Fresh Loaf

In recognition of his tireless efforts on behalf of Atlanta’s children, filmmaker Libby Spears has dedicated her latest documentary Playground to the memory of the late Fulton County Judge, Sanford “Sunny” Jones. The film premieres as part of a memorial benefit hosted by the Juvenile Justice Fund honoring Jones on Tuesday, October 20th at the Woodruff Arts Center. The event benefits the Center to End Adolescent Sexual Exploitation (CEASE) and Angela’s House, an organization that provides home care services to households with medically fragile children. Jones, who served as Fulton County Juvenile Court judge was killed in small plane crash in Alabama earlier this year.

Playground sheds light on child sex trafficking taking place in the United States. The film profiles former victims and provides a candid look at the legal and social systems that fails to adequately respond to the crisis. Playground was produced by actor/director George Clooney, writer/actor Grant Heslov and director Steven Soderbergh, the team behind the Oscar-nominated film Good Night and Good Luck.

Judge Jones helped to create the Juvenile Justice Fund in Atlanta in 2001. The fund provides constructive alternatives to youth detention and programs to reduce the number of children returning to unsafe, abusive and destructive homes.

Memorial Benefit for Judge Sanford Jones. Tuesday, October 20, 2009 – 6:00pm. Woodruff Arts Center Symphony Hall. 1280 Peachtree Street, Atlanta, GA 30309. General admission $25, premiere and VIP pre-reception $125. Tickets can be purchased online at www.woodruffcentertickets.org or by phone, 404-733-5000.

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LOVE IS DA BOMB: Silk Spectre (Malin Akerman, left) and Nite Owl (Patrick Wilson)

Upon its publication in the mid-1980s, the 12-issue graphic novel Watchmen earned a reputation for being “the Citizen Kane of comic books.” That’s not just hyperbole: Both works feature multiple narrators trying to piece together an enigmatic death, although in Watchmen, the ensemble happens to be former masked heroes, sleuthing against a backdrop of impending nuclear war.

Like Orson Welles, Watchmen writer Alan Moore and illustrator Dave Gibbons drew on seemingly every stylistic innovation in their respective media and shot them with lightning, raising the bar for a popular but increasingly sophisticated art form.

Zack Snyder’s long-awaited film adaptation of Watchmen is not a classic worthy of Citizen Kane. Thankfully, it’s not a bomb on a par with Howard the Duck, either. It comes close to being something like A Clockwork Orange for superhero movies — a dystopian satire marked by meticulous craftsmanship and sluggish pacing, of incongruous music and horrific violence, of heavy-handed sermonizing and astonishing imagery.

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