The character's in Claude Chabrol's The Third Lover, Line of Demarcation, and The Champagne Murders are obsessively doubled and mirrored, reflecting and refracting their hunger for sex, love, money, and power.
Silent film A Cottage on Dartmoor brilliantly captures Anthony Asquith's fascination with the French impressionists' preoccupation with the still, singled out expression.
Although it's fair to state that Jerry Hopper is no Douglas Sirk, it's also true that their careers tangoed around each other, as seen in Hopper's Naked Alibi.
If we judge a film by keeping us on the edge of our seat, 1971's Someone Behind the Door, starring Anthony Perkins and Charles Bronson, is a success.
Natalia Leite's 2015 film Bare picks up where Barbara Loden's 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.
Thanks to Richard Fleischer's Trapped, Lloyd Bridges got the chance to shine in a starring role as unregenerate slimeball Tris Stewart, among the most amoral self-centered leads in noir.
The movements of the camera in Melville's Un flic attempt to overcome one of the most inscrutable divides in existence.
Considered in relation to the postmodern explosion that would rock Hollywood during the second half of the '90s, The January Man registers as a pop culture curio that was ahead of its time.
Todd Phillips has planted a tantalizing trail of clues throughout Joker to upend viewers' most basic assumptions, presenting a film whose contradictory structure can cause as much mayhem as its titular character.
What is it about Penn Badgley's toxic and creepy Joe Goldberg in You that keeps viewers coming back?
The Safdie Brothers' nervy ball of tension, #PMPick Uncut Gems, sends a hustler blasting recklessly through a city where everybody is on the make.
Linda Fiorentino pulls out all the stops and delivers a tour-de-force performance in John Dahl's gripping neo-noir, The Last Seduction, a film full of blue moods, dark humour, and hairpin turns.
Hitchcock's motif of treacherous toying with filmgoers is intriguing to spot in his early silent-to-talkie thrillers, Blackmail and Murder!
Jean-Luc Godard's cinematic oddities First Name: Carmen, Détective, and Hélas pour moi, newly released on Blu-ray from Kino Lorber, embody the vast landscape of possibilities open to the director during the '80s and '90s.
Made for TV programs of the '70s really knew how to dish it out. Michael Crichton's Pursuit is all about men conquering each other; whereas Lee Philips' The Girl Most Likely To is a poisoned bon-bon about making pain palatable.
The German-language sci-fi thriller Dark perfectly captures the unsettling experience of being trapped by history.
Director Abner Pastoll discusses his new film A Good Woman Is Hard to Find, which will have a special advance screening at Fantasia Film Festival, ahead of its world premiere at Arrow Video FrightFest.
Like a match made in Purgatory, Edgar Ulmer's Detour and John Farrow's The Big Clock are ingenious films with different but self-aware approaches to noir.
Sometimes a movie needs to overpower you, or why bother? So-called "women's films" Portrait in Black and Madame X glorify women's strength and resilience.
When Shaun Evans was recruited to play young Morse, he had been acting for over ten years, yet it's Endeavour that's likely his magnum opus. In this interview, he discusses the defining work that not only allowed his acting talent to blossom but also nurtured his natural storytelling ability.
If happiness usually proves duplicitous, and melancholy a dependable constant, then the journey of an epic Joyce Carol Oates novel is always going to be a trip worth experiencing, as with My Life As a Rat.
By the time Yates' Robbery and Kjellin's Midas Run came along, the Hollywood Production Code was weakening as the western world entered a period of rebellious youth, short skirts, sexual permissiveness, Cold War cynicism, colonial wars, and general political uppity-ness.
Shakespeare's plays offer endless potential for adaptation, but sometimes, as is true of Geoffrey Wright's Macbeth (2006), when these reinterpretations fail we get a clearer impression of the original's genius.
Franz of Berlin Alexanderplatz doesn't occupy a privileged space of sovereignty over the world. He's not the avatar for divine individuality that we so often take ourselves to be.
Childhood friends are tricky. They're the friends you leave behind but can never completely escape. Elaine May conveys this with disruptive technique in Mikey and Nicky.
A boon for Sherlockians and silent film fans, Flicker Alley presents Der Hund von Baskerville, a DVD/Blu-ray combo containing the 1914 and 1929 silent German versions.
The Possessed (aka Lady of the Lake) is a feverish dream-narrative in which the protagonist is often literally fevered and dreaming, yet he jerks awake more often than people in a Brian De Palma movie.
Visual aestheticism has never been a weak point for the Merchant Ivory production team and they certainly don't slack in their abilities with the sumptuous Feast of July.
A contemporary viewing of Alfred Hitchcock's 1964 film, Marnie, makes it clear: we must understand the inner workings of the male gaze and subsequently annihilate it.