ORDINARY PEOPLE
A small family is fighting to grieve. A battle of wits, a battle of fits, a tragic accident leads to another. Blame is hidden. A son diverts his eyes from his mother's graceful shadow. A power struggle ensues between a father and a mother. A boy struggles not to drown. His guidance becomes his salvation, and the salvation becomes the division. To end grief, the grief must be opened and shared, and this is something the mother will not stand for, So she leaves.

MUNICH
The justification of retaliation is the center piece of Steven Speilberg's latest cinema. The plot is a reaction to the Olympic Munich killings of 1972. Over the course of the film, the protagonist group scowers Europe, hunting a list of terror operatives. Inevitably the hunter becomes the hunted and the act of hunting human beings is laid beneath a microscope, allowing the audience to make its own decisions. There are moments that humanize the P.L.O., such as a clandestine conversation between the lead Isreali enforcer, Avner, and a Palestinian freedom fighter. The point Speilberg is making with this interaction and the film, is knowing that the same fears and convictions live on both sides of war and realizing this, being confronted with evidence of this, are we still in favor of answering our cries of revenge. Once the mission is complete, Avner returns to normal life, only to discover tasks of revenge have a price, and that price is piece of mind. Will his death become a mission? Will he be hunted with the same cold efficiency with which he hunted? He realizes that his family's security will never be guaranteed, a can of worms has been opened. Speilberg uses this as a metaphor to the world. Before we act vengefully, remember that every act of vengeance is merely an act of agression to someone else. In the last frame of the film, the World Trade Center sits ominously in the distance, suggesting a connection or perhaps foreshadowing a future retribtion.