Some Girl(s) — (von Scherler Mayer, 2013)
An oddly engaging but ultimately unsatisfying endeavor, Some Girl(s) is best described as a cross between Nick Hornby's High Fidelity and David Mamet's Oleanna.
Category: Disclosure–AS
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Free China: The Courage to Believe (Perlman, 2011)
One of the more unfortunate side-effects of the polarization and politicization of American discourse is that we've seriously devalued the word "persecution."
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What Maisie Knew (McGehee and Siegel, 2013)
Kids see, hear, and understand as much as we fear and more than we let ourselves admit.
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Iron Man 3 (Black, 2013)
The strange thing, the downright bizarre thing, about this quest is that Marvel Studios and Paramount Pictures have wagered a lot of money on the proposition (if the film itself is any indication) that the audience won't care in the least whether superhero movies have stupid, artsy contrivances like themes
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Pain & Gain (Bay, 2013)
"Is it just me, or is Michael Bay giving a deliberate middle finger to the Coen Brothers?"
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Oblivion (Kosinski, 2013)
Oblivion may be one of those films that is easier to mock than to dislike. It is certainly easier to criticize than to not enjoy.
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Far Out Isn’t Far Enough: The Tomi Ungerer Story (Bernstein, 2012)
Ungerer ties his bold proclamation that "children should be traumatized" to his artistic vision that pushed children's fiction beyond the benign and banal.
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Exporting Love, Exporting Hate
One of the more striking contrasts between Rocky's mission and IHOP's is that his orphans have names.
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The Editor and The Dragon (Campbell and Clark)
In 1953, the Pulitzer Prize for was awarded to the editor of the Tabor City Tribune.
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After Tiller (Shane & Wilson)
Abortion is not an abstraction.