Something portentous comes out of quiet ordinary postwar English life: three schizoid noirs from directors Carol Reed, Roy and John Boulting, and Tharold Dickinson.
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.
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.
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.
With his prescient film, Children of Men, director Alfonso Cuarón hasn't flipped Hegel onto his head, as Marx and Engels were accused of doing -- he's knocked him off his feet.
Todd Phillips' divisive Joker stirs the conscience -- and the stomach.
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.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
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.
In today's installment of our retrospective survey of Alfred Hitchcock's singular career, we revisit his first major statements. Thrillingly, all of Hitchcock's trademark themes and signature moves are visible in these early masterpieces -- an uncanny talent, Hitch arrived, it would seem, fully formed.
In a sci-fi setting with Wild West overtones, Sophie Thatcher's Cee is discovering how far she will go to get what she wants in Prospect.
Bernard Rose's Candyman offers a moody "elegance", if you will, that's sorely lacking in other horror films of the era.
Hitchcock's motif of treacherous toying with filmgoers is intriguing to spot in his early silent-to-talkie thrillers, Blackmail and Murder!
Jacques Tourneur's Cat People and I Walked with a Zombie are considered classics today. But The Leopard Man, has always been considered something of a misstep, until now.
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.
Less polished than Netflix's usual fare, Sujoy Ghosh's new haunted house series, Typewriter, borrows from India's rich tradition of genre fiction.
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.
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.
How can we appreciate David Lynch's Blue Velvet, a film about America's private darkness, in an era when such anxieties, tensions, and corruptions are so openly apparent?
Paul Leni loved to move the camera to unsettle viewers -- under curtains, through doors, down trapdoors, swinging on ropes -- as seen in The Man Who Laughs and The Last Warning.
It makes perfect sense that 2019 — the last year of the decade — should also be the last year for one of the 2010s' best shows. To continue would be a disservice to viewers.
Director Catherine Hardwicke looks back on her career to date and talks about illuminating the human condition anew in her latest, Miss Bala.
Directors Christopher Caldwell and Zeek Earl reflect on a lack of wisdom for their practical film school with their debut feature, Prospect, and an aspiration to evade the trappings of sci-fi filmmaking.
There's almost never a moment in One Deadly Summer that doesn't recall a crushing nostalgia, using tone and texture to evince a sort of empathetic longing.
In Women at War, an angry, jolting joy of a movie, an Icelandic woman turns the nation upside with her solo crusade of ecological sabotage.
Tense, unflinching, and completely self-aware, Pet Sematary veers away from its source material in satisfying ways, yet remains true to Stephen King's uncompromising vision.
Before terrifying us, Peele overwhelms with cultural signifiers untethered from their referents in his latest, Us.
If you care about 3-D history, or about Lamas, or about how far the '50s could push erotic buttons (or un-buttons) within family entertainment, you'll have a good time with 'Sangaree' and 'Jivaro'.
The budding auteur's follow up to Get Out, Us, is murkier than its predecessor but features a treasure trove of potent references to keep its ambitious premise afloat.
While not as streamlined as Get Out, Jordan Peele continues to provoke thought through the horror movie lens with Us.
At its best Jordan Peele's Us shows that when a society subjugates and marginalizes huge swathes of its population, it is doomed to devour itself from within.
Jordan Peele's home invasion thriller, Us, in which a family is threatened by their doppelgänger, relies on a clutch of jaw-dropper reveals but also a creeping sense of universal guilt.
Altman's Images is a complex, haunting and always disturbing film about the slow realization that one's sanity is a stake.
James McAvoy's impressive acting and fleeting moments of powerful imagery dazzle in M. Night Shyamalan's Glass, but that can't make up for the film's shattered second half.
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