Love in the Afternoon deserves credit for its artistic merit but also for serving as the beginning of a beautiful affair between Billy Wilder and I.A.L. Diamond.
On the surface, Evil has all the makings of traditional catholic horror, yet it continuously brings a unique perspective to one of the horror genre’s most well-trodden grounds.
Sammy Davis Jr. and Peter Lawford camp up their too cool for school ’60s spy hipsters personas for Richard Donner and Jerry Lewis comedies Salt and Pepper and One More Time.
Jigsaw‘s gritty tone flew in the face of commercial conventions and signaled, in the ’60s, that public discontents were coming for pop entertainment territory.
Restored pre-code films William Beaudine’s ‘The Crime of the Century’ and Charles Vidor’s ‘Double Door’ thrill with their frightening fearlessness.
Director John Patton Ford discusses his debut feature Emily the Criminal, a critique of American society borne within the death of the American Dream.
Fric-Frac is a character study of Jeanne Moreau’s role early in her starring career and The Scheming Women is bright with future French stars.
Euphoria’s Cal Jacobs and Bad Education’s Frank Tassone deliberately thwart redemption, lending a flair for the tragic to these otherwise villainous characters.
German director Robert Siodmak‘s 1930 comedy Farewell is a far cry from 1957’s Nazi-influenced crime thriller, The Devil Strikes at Night.
Silent film star Louise Brooks’ first role was that of a “moll”, an uncredited bit part in the evocatively titled The Street of Forgotten Men.
Matt Reeves’ meandering faux-profound take on Batman spends its over-long runtime telling women to shut up and do as they’re told or face the consequences.
Italian mobster series Suburra exploits its Roman setting, using carefully composed shots and symbolically charged locations to suggest that nothing has changed in Rome since antiquity.