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Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .
Sinuous camera moves and stylish direction, endings that surely wouldn't have flown after the Code crackdown: four pre-code talkies from Cecil B. DeMille, Phil Goldstone, Victor Halperin, and Stuart Walker.
Alain Corneau's Série Noire is like a documentary of squalid desperation, albeit a slightly heightened and sardonic one.
The story of how structural inequalities have shaped Los Angeles can be found in Penny Dreadful: City of Angels but it needs to be in the forefront of season two.
Directors Claude Sautet and Andrzej Zulawski turn the camera's gaze on the glorious Romy Schneider in these four drama, romance, and crime films available from Film Movement and Kino Lorber.
The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.
David Lynch and Mark Frost's seminal Twin Peaks is rich with insight as to how both people and works of fiction can age gracefully.
Far from being escapist entertainment, Herz's The Cremator is a dissection of evil and how deluded one becomes in willing themselves to power.
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.