I'm not saying Chicago was cursed, but it is really strange to watch the film in retrospect and think that the person who was about to have arguably the most interesting decade was Dominic West, the closest thing to a lead in the best television series of the decade--and arguably of all time: The Wire.
I have been busy podcasting over at Film Geek Radio. New episodes include discussions with Todd C. Truffin about Blue Like Jazz, Primary Colors, and Love Free or Die.
From an audience perspective--at least from my perspective--the initial response is a bit of shock at the baldness of it all, followed by anger and indignation, followed by frustration at how quickly the anger passes into fatalistic acceptance.
"Make your own work."
Admittedly, my two favorite moments in Bess Kargman's First Position happened when nobody was dancing.
Not just one of the best documentaries at the Full Frame Documentary Film Festival, Lauren Greenfield’s The Queen of Versailles deserves to be in the conversation as one of the best films of 2012.
Big Boys Gone Bananas!*, aside from having the distinction of the hardest title in awhile to spell correctly, is the kind of film of which every documentary film festival needs at least one. It’s not exactly a feel good story, but it is a feel better story.
Nobody has ever hated me the way Christians have hated me.
Italy Love It or Leave It is a modest film, almost modest enough to work.
Peter Nicks's The Waiting Room is the sort of documentary that advocates on either side of the American health care debate could end up pointing at to bolster their ideological claims.
