10 Disturbing Documentaries That Are Stranger Than Fiction

Freddy Krueger’s metal fingernails and melted face might be scary, but he’s no match for some of the real-life people who have been featured in cinema’s most disturbing documentaries. We’ve written about some truly haunting documentaries before (see here and here); here are another 10 to add to your queue.

1. CRAZY LOVE (2007)

One sunny day in the Bronx, Burt Pugach met a girl. They fell in love, and soon made plans to get married. The only problem? He already had a wife.

After Linda Riss broke off their affair, Pugach became obsessive. He harassed her, threw rocks at her window, and threatened that if he couldn’t have her, no one else could. He wasn’t kidding: in 1959, he sent hired men to throw lye in her eyes, permanently scarring her face and almost completely blinding her. That didn’t stop Riss from marrying Pugach after he was released from jail in 1974. Crazy Love delves into this twisted romance, seeking to answer how Riss could wed a man who had so viciously attacked her.

Why it’s so creepy: Burt and Linda’s courtship is often presented as a sweet romance from a bygone era. The film mixes in Smokey Robinson tunes, pin-up photos, and Johnny Mathis footage as friends fondly reminisce about the pair’s meet-cute. This wholesome treatment only makes the real-life details more horrifying—especially since Linda, who passed away in 2013, likely viewed her marriage through this rosier, nostalgia-tinged lens.

2. JESUS CAMP (2006)

Jesus Camp follows children attending a Christian summer camp in Devils Lake, North Dakota. Only the young campers at Kids on Fire don’t make friendship bracelets or tell ghost stories around the campfire; instead, they fill their days with sermons preaching Islamophobia, homophobia, and a militant call to action against anyone opposing Christian beliefs. Kids on Fire received so many outraged calls and emails after this movie was released that camp director Becky Fischer had to shut it down. She didn’t quit, though; she just rebranded.

Why it’s so creepy: Watching brainwashed children recite hateful beliefs they can’t possibly understand is bad enough. But a cameo from disgraced pastor Ted Haggard will leave you feeling extra queasy.

3. MADNESS IN THE FAST LANE (2010)

This BBC documentary opens on a highly disturbing image: two women, standing on the highway shoulder with police officers, suddenly make a determined dash into oncoming traffic. Swedish sisters Ursula and Sabina Eriksson wreaked havoc on the London roads in May of 2008 when they repeatedly bolted across busy highways. After cops arrived on the scene, they fought them off to continue their suicidal runs. They were finally subdued and taken to an ambulance. But when Sabina was released a day later, she stabbed a man to death. The explanation for the twins’ bizarre behavior remains murky to this day, but this documentary attempts to make some sense of it all, with the help of criminal psychiatrist Dr. Nigel Eastman.

Why it’s so creepy: Those early images are terrifying, but so is the footage of Sabina in the police station after she’s been apprehended for her highway sprints. She’s chatty, friendly, almost flirty with the cops passing by. There’s no trace of the woman who just struck those same cops for trying to save her life—nor the woman who would murder a kind stranger the very next day.

4. KIDS FOR CASH (2013)

At the heart of this tale of corruption, greed, and wrongful imprisonment is Mark Ciavarella. The Wilkes-Barre, Pennsylvania judge was convicted of fraud (along with fellow judge Michael Conahan) for sending 3000 kids to juvenile detention centers in exchange for kickbacks. What crimes were these kids accused of committing? Making fake MySpace profiles and stealing DVDs from Wal-Mart.

Kids for Cash plays on real fears that will resonate with parents especially. One is that children’s lives can be irrevocably altered by a single youthful impulse. Another is that elected officials will do truly heinous things for money. But the most sobering is that you can’t completely trust the people who have sworn to judge you fairly in the eyes of the law.

Why it’s so creepy: Ciavarella is a natural villain, especially since he maintained throughout the trial that he was blameless. One highly upsetting scene where the mother of a teen boy he imprisoned confronts him outside the courtroom is bound to stay with you.

5. DREAMS OF A LIFE (2011)

Joyce Carol Vincent was a glamorous, ambitious woman who kept a social circle that included Stevie Wonder and Isaac Hayes. But when she died alone in her apartment in 2003, no one noticed for three years. Director Carol Morley was spurred to make a film about Vincent after learning about the discovery of her body—found decomposing in front of the television, surrounded by unopened Christmas gifts—and wanting to know more about the woman’s life. The question repeated again and again in the film is how could a person as vivacious and well-liked as Vincent end up so alone? Alternately eerie and heartbreaking, this documentary will make you wonder who would notice if you were gone.

Why it’s so creepy: This isn’t some sketch of a stranger. Through interviews with Vincent’s friends and former lovers, she becomes a fully-drawn human being. This is also aided by Zawe Ashton, the actress who plays the fictionalized version of Vincent in several sequences. Once she becomes real, the sinking feeling that this could happen to anyone really takes hold.

6. TITICUT FOLLIES (1967)

Thought American Horror Story: Asylum was scary? Then you won’t be able to sleep after seeing this true-life look at a Massachusetts mental institution. Frederick Wiseman’s unflinching documentary of abuse shows naked patients being mocked, force-fed, and generally treated like animals. Roger Ebert called it “one of the most despairing documentaries” he had ever seen in 1968—and he was one of the few who had even seen it at that time. The documentary was banned for 24 years over an injunction filed by the Massachusetts state government, citing concerns over the patients’ privacy. By the time it was lifted in 1991, Titicut Follies had already helped close several psychiatric wards.

Why it’s so creepy: The starkness of the footage is what makes Titicut Follies so unsettling. Shot in black-and-white, this documentary features no narration and no sympathetic onscreen presence to guide you through the horrors of Bridgewater State Hospital. You’re essentially locked up with the patients, and no one is coming to help.

7. GOING CLEAR (2015)

Scientology has been the butt of jokes ever since its posterboy Tom Cruise bounced off Oprah’s yellow couch. But this HBO documentary makes one thing clear: you shouldn’t be laughing at Scientology. You should be disturbed by it.

Over the course of two hours, director Alex Gibney paints a picture of a cult that threatens its members, drains their bank accounts, and exiles them from their families should they dare complain. Although Scientology is secretive by nature, Gibney managed to unearth tons of clips that reveal the disturbing dynamics of the community—plus all their awful ‘90s sweaters.

Why it’s so creepy: Have you ever listened to someone who escaped a cult tell his or her story? It’s really upsetting, and it happens over and over again in Going Clear. Through interviews with ex-members and archival footage, Gibney makes the specter of Scientology leader David Miscavige loom large.

8. THE CENTRAL PARK FIVE (2012)

The so-called Central Park jogger case electrified New York City in 1989. After Trisha Meili was raped and beaten in the middle of her nighttime run in the park, the NYPD moved quickly to put the perpetrator behind bars. Too quickly, it turns out. Five juveniles were charged on faulty evidence and sentenced to prison. They would remain trapped behind bars until 2002, when the real culprit confessed and cleared the boys (by then, men) with his DNA match. In covering the case, The Central Park Five isn’t just interested in exposing the horrors of the judicial system. It also digs into the racism and media bias that convinced the courts a group of black and Hispanic boys had to be guilty.

Why it’s so creepy: It’s a somber reminder of the precarious position minorities live in each day. In an eerie case of deja vu, Donald Trump is also involved, giving offensive statements to the press.

9. CATFISH (2010)

The documentary that launched an MTV series and a fun new term for conning people online, Catfish examines an Internet flirtation gone wrong. Nev Schulman (whose brother Ariel co-directs) believes he’s chatting with a young dancer named Megan. She has a Facebook network of parents, siblings, and other friends who seemingly back up her identity. But “Megan” is actually a cover for a very different person, whom Nev unmasks in the movie’s climax.

Some critics—including Morgan Spurlock—believe that Catfish was dramatized. But as anyone who’s been on social media for five seconds knows, it’s alarmingly easy to pretend you’re somebody else.

Why it’s so creepy: Millions of people rely on dating apps and websites to meet their future partners. The thought that they might be talking to an avatar is horrifying. Nev drives that point home during the scenes featuring his more, uh, intimate encounters with Megan.

10. ROOM 237 (2012)

Room 237 is ostensibly about The Shining, Stanley Kubick’s mega-famous horror movie. But it isn’t Jack Nicholson’s crazed grin that gives this documentary its frights. Several Shining obsessives spend their screentime detailing theories about what the movie really means—and their explanations range from reasonable to “the moon landing was fake.” (No seriously, one of them connects The Shining to that.) As their narrations go on, you can feel their minds descend into a madness not unlike Jack Torrance’s.

Why it’s so creepy: You never see any of the commentators onscreen, but you can hear their voices catch as they describe the amount of time and resources they’ve wasted chasing a crazy thought. These people have an unhealthy obsession, and what starts as a farcical look at fandom grows troublesome by the end.

15 Uncensored Facts About Midnight Cowboy

Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
Jon Voight and Dustin Hoffman in Midnight Cowboy (1969)
20th Century Fox Home Entertainment

On May 25, 1969, United Artists released the film Midnight Cowboy, starring Jon Voight (Texas transplant Joe Buck) and Dustin Hoffman (the sleazy Ratso Rizzo) as street hustlers in New York City. It was the first studio film to receive an X-rating (the studio refused to edit anything out), and it became the first X-rated movie to be nominated and win a Best Picture Oscar (A Clockwork Orange and Last Tango in Paris followed suit with X-rated nominations). Hoffman and Voight were also nominated for Oscars, and screenwriter Waldo Salt and director John Schlesinger ended up winning gold statuettes for the movie. After the movie became a success, the MPAA demoted its rating to an R.

Based on the novel by James Leo Herlihy, the controversial film managed to gross $44 million—about $200 million by today’s standards. The movie saved the careers of its actors, producers, and Salt, who had been blacklisted and fallen on hard times. It also produced a hit song, Harry Nilsson’s “Everybody’s Talkin’.” Here are 15 facts about the landmark film.

1. John Schlesinger was reluctant to hire Dustin Hoffman.

Like everybody else, the filmmakers associated Dustin Hoffman with Benjamin Braddock, the clean-cut twentysomething he played in The Graduate. “The truth was, I saw The Graduate as a setback, because I was determined not to be a star,” Hoffman told the Los Angeles Times. Hoffman was doing Off Broadway performances during the casting of Midnight Cowboy, so Schlesinger checked him out in a play. Hoffman frequented an automat with fellow thespians Gene Hackman and Robert Duvall; one night Hoffman showed up there with a scruffy beard, disheveled clothes, and a Bowery accent. Schlesinger said to Hoffman, “Why Dustin, you do fit right in,” and he got the part.

2. Mike Nichols tried to talk Dustin Hoffman out of doing the movie.

Dustin Hoffman appears on the set of the film 'Midnight Cowboy' in 1969 in the USA
Dustin Hoffman stars in Midnight Cowboy (1969).
Hulton Archive, Getty Images

Hot off the heels of Mike Nichols’ The Graduate, Hoffman could’ve kept his romantic lead image up, but instead he opted to take a supporting part in Midnight Cowboy. “Mike Nichols, in fact, called me up,” Hoffman told Peter Travers. “And he says, ‘Are you crazy?’ He says, ‘I made you a star. This is an ugly character. It’s a supporting part to Jon Voight.’ He says, ‘What are you doing? Why are you sabotaging?’” But Hoffman stuck to his guns and took the role. “I love the fact I was trying to remain a character actor and that was my desire,” he said.

3. Jon Voight was cast only after the original actor was fired.

Jon Voight auditioned for the role of Joe Buck and really wanted the part, but the producers chose Michael Sarrazin, whose major claim to fame is the 1969 Jane Fonda film They Shoot Horses, Don’t They? “Sometimes I would be offered a role and I would recommend somebody else—I was that kind of person,” Voight told Box Office Mojo. “Yet this one stopped me because the thing I was excited about for this piece wasn’t going to happen. I felt quite sick about it.”

Fortunately for Voight, the producers changed their minds when Sarrazin demanded more money. “It came back to looking at our screen tests back to back,” said Voight. “Apparently, Marion Dougherty, who was the casting director, was in the room and said, ‘Well, there’s no doubt who's the best actor.’ John Schlesinger said, ‘Who?’ And she said, ‘Jon Voight.’ Then, Dustin was called in to look at the tests and apparently he said, ‘When I look at my scene with Michael Sarrazin I look at myself—when I looked at my scene with Jon Voight, I look at Jon.’ That was a huge compliment. I think between these comments, that’s what tipped the balance and then John [Schlesinger] came forward, so I was very fortunate.”

4. Voight worked for scale.

Voight was so desperate to play Joe Buck that he worked for scale: “‘Tell them I'll do this part for nothing,’” Voight told The Telegraph. “They took me at my word, and they gave me minimum for Midnight Cowboy.” At the end of the shoot, they sent him a $14.73 bill for meals on the last day of filming.

5. Hoffman thought the movie would ruin his career.

The actor attended a preview of Midnight Cowboy and noticed “people walked out in droves.”

“Twenty minutes into that movie, Jon Voight has a gay sex scene in the balcony with a kid who was played by Bob Balaban, and people would get up at that point and just walk out of the theater,” Hoffman told Larry King. “We said, ‘We have big problems’ when we heard we got an X-rating and we thought this could end everybody’s career. As a matter of fact, I was talked into doing a movie I wished I hadn’t done, because they had me so frightened that I had buried myself and reversed whatever good The Graduate did.” Hoffman’s agent forced him to star with Mia Farrow in the romantic drama John and Mary to make him “look like a respectable person.”

6. Voight knew the film was destined to become a classic.

Voight and Schlesinger wrapped filming in Texas and Voight noticed how red the director’s face was. Voight thought Schlesinger was having a heart attack and asked him if he was okay. “He looked up at me and said, ‘What have we done? What will they think of us?’ After all, we had made a film about a dishwasher who lives in New York and f*cks a lot of women,” Voight told Esquire. “In the moment he’d finished it, he was shaking. All of a sudden, he saw it as banal and vulgar. He’s having an anxiety attack and I grabbed his shoulders to shake him out of it. I said, ‘John, we will live the rest of our artistic lives in the shadow of this great masterpiece.’ He said, ‘You think so?’ I said, ‘I’m absolutely sure of it.’ The only reason I said such an extravagant thing was because I wanted to get him out of it and nothing would take him out of it but that. But the statement turned out to be true.”

7. Voight and Hoffman were competitive with each other.

What made the chemistry between Hoffman and Voight work so well is they were constantly competing with one another. Hoffman became a movie star before Voight did, and that brought some jealousy to the set. “We were like Marvin Hagler and Sugar Ray Leonard, two fighters going at it,” Hoffman told the Los Angeles Times. “We knew the movie depended on the bond between us. All through shooting, we’d say to each other, out of the side of our mouths, like a fighter in a clinch, ‘Buddy, is that the best you can do?’”

8. Hoffman placed pebbles in his shoe to acquire Ratso’s limp.

“Why pebbles? It’s not like you’re playing a role on Broadway for six months where you’re so used to it, limping becomes second nature,” Hoffman told Vanity Fair. “The stone makes you limp, and you don’t have to think about it.”

9. Schlesinger came out during the movie’s production.

In the late 1960s, one's sexuality wasn't often discussed in the open. But the British director fell in love with Michael Childers, who worked as his assistant on the movie. “We were one of Hollywood’s first out couples,” Childers told Vanity Fair. “He took me everywhere. I felt a little bit uncomfortable at times, but John never did. He said, ‘F*ck ‘em.’”

“John was totally torn up, because part of him wanted to just embrace this, and another part of him was in terror,” the film’s producer, Jerome Hellman, said. “He had these fantasies that if he were openly gay on a film set, that if he tried to give the crew an order, they would turn on him. I said to him, ‘John, look, you’re the director. It’s your movie. I’m the producer, but I’m your partner. There’s nobody who can challenge your authority. If someone speaks out of line to you, they’ll be fired the same minute.’”

10. The famous “I’m Walkin’ Here” line was improvised.

The scene in which Joe and Ratso attempt to walk across the street and almost get hit by a cab was filmed guerilla-style, with a camera in a van across the street. “It was a difficult scene, logistically, because those were real pedestrians and there was real traffic, and Schlesinger wanted to do it in one shot—he didn’t want to cut,” Hoffman explained. “He wanted us to walk, like, a half a block, and the first times we did it the signal turned red. Schlesinger was getting very upset. He came rushing out of the van, saying, ‘Oh, oh, you’ve got to keep walking.’ ‘We can’t, man. There’s f*cking traffic.’ ‘Well, you’ve got to time it.’”

They figured out how to properly time the walk but then almost got run over by a cab. “I guess the brain works so quickly, it said, in a split of a second, ‘Don’t go out of character,’” Hoffman said. “So I said, ‘I’m walking here,’ meaning, ‘We’re shooting a scene here, and this is the first time we ever got it right, and you have f*cked us up.’ Schlesinger started laughing. He clapped his hands and said, ‘We must have that, we must have that,’ and re-did it two or three times, because he loved it.”

11. Hoffman threw up on set while trying to cough.

Talk about Method: Ratso has a deadly cough (consumption), and in a particular scene Hoffman got sick in real life. “Because I was so nervous that I was going to come across fraudulent and not have the right cough, I tried to do the cough as realistically as I could,” Hoffman told Vanity Fair. “Each time, I tried to do it more realistically until, finally, I did it so realistically I threw up all over Jon. My lunch came up. All over his cowboy boots. Jon looked down. He said, ‘Man, why’d you do that?’ He thought I did it on purpose.”

12. Schlesinger didn’t think anybody would make the movie today.

In 1994, the director found himself at a dinner party with a studio executive. “I said, ‘If I brought you a story about this dishwasher from Texas who goes to New York dressed as a cowboy to fulfill his fantasy of living off rich women, doesn’t, is desperate, meets a crippled consumptive who later pisses his pants and dies on a bus, would you—’ and he said, ‘I’d show you the door,’” Vanity Fair reported in 2000.

13. Me And Earl And The Dying Girl pays tribute to Midnight Cowboy.

Alfonso Gomez-Rejon's 2015 Sundance hit Me and Earl and the Dying Girl features two friends who turn The Criterion Collection movies into film school comedies. One of those films is Midnight Cowboy, renamed as 2:48 p.m. Cowboy. In the film, Greg (Thomas Mann) and Earl (RJ Cyler) portray Ratso and Buck, respectively.

Midnight Cowboy became my favorite movie,” Cyler said in a featurette on Greg and Earl’s films. “Now I can’t stop watching it. I’m addicted to it. I’ll be in my trailer. ‘RJ, whatcha doing?’ ‘Watching Midnight Cowboy with some ramen noodles right now.’ It’s just so quirky the way the parody was made, and not just because I got to wear a beautiful cowboy hat.”

14. There’s a speakeasy bar in Austin named after the film.

Midnight Cowboy the bar is located inside a former oriental massage parlor that was busted by the FBI, hence the seedy name. It has a red light—not a sign—outside to mark the place. In order to drink there, you need to make a reservation online, and when you get there, you buzz the box and give the password “Harry Craddock.” They have rules, though: no talking on your cell phone inside the bar, and no “excessive displays of public affection.”

15. A Chicago theater turned it into a stage production.

Chicago’s Lifeline Theatre puts on a lot of literary adaptations, and in 2016 they presented a stage version of Midnight Cowboy, based on the book.

Updated for 2019.

9 Original Star Wars Reviews

Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

A long time ago (42 years, to be exact) in a galaxy just like this one, George Lucas was about to make cinematic history—whether he knew it or not. 

On May 25, 1977, moviegoers got their first glimpse of Star Wars, Lucas’s long-simmering space opera that would help define the concept of the Hollywood “blockbuster.” While we're still talking about the film today, and its many sequels and spinoffs, not every film critic would have guessed just how ingrained into the pop culture fabric Star Wars would become. While it charmed plenty of critics, some of the movie’s original reviews were less than glowing. Here are a few of our favorites (the good, the bad, and the Wookiee).

  1. "Star Wars is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in The Wizard of Oz. The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from Flash Gordon out of 2001: A Space Odyssey, the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories."
    —Roger Ebert, Chicago Sun-Times
  2. Star Wars is not a great movie in that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick’s 2001Star Wars is a battle between good and evil. The bad guys (led by Peter Cushing and an assistant who looks like a black vinyl-coated frog) control the universe with their dreaded Death Star."
    —Gene Siskel, Chicago Tribune
  3. "Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus. An hour into it, children say that they’re ready to see it again; that’s because it’s an assemblage of spare parts—it has no emotional grip. “Star Wars” may be the only movie in which the first time around the surprises are reassuring…. It’s an epic without a dream. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood."
    —Pauline Kael, The New Yorker
  4. "The only way that Star Wars could have been interesting was through its visual imagination and special effects. Both are unexceptional ... I kept looking for an 'edge,' to peer around the corny, solemn comic-book strophes; he was facing them frontally and full. This picture was made for those (particularly males) who carry a portable shrine within them of their adolescence, a chalice of a Self that was Better Then, before the world's affairs or—in any complex way—sex intruded."
    —Stanley Kauffmann, The New Republic
  5. "There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skills lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp—that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”
    —Joy Gould Boyum, The Wall Street Journal
  6. "Star Wars … is the most elaborate, most expensive, most beautiful movie serial ever made. It’s both an apotheosis of Flash Gordon serials and a witty critique that makes associations with a variety of literature that is nothing if not eclectic: Quo Vadis?, Buck Rogers, Ivanhoe, Superman, The Wizard of Oz, The Gospel According to St. Matthew, the legend of King Arthur and the knights of the Round Table … The way definitely not to approach Star Wars, though, is to expect a film of cosmic implications or to footnote it with so many references that one anticipates it as if it were a literary duty. It’s fun and funny.”
    —Vincent Canby, The New York Times
  7. "Viewed dispassionately—and of course that’s desperately difficult at this point in time—Star Wars is not an improvement on Mr Lucas’ previous work, except in box-office terms. It isn’t the best film of the year, it isn’t the best science fiction ever to be translated to the screen, it isn’t a number of other things either that sweating critics have tried to turn it into when faced with finding some plausible explanation for its huge and slightly sinister success considering a contracting market. But it is, on the other hand, enormous and exhilarating fun for those who are prepared to settle down in their seats and let it all wash over them.”
    —Derek Malcolm, The Guardian
  8. "Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a ‘future’ cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like that, in downtown Los Angeles today. Certainly the mentality and values of the movie can be duplicated in third-rate non-science fiction of any place or period. O dull new world!”
    —John Simon, New York Magazine
  9. "Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement. The special effects experts who put Lucas' far-out fantasies on film—everything from a gigantic galactic war machine to a stunningly spectacular World War II imitation dogfight—are Oscar-worthy wizards of the first order. And, for his own part, Lucas displays an incredibly fertile imagination—an almost Fellini-like fascination with bizarre creatures.”
    —Kathleen Carroll, New York Daily News

SECTIONS

arrow
LIVE SMARTER