humans thriving amid the trash and the winds. This colony adopts Todd as a pet. But can a man who’s been bred for forty years to kill and to obey ever learn to cope in normal society? Or is there a conflict just around the corner which will utilize all of Todd’s lethal training? You be the judge.

Granted, Kurt Russell is supposed to be playing a virtually emotionless soldier, bred only to kill and obey, but his performance is so flat, glassy-eyed and featureless, that he’s actually out-performed by a garden snake! Just because you’re an emotionless killing machine, doesn’t mean you have to be uninteresting (just take a look at the Terminator series). But one look into the blank stare of Russell’s soldier makes you yearn for the thespian talents of Arnold Schwarzenegger, or, heck, even Steven Seagal.

As the film blunders from one cliched subplot to another, it’s actually stunning to note the absolute lack of creativity on the screen. The closest thing the film ever gets to originality is in creating elaborate death sequences. And even those are foreshadowed so heavily, you could probably name them before the deaths ever happen.

The only way in which Soldier is conceivably enjoyable is in a Mystery Science Theater 3000 sort of way, in which, revelling in the absolute horridness of the mess on the screen, you create your own entertainment in the way of joking insults. But, even then, you’d have to be pretty desperate to pin your entertainment hopes on Soldier.

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Pleasantville - * * 1/2*

Pleasantville

Pleasantville is, of all things, a pleasant little film. It asks the question, what would the world be like if everything was perfect? And then it uses that, not only as a launchpad for social commentary on contemporary values, but as an examination on the roles of passion and change in our lives. Though inconsistent and obvious at times, the film manages to be elegant and subtle in others, and makes for a pleasant time at the movies.

Pleasantville is the name of a stereotypical 50’s black and white sitcom, where everything is, well, pleasant. Mom and Dad have all the answers to even the toughest problems in this small town. There’s no crime, fewer worries, and even the firemen only have to rescue cats from trees. In short, it’s about as far from reality as you can get.

But it’s the reality 90s teen David (Tobey Maguire) yearns for. A hopeless outcast in the increasingly frightening real world, David longs for the “perfect” existence in his favorite old sitcom. His slutty twin sister, Jennifer (Reese Witherspoon), simply thinks he’s nuts. She’d rather watch MTV than some moth-eaten rerun. However, when their television remote breaks, it looks like neither of them will have their way.

That is, until a mysterious TV repairman (Don Knotts) shows up. He gives David a gift: a magical remote which zaps David and his sister into the world of Pleasantville. There they take the place of Bud and Mary Sue, the kids of the Parker family, including salesman dad George (William H. Macy), and the perfect housewife, Betty (Joan Allen).

But David and Jennifer soon discover that “pleasant” isn’t all it’s cracked up to be. In fact, it’s somewhat repetitive and boring. The people of Pleasantville have no idea what to do outside the constructs of the various episodes. In fact, there’s literally nothing outside of Pleasantville (which apparently curves back around upon itself). But, when David and Jennifer introduce their 90s sensibilities into this 50s world, things begin to change in Pleasantville…something which has never happened before.

Pleasantville utilizes an ingenious technique to demonstrate these changes. As passion, in any form, begins to creep into the black-and-white world of Pleasantville, slowly objects and people erupt in color. At first, the changes are minor, but as the citizenry of Pleasantville learn of the possibilities of change, color springs up all around.

Toward the end, the film gets a bit heavy-handed in its overall “message”, but, along the way, it delivers several poignant and memorable scenes. The film has potential in its middle passages as it moves beyond simple television satire, and into an exploration of innocence and potential. However, it then clumsily segues into a ill-conceived tone nearly as preachy as the one it tries to condemn.

One of the more serious problems with the film is with its two leads. Both Tobey Maguire and Reese Witherspoon are, well, bland. And when you’re forced to compare them with a purposefully “bland” world, the comparison doesn’t hold as much weight as it should. By contrast, many of the Pleasantville characters (including Joan Allen, J.T. Walsh as the town mayor, and Jeff Daniels as the local malt shop guy) are much more colorful…even in black and white.

If you can manage it, try to avoid the trailers and advertisements for the movie, as they give away most of the film’s surprises. Not that it’s much of a spoiler (since you can see most of the plot developments coming from miles away), but the few moments of discovery in this film are best if they’re fresh.

Overall, Pleasantville is a nice film with a few nice moments, and a generally nice case. But it is obviously striving to be more than “nice”, and to achieve a depth of meaning which it never reaches.

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Apt Pupil - * * * 1/2*

Apt Pupil

Apt Pupil is a very disturbing movie. This cerebral thriller is very much a monster movie. But, rather than the monsters being some outlandishly implausible creature from the fringes of science fiction, they are taken from the pages of history, and, indeed, from the very streets around you.

From the outside, Todd Bowden (Brad Renfro) seems to be the perfect all-American kid. He’s top in his class, and a good athlete to boot. However, there’s a part of him which he allows no one else to see. After learning about the Holocaust in school, Todd becomes obsessed with it. Fed by an unknown hunger deep inside him, he devotes himself to learning everything he can about Hitler’s plan of genocide.

One day, Todd spots an old man, Kurt Dussander (Ian McKellan), riding the bus. It takes a while, but Todd recognizes the man: a Nazi war criminal. It seems that Kurt ran several concentration camps during World War II, then vanished. Todd takes the information he has which can prove Kurt’s true identity, and then confronts him with it. His intent isn’t to reveal the Nazi to the world, but to learn.

At first, Dussander is reluctant. But the monster within him still thrives, and as he recounts the horrors he inflicted to his young pupil, it reawakens. At the same time, Todd’s dark side is nurtured by Dussander’s tales. He begins to shut out the world as the evil within him grows.

On the surface, Apt Pupil may seem to be about the evils of the Holocaust, or Nazism. However, if you go in expecting the film to be about either of those two, you’ll be sorely disappointed. Instead, the film is an exploration of evil: evil in any form.

The two main characters are carefully concealed monsters. They seem perfectly normal: the kindly old man down the street, or the talented young high schooler. But in the right environment, they shed their skins to reveal their true monstrous selves. Dussander found his element among the horrors of Nazi Germany. But the atmosphere doesn’t have to be that extreme…true evil can exist anywhere, even in our own backyards.

Ian McKellan turns in a truly mesmerizing performance as the aging Nazi. He’s almost likable, in a way, until you realize the depths of evil in his soul: the horrors he has committed before, and has the potential to commit again. Next to him, many actors would pale…but Brad Renfro is able to stand his ground. His Todd Bowden at first seems rather flat, but there are layers to his character which are slowly revealed as the film progresses.

This is director Bryan Singer’s first film since the complex and entertaining The Usual Suspects. The storyline isn’t as convoluted here (which would have been a hard task), but he is able to create an eerily distinctive mood.

Although based on a novella by Stephen King, this is not your typical Stephen King movie. There is some violence (though toned down from the book), but the horror is primarily psychological. All in all, it makes for an unsettlingly good film.

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Happiness - * *

Don’t be fooled by the title. There is happiness in Todd Solondz’ latest film, but it’s not exactly what you would expect. The film explores several unhappy (and, in some cases, extremely dysfunctional) people in their quest to find “happiness”, whereever they can. Sometimes, it is in the oddest and most unusual depths.

The film centers on the lives of three dysfunctional sisters, and the dysfunctional people around them. First of all, there’s Joy (Jane Adams), who starts out the movie with a painful breakup with her latest loser boyfriend (Jon Lovitz).

Joy’s sister, Helen (Lara Flynn Boyle), is an outwardly successful woman, beautiful and intelligent. That’s probably what attracts the attention of her neighbor, Allen (Philip Seymour Hoffman), the obscene phone caller next door.

And finally, there’s Trish (Cynthia Stevenson), a naive housewife married to Allen’s therapist, Bill (Dylan Baker). Bill has his own problems: he’s a compulsive pedophile serial rapist. But, he still tries to be a good dad to his son, while lusting after his son’s young friends. And these are just a few of the sympathetic characters you’ll meet in Happiness.

A problem with Happiness is often a problem in ensemble stories like this. Some of the plotlines are considerably less intersting than the others. A good ensemble work needs balance…Happiness just seems desperately uneven.

Surprisingly (or, well, maybe not that surprisingly) the film’s most disturbing characters are also its most interesting. Heading out the pack is Dylan Baker’s serial rapist. He’s certainly not the type of guy you’d want to spend too much time with, but he’s fascinating to watch…there certainly hasn’t been another character quite like this one before. And then there’s the insecure Allen, wonderfully played by Philip Seymour Hoffman, who’s so pathetic he’s alternately frightening and endearing.

In comparison, plotlines like the romantic travails of Joy, or the separation of the sisters’ parents seem hopelessly conventional and bland. The film establishes its own peculiar rhythm, but then constantly loses it every time it trudges back to the mundane.

That said, even the interesting characters and plotlines here aren’t for everyone (if you couldn’t tell just by the descriptions). Happiness is a film that revels in depravity, and is definitely not a movie for the easily offended (and perhaps many of the not-so-easily offended).

The movie is a mixed bag of unusual treats. Some are quite good, some are quite bad, but you can be assured that you’ve never seen an assortment quite like this before.

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Practical Magic - * * 1/2*

Practical Magic

Based on Alice Hoffman’s novel, Practical Magic is a partially enchanting film about the lives and loves of a family of witches. The film is never as magical as it needs to be, and it is harmed by some overly simplistic solutions.

The Owens family is a family of witches…stubborn witches apparently. For 300 years, their small Massachusetts town has persecuted and shunned the Owens girls. But, do they move away and start anew? Nope. They don’t even put a curse on the locals. Instead, they live in the same small town, and even suffer under a curse of their own.

You see, ever since one Owens girl was unlucky in love many many moons ago, any man who ever loves an Owens is doomed to die young. This curse doesn’t bother the flighty Gillian Owens (Nicole Kidman), who thinks there are plenty of men around, so why should she get attached to just one? However, for Sally Owens (Sandra Bullock), the curse presents a problem… one she attempts to solve (but apparently unsuccessfully) with magic.

Flash forward several years…a desperate plea from Gillian, whose flighty ways have landed her in Florida, sends Sally on a rescue attempt. Apparently Gillian’s latest boyfriend, Jimmy (Goran Visnjic), isn’t a really nice guy. But when the two witches start using magic to get out of their predicament, they’re unprepared for the dark forces they are about to unleash.

For the most part, Practical Magic displays the light side of witchcraft. There’s one moderately gruesome spirit, but other than that, the magic here is as tame as Bewitched.

Sandra Bullock is a bit bland as Sally. She’s likable, but her character cries out for a magical zest which never materializes. Kidman is a little better as the free spirited Gillian. At least she captivates your attention a little bit. But both of the leads are a little flat…too one note. They both seem more like short descriptions rather than full-fledged characters.

The supporting cast is a mixed bag of tricks. Stockard Channing and Dianne Wiest seem to hit the right notes as Sally and Gillian’s wise, doting aunts. But Aidan Quinn doesn’t quite fit as a detective hot on Jimmy’s trail. The townsfolk are amusing at times, but rarely believable in their convictions.

Practical Magic is a nice enough movie, but, on the whole, it’s disappointing. Everything wraps up a bit too neatly, and the whole film is missing a certain charm. At best, it makes for a fluffy little diversion.

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Bride of Chucky - * 1/2*

After a seven-year absence, Chucky, the killer doll, has returned. Yes, Chucky has been shot, stabbed, incinerated, melted, and chopped into teeny-tiny bits, but each time he comes back. The world probably doesn’t need another Child’s Play sequel…but, if it did, Bride of Chucky is at least better than the previous two.

Whereas in previous sequels, Chucky was literally remade from scratch, this time out, he’s stitched back together (in true Frankenstein fashion) by Tiffany (Jennifer Tilly). You see, Tiffany was the girlfriend of Charles Lee Ray, the murderer who originally placed his soul inside the Chucky doll via a voodoo chant in the original Child’s Play. She wants to bring back her dead boyfriend…but it’s not too long before she finds herself trapped in a doll’s body as well. If you couldn’t tell by the title, she becomes… THE BRIDE OF CHUCKY!

Well, once that’s done with, the two killer dolls come up with a plan to return to human hosts. Apparently (in a fact somehow ignored by all the prior Child’s Play films), a special magical amulet is needed to swap souls with a living human. So Chucky and Tiffany must travel cross country, get the amulet, and find an unfortunate couple to possess.

As luck would have it, Tiffany’s white trash neighbor, Jesse (Nick Stabile) is just about to elope with his sweetheart, Jade (Katherine Heigl). The two teens are running away from Jade’s domineering chief-of-police uncle Warren (John Ritter). When Chucky and Tiffany manage to hitch a ride, the unsuspecting couple leave a trail of murder victims in their wake, and find themselves accused of being “multiple murderers”.

The appeal of the Child’s Play films is a simple one: the none-sequitur high concept of a harmless child’s toy springing to life as a foul mouthed mass murderer. It’s the age-old charm of something familiar doing something unexpected. This time around, we also get to watch Chucky do drugs, headbang, and, yes, even have sex. Can’t you feel the irresistible draw to the movie theater right now?

The screenplay for Bride of Chucky is much more comic in tone and better written than the previous sequels (not that it takes much talent to top lines like “Don’t f*** with the Chuck!”) If anything, the film lays on the humor a bit too broadly, with over-obvious homages to Friday the 13th, Halloween and even Hellraiser.

The film is definitely guilty of overkill. This is the type of movie where a person would die from a papercut: by drowning. Yep, this film even features a nice exploding body (I guess his blood pressure was a little high).

If the mere idea of yet another Chucky-the-killer-doll movie is already making you pluck out your eyes to prevent the terror, you should definitely trust your instincts. For the die-hard Chucky fan (is there such a thing?), you can trust yours. However, for most people, you’re probably best off ignoring Bride of Chucky until it airs late at night on the USA network…you might get a chuckle or two then.

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Beloved - * * * 1/2*

Beloved

The movie Beloved is rather like it’s title character: unusual, disorienting and not quite what you’d expect. However, that’s not to say that the film isn’t good (which it is), but rather that it’s a difficult beast to classify. It’s eerily supernatural, yet with an earthy realism. It’s intimate in scale, and yet epic in scope.

Oprah Winfrey stars as Sethe, a woman who ran away from slavery eighteen years earlier, and now lives on the outskirts on Cincinnati. She lives with her antisocial daughter, Denver (Kimberly Elise), as well as a mysterious poltergeist, in their house at 124 Bluestone Road.

Yes, you read that right, “poltergeist”. Their house is haunted. And while the Amityville-goings-on might scare away anyone with common sense, Sethe is simply tired of running. Besides, the spirit which shakes their house and squeezes their dog isn’t evil…”just sad”.

But things are stirred up by the arrival of two visitors. The first is Paul D (Danny Glover), a weary man who knew Sethe when they were both slaves at the Sweet Home Plantation. The second is more mysterious, an asthmatic girl (Thandie Newton) who moves like an epileptic puppet and calls herself “Beloved” in a croaking voice.

Jonathan Demme directs this adaptation of Toni Morrison’s novel with a hallucinatory flair. Some scenes are oversaturated, others faded. Colors glow, the angles shift… it’s almost as if the camera is possessed, as well as the house. Yet, through it all, we are able to connect and bond with the characters, and experience the horrors and triumphs of their story.

Oprah Winfrey could have her pick of roles, and certainly could have picked a more glamorous one than Sethe, but it would have been hard to find a stronger character. Wounded with scars deeper than the welts on her back, Sethe is a complex, multilayered character. Many an actress might have stumbled in the role, but Oprah is up to the challenge, and delivers Sethe’s many facets.

Danny Glover isn’t as lucky. His Paul D is as downtrodden as Sethe, but not as nuanced. We learn little about him as the film progresses, and, eventually, he is just cast aside. We see his external feelings towards Sethe, Beloved and Denver, but rarely his motivations.

Thandie Newton is appropriately creepy and charming in the role of Beloved. Though, even at the end of the film, many things about her remain a mystery, it is a fascinating character, and a challenging role. Kimberly Elise’s Denver is less showy, but no less well acted. She is able to hold her own against all the otherworldly happenings in her house…just not ready to face the real world.

The storyline of Beloved is complex, but not convoluted. It does require that you pay attention, however. An ill-timed bathroom run during this 3-hour movie may mean you’ll be missing the keystone to the whole puzzle. Be warned.

Perhaps the best adjective to describe Beloved is “haunting”. Just as Sethe and Paul D are haunted by the past, and just as 124 Bluestone Road is haunted…so too, you’ll be haunted by Beloved.

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