Editor’s note: Daniel Walber’s review originally ran during NYFF 2012, but we’re re-running it as the film’s limited theatrical release begins this weekend. The personal is political. This adage, one of the seminal concepts to come out of the Feminist Movement in the late 1960s, began with a very specific meaning. The idea was that, given oppression on a societal level, the specific problems facing women in their daily lives necessarily took on larger significance. While it wasn’t actually written down until a 1969 essay by Carol Hanisch, it had been an unspoken truth for a long time. Seven years earlier, when the Cuban Missile Crisis rocked the world’s already fragile sense of security, it manifested in the way that revolutionary men took to the streets yet still expected nothing more of the women in their lives than a well-cooked plate of food and a prompt cup of tea. In her new film, Sally Potter takes stays true to the initial spirit of that revolutionary aphorism while simultaneously making it double. Ginger and Rosa  tells the tale of a teenage girl adrift in London during that panic-stricken summer of 1962. With a relaxed sense of style and a precisely poetic screenplay, Potter has created a film of twinned metaphors. The personal crises of her characters stand in for the anxieties of a nuclear world, while the activist Left and its political struggles against the bomb echo the deeply intimate troubles of teenage love and family strife. The personal becomes political while

Even though there’s pretty much no information about the upcoming Jurassic Park 4 film that was announced earlier this week, you’ll find plenty of speculation and discussion about it on the interwebs. So why not jump on that bandwagon and dissect the famous dinosaur movies? Yeah, we’d all like to go back to the original Jurassic Park for this Commentary Commentary, but sadly, Spielberg hasn’t sat down to record his thoughts on that or the sequel. That means we’re left with Jurassic Park 3. The plus side is that we get Stan Winston’s take on the whole thing as he is joined by other members of the film’s special effects team. And on to the commentary…

Atom Egoyan‘s Devil’s Knot continues to slowly round out its cast with interesting and perhaps off-beat casting choices. Next up, Deadline Primm reports that Alessandro Nivola will play a crucial role in Egoyan’s film that centers on the real life story of the West Memphis 3. Nivola (Face/Off, Grace Is Gone) has been tapped to play Terry Hobbs, the stepfather of one of the victims in the brutal 1993 murder of three small boys. The role is billed as “pivotal” to the film and, with Reese Witherspoon set to play Hobbs’ wife Pam (and the mother of victim Stevie Branch), the pair’s relationship will “form the backbone of the story.” But Hobbs’ importance in the film is not just of the emotional variety – he’s still viewed as a primary suspect in the case. Hobbs has long been linked to the murders as a possible suspect and, even twenty years later, new evidence continues to come out against the man. Amy Berg’s Sundance documentary, West of Memphis, also paid particular attention to Hobbs as a suspect, with the last third or so of the film focusing squarely on a bevy of new accusations and witnesses who have come out against Hobbs (some of the interviews were filmed just days before the film premiered at the festival).

I’m getting really tired of remakes of Japanese horror movies. Fortunately, The Eye comes from Hong Kong.