This is the second collection (after 1995's Placing Movies: The Practice of Film Criticism) of criticism by Jonathan Rosenbaum, "Chicago Reader" critic from 1987-2008; all of the reviews collected herein date from his first few years (1987-96) on that paper, though a few of the pieces come from elsewhere during the same period. The "Reader" has long been one of the best sources for serious film criticism in the USA, employing the fine Dave Kehr before Rosenbaum. But JR really put himself on the map during his 20-year stint and helped make Chicago one of the liveliest film communities around with his consistent championing of the lesser-known cinematic worlds outside of the borders of mainstream, current, blockbuster-bound Hollywood.
The reviews here are presented just as they were in the paper; most range from 2000-3000 words or so though there are a few that stretch those boundaries. The format here is the same used in the preceding book, but as the title suggests the writings tend to be a bit more political/provocative, including his attacks on STAR WARS and ACE VENTURA. Though I always appreciate the alternative point of view, I personally don't find JR's attacks on the Hollywood mainstream to be his strongest work, for the most part - though his issues with Miramax over the cutting and distribution of Charles Burnett's THE GLASS SHIELD and some of the other more angry polemics are often enlightening.
Still, for the most part, it's the stuff that he champions that is the most interesting to read about. My favorite single piece is probably "On the nonreception of two French serials", on Louis Feuillade's TIH MINH (1918) and Jacques Rivette's OUT 1 (1971); other fine reviews include those on Jean-Luc Godard's essay video HISTOIRE(S) DU CINEMA, Orson Welles' MR. ARKADIN (called "The Seven Mr. Arkadins, in reference to the many "texts" of the film in existence), Terry Zwigoff's terrific documentary CRUMB, on the underground comix creator, Hou Hsiao-hsien's THE PUPPETMASTER, and American expatriot director Cy Endfield.
As with the earlier volume, essential not just for fans of the writer, but for those interested in serious film criticism of the past couple of decades in general.
