Dark Nights Of The Soul
The nerviest thing about The Rapture, Michael Tolkin’s outrageously uncompromising first film, is that its central relationship–a love/hate one–is between its born-again protagonist and God. Though David Mamet’s Homicide isn’t a religious movie, it’s about a secular New York cop who, in the middle of a murder case, abruptly undergoes a Jewish identity crisis. The perception that both Tolkin and Mamet intuitively share with true believers is that modern man feels a void in the soul and is desperately looking for something to fill it....