Andrew Patterson's debut film, The Vast of Night, compels its audience to listen to a radio conversation and watch a mysterious play. Interview with director Andrew Patterson and actors Jake Horowitz and Sierra McCormick.
In the '70s there was something sinister sneaking into suburban homes between the sitcom and the 11 o'clock news where the real horrors played out. The made for TV horror film The Night Stalker would be among the best.
Although not as well known as John Carpenter or Brian DePalma, Fred Walton brilliantly complicates that old mystery -- is the killer in the house? -- with 1993's When a Stranger Calls Back.
Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
Alphaville's pulpy sci-fi plot acts as a warm coat of familiarity as Godard slyly subverts one genre trope after another.
We move through life among strangers whom we try to make less strange by identifying repetitive behaviors as identity. At some point, we might even say we "know" a person. Lynch's Lost Highway shows that we don't know anything about each other.
Although Hitchcock left Great Britain for the United States in 1939, his first two films -- Rebecca (1940) and Suspicion (1941) -- nonetheless remained set firmly in English culture. His depictions helped craft perceptions of English life for decades to come.
While Alfred Hitchcock is famous for the humor that he injected into his thrillers, there are striking differences in the humor between his British and American periods.
In Day Two of our Director Spotlight series on the Master of Suspense, we revisit the four strongest films of Alfred Hitchcock’s British period.
Nigel Kneale's book and screenplay, which Hammer Films made into Quatermass and the Pit, raises many provocative questions regarding the nature of human evolution and the conception of the devil itself.
Followed on a foggy night, a menacing voice on the telephone, trapped in an elevator... Doris Day's Kit Preston verges on a nervous breakdown in Midnight Lace.
The beloved character Salvo Montalbano, like its author, the late Sicilian novelist Andrea Camilleri ("il padre di Montalbano"), can be brusque and ornery, but he has a strong ethical code and passionate commitment to justice.
The German-language sci-fi thriller Dark perfectly captures the unsettling experience of being trapped by history.
Designated Survivor Season Three effectively criticizes the Trump administration and poses complex questions in our time of the rise of the extreme right.
Director Ari Aster's uncompromising artistic vision in Midsommar creates a singular viewing experience of horror, beauty, and bafflement.
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.
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.
Director Joanna Hogg sheds nuanced light on a dysfunctional relationship similar to one of her own in The Souvenir.
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
Without a set form, there can be no water-cooler talk about Bandersnatch, no collective reflection and analysis, because each viewer watched a different movie.
Altman's Images is a complex, haunting and always disturbing film about the slow realization that one's sanity is a stake.
Rivette's 'Paris nous appartient' Nods to McCarthyism, Communist Witch Hunts, and Cold War Paranoia in the USA
Jacques Rivette's first French New Wave film, Paris nous appartient, is infused with the look and feel of Hollywood's more paranoid, conspiratorial and apocalyptic films noir.
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.
Burt Lancaster's second film, The Midnight Man (1974), reflects a weary outlook of disillusion and regret within the trappings of gumshoe noir.
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.
As in all the best detective stories, the heroes of Denis Villeneuve's Prisoners are wrestling with questions much deeper than those of the case itself.
Takashi Doscher reflects on Still's emergence from a personal lifetime commitment and whether time transforms the meaning of our social constructs and relationships.
Travel journalist Stuart Turton borrows and remixes the best of the genre in his fiction debut, The 7 1/2 Deaths of Evelyn Hardcastle.