Steve Hochstadt: Administrative malfeasance, corporate greed, and faculty passivity spin out of control at UAardvark, when a burnt-out, hard-drinking, lone wolf, formerly radical English professor, Jake Holland, decides to take on the military-industrial-academic complex that is ruining American education.
Bruce Chadwick: The result is a lavish, splendid, elegant, bombastic story about the twenties that simply soars. Most importantly, for history’s sake, a director has finally shown Gatsby as the gangster he was, and clearly defined in Fitzgerald’ book.
Gary Corseri: I am sick of the voices of heroes!/They cry from maniacal graves: “Why do you hurry and turn away—/You who are warmed by the sun?
Hollywood Progressive/LA Progressive film critic/historian Ed Rampell will introduce the movie and lead a post-screening discussion.
James Rhodes: Perhaps it is her wildly colorful style or the exaggerated use of glowing women and hidden cats or maybe it has something to do with the tranquility of her work that connects with the “common man” — certainly an artist of the people.
Charles Hayes: What 42 makes crystal clear is how shallow and superficial the strain of contempt is that enables and sustains racism as prejudice is handed down from one generation to the next.
Gary Corseri: Jeffers gaze was not so much bitter as it was unflinching, steady, resolute and sui generis. “The cold passion for truth,” he wrote, “hunts in no pack.”
Charles Orloski: Thankfully, no Chechen-American bombs crashed “The Office Party,” and for the most part, it seemed likely that throngs of druggies kept inner habits silent
Ed Rampell: Brecht on Brecht is precise in its stagecraft, adeptly acted, deftly directed and Gayle Bluemel does her musical forebears, Mssrs. Brecht and Weill, proud.
Steve Hochstadt: I don’t know how my parents’ political views, our family’s history during the Holocaust, rooting for the Brooklyn Dodgers, and Jackie’s own nobility and fearless civil rights activism mixed together to make me hate racism.
Ed Rampell: Thousands of fans attended screenings of vintage films, discussions with and personal appearances by movie talents, dressed in period garb, partied like it was 1929 and witnessed an Academy Award winner’s footprints and handprints immortalized in cement at the fabled Chinese Theatre.
Michael Haas: Americans, deliberately kept unaware of their perceptions by the media, now have an opportunity to break through the brainwashing by immersing themselves in The Reluctant Fundamentalist.
Ed Rampell: Today, people don’t think of a revolution. They think of adapting society, of making the hope of more fairness, more justice, more social justice, more generosity, which are old things . But in the 1970s it would have been called “reformist,” which was an insult.