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.
Watching the 1958 Elvis movie King Creole, one is confronted by a young actor with promise, delivering a performance on par with James Dean.
Nazi power had already risen and Hitler was Chancellor when The Black Cat shared its laser-focus on the dangers of the rising tide of right-wing politics.
We thoroughly inspect the four 1930s features and bonuses in The Film Detective’s The Sherlock Holmes Vault Collection.
Director John Patton Ford’s début feature Emily the Criminal rips the scabs off the wounds of disillusionment, dead-end opportunities, and capitalist dystopia.