Hoberman is one of the few writers capable of treating the intersection of film and politics with the intelligence it demands... Hoberman isn’t trying to write a history of the Reagan years. Nor, by his own admission, is he going for in-depth criticism (few films get more than a couple pages of discussion). What emerges instead is a portrait of a schizophrenic, semi-free society whose two most visible sectors, the government and the film industry, are neither one and the same nor completely disconnected... At times, Hoberman’s analysis verges on tautology: politics mirrors pop, which mirrors politics, even as they mirror underlying social forces that presumably mirror them both. Hoberman is right, of course, that Hollywood and DC influence each other, but he doesn’t always uncover much by putting them in conversation. Too often, Hoberman is reduced to pointing out that two milestones, a movie and a historical event, sort of look alike.