During World War II, Jean-Pierre Melville risked his life in the French Resistance. After the war, he took another risk bringing a story from occupied France to the screen.
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Twenty years later, the supernatural rom-com remains an antidote to the godawful films that attempted to capitalize on Jennifer Garner’s action hero appeal.
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Thirty years on, Shu Lea Cheang’s debut feature cum experimental sci-fi political critique comments pitch-perfectly on issues that plague our contemporary world.
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Peter Bogdanovich’s 1981 screwball comedy (now streaming on Max) is a lightweight soufflé of a movie, inadvertently shrouded in tragedy.
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Reese Witherspoon portrays Tracy Flick as something teenage girls in film are so rarely allowed to be: unrepentantly ruthless in their ambition.
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In 1994, both films took a stab at resurrecting a Freddy Krueger-type character. What they ended up doing instead was argue in favor of the horror genre itself.
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Fifty years after its release, the controversial drama still has the power to shock and unnerve.
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The late, great French filmmaker is in the spotlight on the Criterion Channel.
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With Peter Weir announcing his retirement from filmmaking, a look back at his first feature, the pitch-black comedy ‘The Cars That Ate Paris.’
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In between the two “Godfather” films, Francis Ford Coppola made this down and dirty surveillance thriller. Released fifty years ago this week, it might just be his masterpiece.
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In “The Best Man,” a politician played by Henry Fonda considers accusing another, played by Cliff Robertson, of being a “homosexual.” It was the first time the word was used in a major movie.
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In five films of varying quality, Patricia Highsmith’s sociopathic con artist has proved to be highly adaptable, both personally and artistically.
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