“The French Connection” (1971) made its thematic point: All that work by Popeye Doyle (Gene Hackman) and other cops, and — while some drugs are
Billy Wilder was influenced by Ernst Lubitsch more than any other director, so “Ninotchka” (1939) is among the most important films to watch wherein Wilder
I don’t quibble with endings as much as some viewers do; if the buildup is excellent, I’m lenient. But wow does “The House on Sorority
If you’re on a bender of newspaper movies, “The Paper” (1994) would make a good cleanser between “All the President’s Men” (1976) and “Spotlight” (2015).
“Stalag 17” (1953) is – thankfully for viewers who struggle with war and/or prison movies – another example of Billy Wilder’s ability to meld two
The “Fear Street” movies are the height of disposable slashers, but even so, it’s remarkable how disposable the characters are. These are the kind of
Dario Argento’s only full-length American production, “Trauma” (1993), is also his best movie that never gets talked about. It still has the Argento formula of
Billy Wilder’s direction and Miklós Rózsa’s bass-driven string music hold a viewer in thrall in “Fedora” (1978), despite a story that draws parallels to a
“Juno and the Paycock” (1930) was, even early in his career, an unusual adaptation for Alfred Hitchcock, as the material is misery-laden and lacking in
Watching “Woman in the Dark” (1934), it’s apparent why – other than classics like “The Maltese Falcon” (1941) and the “Thin Man” series – Dashiell