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Image 2: The first day of excavation is always exciting and, in a way, terrifying. Like nearly all Medio Period sites, the room blocks have been severely looted. In addition, this site has two large ritual roasting pits and a ball court. There are three mounds for a total of about two hundred rooms. Image 1b: Site 204 has three “mounds” that are the remains of adobe room blocks that have decayed over the centuries into piles of dirt. Cerro Moctezuma was probably one of the major shrines in the local area. The atalaya is a feature on a hilltop that probably was a shrine and communication point visible from Cerro Moctezuma, which is just west of Paquimé. Image 1a: Site 204 is located in a small valley that also has a large number of Medio Period villages. We selected this site because it was one of the two largest Medio Period sites near Paquimé, so we could compare it with the small villages we studied at one end of a continuum of size and the premier and largest site, Paquimé, at the other extreme. One of the most important sites we studied-Site 204-is located west of Paquimé in a tributary drainage. Then we transitioned to the excavation of a range of sites in an attempt to understand how the Paquimé-dominated society was organized and when it dated to, among other questions. At first, we conducted surveys, systematically walking over an area to record whatever archaeological remains were observable. Over the past two decades, we directed multiple field projects in the region.
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Movies that know how to mix the dangerous and the erotic often make edgy, highly diverting thrillers, but “Judicial Consent” is too obvious and too conscious of its form.Our research in northwestern Chihuahua focused on the area around the famous and important site of Paquimé (or Casas Grandes), which was most influential during the Medio Period, AD 1200–1450 (give or take a few decades either way). As Martin, gifted character actor Coleman is wasted in an unrewarding role, while Wirth is there mostly to look good as the stranger with a “mysterious” motive. Will Patton, usually brilliant in small, offbeat roles, is miscast here in the underwritten role of Gwen’s bland husband we never get a sense of the kind of marriage the Warwicks have. For instance, lawyers, particularly women, might find offensive a sex scene in Gwen’s office in which she’s shown reaching orgasm while negotiating an important assignment on the telephone. Dark lofts, swinging doors, empty parking lots and so on are all nicely handled, but they’re also familiar to an audience that always seems to be ahead of the pic’s characters.īedelia gives a charming, dominating performance, but the woman she plays is too intelligent and too bright to behave in such a senseless manner. Though a first-time helmer, Bindley gives his picture a smooth and polished look, displaying some mastery over the genre’s tricks - and visual cliches.
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The courtroom format relies heavily on finely tuned dialogue and unanticipated revelations, but Bindley’s writing, specifically in the court sequences, is borderline banal and the disclosures aren’t particularly suspenseful. Realizing she’s been set up, Gwen begins a desperate race against time to prove her innocence. Soon, what seemed “circumstantial” evidence turns out to be a well-planned murder, with Gwen as the prime suspect. When Gwen’s roguish colleague, Charles Matron (Dabney Coleman), “a chronic flirt,” is found dead in his office, she’s asked to preside over the case.