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.
A character named Magda dies, and lives, in language only in Ottessa Moshfegh's Death in Her Hands. But then again, don't all literary characters?
In Satoshi Kon's 1997 masterpiece, Perfect Blue, former J-Pop idol Mima Kirigoe's crisis of identity echoes our current 'epidemic' of loneliness -- upsetting the boundary between private and public agency, the desire to hide and the compulsion to be seen.
Hollywood is increasing Black representation but Damon Lindelof and Jordan Peele challenge audiences to question the authenticity of this system.
As dizzying as Víctor Del Árbol's philosophy of crime may appear, the layering of motifs in Breathing Through the Wound is vertiginous.
James Wan's supernatural ventriloquism film, Dead Silence, was buried alive in the catacombs of cinema's history by a mountain of awful reviews upon its release. But its take on the horrors of misogyny may compel you to watch it now.
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.
Author Caleb Carr's The Alienist explores the 19th century psychiatric debate between free will and determinism. TNT's nearly identical adaptation of the novel, however, comes up with a completely different conclusion.
Co-writer and star Alison Brie's unreliable narrator in Jeff Baena's Horse Girl makes for a compelling story about spiraling into mental illness.
The Serpent's Egg bares many of the Bergman's trademark features – the suffocating auras of despair and an underdog's sense of triumph over tragedy – but falls short of a more intelligent rendering of human drama.
My Name Is Julia Ross is fast, direct, and easy fun. It never tests the viewer's patience with unnecessary trills.
Writer-Director John Hancock and co-writer Lee Kalcheim take the gothic heroine from hundreds of penny dreadfuls and allow her to have her agency in the most unusual horror film, Let's Scare Jessica to Death.
Serenade for Nadia's complex plot allows Turkish author Zülfü Livaneli to sermonize on topics as varied as anti-Semitism, secularism and modernity, the role of faith in the modern world, diversity and multiculturalism, media and journalism, and more.
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.
Social historian Sam Wasson's The Big Goodbye: Chinatown and the Last Years of Hollywood, is a graceful and compelling elegy to both Roman Polanski's landmark film, and the end times of old Hollywood.
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.