1. Muscle Shoals directed by Greg “Freddy” Camalier (review)
  2. Michael Ray FitzGerald
  3. pp. 5-8
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  1. Beaches of Agnes directed by Agnés Varda (review)
  2. Gregory Wolmart
  3. pp. 8-12
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  1. Walking the Green Tiger directed by Gary Marcuse (review)
  2. Lawrence Mastroni
  3. pp. 12-15
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  1. Stories We Tell directed by Sarah Polley (review)
  2. Laurence Raw
  3. pp. 15-17
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  1. The Army of Crime directed by: Robert Guédiguian (review)
  2. Lawrence Baron
  3. pp. 17-21
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  1. Lang ist der Weg directed by Herbert B. Fredersdorf and Marek Goldstein, and: Morituri directed by Eugen York (review)
  2. Ulrich Bach
  3. pp. 22-24
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  1. The Act of Killing directed by Joshua Oppenheimer (review)
  2. Michael Reiff
  3. pp. 24-27
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  1. In the Fog [V tumane] directed by Sergei Loznitsa (review)
  2. Mariëlle Wijermars
  3. pp. 27-29
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  1. The Last Extinction: Megabeasts’ Sudden Death written and produced by Doug Hamilton (review)
  2. A. Bowdoin Van Riper
  3. pp. 29-32
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  1. Altiplano directed by Peter Brosens and Jessica Woodworth (review)
  2. Jen Schneider
  3. pp. 32-35
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  1. Black Sun: The Mythological Background of National Socialism directed by Riidiger Siinner (review)
  2. Adam Brown
  3. pp. 35-37
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  1. Charlie Wilson's War directed by Mike Nichols (review)
  2. Vincent Bisson
  3. pp. 38-40
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  1. Young Goethe in Love directed by Philippe Stoelzl (review)
  2. John C. Tibbetts
  3. pp. 41-44
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  1. Pacific Rim Directed by Guillermo del Toro (review)
  2. Norma Jones
  3. pp. 44-47
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  1. The Great Hip Hop Hoax directed by Jeanie Finlay (review)
  2. Kenneth A Longden
  3. pp. 47-48
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  1. The Rape of Europa by Richard Berge, Nicole Newnham, and Bonni Cohen (review)
  2. Marilyn Lewis
  3. pp. 49-51
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  1. Mitt directed by Greg Whiteley (review)
  2. Brian Faucette
  3. pp. 51-54
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  1. Becoming Jack Nicholson: The Masculine Persona from Easy Rider to The Shining by Shawn R. Karli (review)
  2. Robert King
  3. pp. 55-57
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  1. Cinema and Social Change in Germany and Austria edited by Gabrielle Mueller and James M. Skidmore (review)
  2. Inga Meier
  3. pp. 59-61
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  1. Cinema and Colour: The Saturated Image by Paul Coates (review)
  2. Douglas MacLeod
  3. pp. 61-64
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  1. Col. William N. Selig, the Man Who Invented Hollywood by Andrew A. Erish (review)
  2. Richard John Ascárate
  3. pp. 65-67
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  1. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture by Patricia Pisters (review)
  2. Alev Degim
  3. pp. 71-74
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  1. Hitchcock at the Source, the Auteur as Adaptor edited by R. Barton Palmer and David Boyd (review)
  2. Debbie Cutshaw
  3. pp. 74-77
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  1. Hollywood and Hitler, 1933-1939 by Thomas Doherty (review)
  2. Rochelle Miller
  3. pp. 77-79
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  1. The Films of Joseph H. Lewis edited by Gary D. Rhodes (review)
  2. Phil Robins
  3. pp. 79-82
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  1. Authorship and the Films of David Lynch: Aesthetic Receptions of Contemporary Hollywood by Antony Todd (review)
  2. Zachary Ingle
  3. pp. 82-84
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  1. Nickelodeon City: Pittsburgh at the Movies, 1905-1929 by Michael Aronson (review)
  2. Clémentine Tholas-Disset
  3. pp. 85-86
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  1. Peckinpah Today: New Essays on the Films of Sam Peckinpah edited by Michael, Bliss (review)
  2. Ron Briley
  3. pp. 87-89
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  1. The Adaptation of History: Essays on Ways of Telling the Past edited by Laurence Raw and Defne Ersin Tutan (review)
  2. William Cummings
  3. pp. 89-91
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  1. Goodbye Cinema, Hello Cinephilia: Film Culture in Transition by Jonathan Rosenbaum (review)
  2. Nabeel Siddiqui
  3. pp. 93-96
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  1. Television, Japan, and Globalization edited by Mitsuhiro Yoshimoto, Eva Tsai, and JungBong Choi (review)
  2. Michael Sloyka
  3. pp. 96-98
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  1. Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds by Patrick Mcgec (review)
  2. Frans Weiser
  3. pp. 98-101
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  1. Widescreen Worldwide edited by John Belton, Sheldon Hall, and Steve Neale (review)
  2. James H. Krukones
  3. pp. 101-103
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