Thematically, “Quick Edits” are no different than “Long Takes.” They still probe important issues related to, say, the practices deployed in making a film or a movie’s representation of gender, sexuality, race/ethnicity, or class. It’s just that these analytical essays are shorter because I don’t always have a lot to say about each and every film I see (though this isn’t often the case). Who knows? As a result of being shorter in length, the write-ups under this category of criticism may not be (as) spoiler-laden as those found in “Long Takes.”

A “quick edit” (or “quick cut”), by the way, is the opposite of a “long take” and a manipulative storytelling gesture that might be deployed to end or start a scene abruptly, often jarring the spectator as he or she adjusts to a new temporal setting. Think of the cinema of Paul Greengrass. It’s loaded with MTV-ready quick cuts.

As always, I encourage readers to see any and all of the films discussed on this site for themselves. “Don’t just take my word for it,” so the saying goes. See it, and sound it out yourself. Comments are always welcome, too.

NOTE: Hover over “Quick Edits” in the navigation menu to see the most recently published essay titles. You can always look here for the full listing of such articles.

Big Miracle (Ken Kwapis, 2012)

Bernie (Richard Linklater, 2011)

A Price Above Rubies (Boaz Yakin, 1998)

The Salt of the Earth (Wim Wenders & Juliano Ribeiro Salgado, 2014)

Spare Parts (Sean McNamara, 2015)