An airborne virus infects the cogs in the capitalist machine in George Seaton’s What’s So Bad About Feeling Good? and makes people subversively happy.
Kwan’s art-house Center Stage and Cruze’s vulgar The Great Gabbo both touch on the tragic tropes of performers whose careers suck up their lives.
Lionel Jeffries’ film version of Edith Nesbit’s The Railway Children is rich with a charm rooted in a bedrock of social awareness as hard as Charles Dickens.
Frank Perry and Jerry Schatzberg jolted audiences who weren’t used to unsatisfied and belittled housewives starring in a film, or to the concept of such people existing.
Meant to divert wartime audiences with sheer escapism, René Clair’s ‘It Happened Tomorrow’ dives into a past where tomorrow looks troublesome.
Emerald Fennell’s thriller Promising Young Woman pushes buttons, but does it deserve the Oscar’s Best Original Screenplay?
DeMille’s ‘The Greatest Show on Earth’ is about spectacle and how people make a living fabricating gargantuan, silly, and sometimes dangerous fodder for the gawping public.