Adapting Larry Watson's novel, director Thomas Bezucha sets the quest of a retired sheriff and his wife to the era of American society's fall from grace.
Scorsese's The Irishman is not a masculine power fantasy, nor could its heavy underlying sadness ever be mistaken for delight in violence or criminality.
Pierrot le fou is filled with cars, guns, cash, and books, but Godard is more interested in what exists between these "definite things", namely the thoughts inhabiting empty space.
If truth is stranger than fiction then the truth about some films, such as the Charles Manson film The Other Side of Madness, feels as strange as reality ever gets.
Jarmusch's 1999 classic Ghost Dog, now in a Criterion edition, freely mixes and matches Bushido philosophy, Mafia and samurai flicks, Ryūnosuke Akutagawa, and lo-fi hip-hop into a sly and dreamy comedy about role-playing.
Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.