From about 1966, it became the strategy of the MSM not to let the Warren Commission critics speak without being interfered with, or caricatured. After Stone’s movie came out, the MSM simply would not place the critics on their programs at all. Benson counters that by simply letting the critics speak about the case without being interfered with, writes Joseph Green.  

John Armstrong shows how the FBI altered the photographic evidence to misrepresent Oswald's belongings as taken from the Dallas police. Included is a piece of testimony to the Warren Commission that was altered before inclusion, and copies of two letters from the IRS showing that at least two of Oswald's W-2 records of employment were forged in January, 1964.

Writing of his gratuitous ignorance of the facts of the JFK case, Prof. Fernandez asserts that "[James] Piereson likes to walk among ghosts", and that he is joined in this by Regnery Publishing, which has muddied the Castro-did-it waters with the issue of Robert Wilcox's Target JFK.  

Aside from Shane O'Sullivan's mostly worthwhile Killing Oswald, there has been very little of note that has even attempted to counter the MSM's seemingly endless deluge of propaganda with reliable evidence and solid reasoning. A Coup in Camelot clearly aims to fill that void. Unfortunately, however, it falls considerably short of the mark, writes Martin Hay.    

Because Beatty has made some distinguished historical films, many had high hopes for this one. But the result seems to be rather uninspired for a film that he has contemplated doing for so long.  The best one can say is that it is competently made, writes Jim DiEugenio.    

This author would not walk across the street to see Posner speak about either the JFK or King case. I have a hard time thinking that Stone could master the JFK case in just a matter of 3-4 years, and am skeptical of the case made against Lyndon Johnson. In watching this confrontation it appears I was correct about these suspicions, laments Jim DiEugenio.  

Whoever decided that this script needed to be played out on the wide screen of a darkened theater was simply wrong. It seems that the writer and director realized that mistake on the way to production. They then tried to justify that decision. In this reviewer’s opinion, it did not work, writes Jim DiEugenio.