The Great Gatsby (Luhrmann, 2013)
About thirty-five to forty minutes into The Great Gatsby, I started wondering if I was going crazy, or if the film did have more cuts than usual.
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Iceberg Slim: Portrait of a Pimp (Hinojosa, 2012)
I did not intentionally watch Iceberg Slim on the week in which a man of one color would be found not guilty of murdering a teenager of another color, sparking another of the seemingly endless waves of grating, chattering babble about race in this country. I'm glad I did, though, because it was a reminder (if I needed one), that nothing is as subjective in this world as what people of different backgrounds consider "normal."
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Salò (Pasolini, 1975)
I can't say I wasn't warned.
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Terms and Conditions May Apply (Hoback, 2013)
I haven't been this depressed after a movie since An Inconvenient Truth.
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CFP–Faith and Spirituality in Masters of World Cinema, Volume III
The editor of Faith and Spirituality in Masters of World Cinema Volume I (Cambridge Scholars Press, 2008) and Volume II (Cambridge Scholars Press, 2011) seeks proposals for previously unpublished essays to appear in a third volume of this series.
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Pirates of the Caribbean: The Curse of the Black Pearl (Verbinski, 2003) — 10 Years Later
I'll probably never win over the skeptics, and that's okay, but ten years later, Pirates of the Caribbean: The Curse of the Black Pearl is still my favorite film from 2003.
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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.
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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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Mumia: Long Distance Revolutionary (Vittoria, 2012)
"Do you feel safer?"
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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.