“Mad Max” (1979) kicks off a now-grand sci-fi saga in rare fashion: It starts in a recognizable more-or-less present day, and thus we are treated
“Viy” (1967) came to my attention by virtue of having been collected in a 15-disc compendium of folk horror films “All the Haunts be Ours”
Alfred Hitchcock’s “The Paradine Case” (1947) is so nice looking and features such great performances that it almost overshadows the thin story by uber-producer David
“Waltzes from Vienna” (1934) isn’t quite a musical – after all, it focuses entirely on the creation of a single song, Johann Strauss II’s “The
If I had a time machine to observe audience reactions of the past, I’d first go to an opening screening of “Psycho” (1960) to enjoy
To conjure Taggart (the immortal Slim Pickens’ character from “Blazing Saddles” (1974)): What in the wide, wide world of sports can “The Wrestling Women vs.
The riches-to-rags (and perhaps back to riches) story was among Alfred Hitchcock’s favorite structures of the Roaring Twenties. He approached it seriously in “Downhill” (1927),
“Secret Agent” (1936) feels a little older than the films surrounding it in Alfred Hitchcock’s catalog. It’s a period piece, set in the buildup to
If “Repulsion” (1965) were remade today, it couldn’t be a more searing, insightful look into one autistic woman’s experience in a neurotypical world than what
“Ænigma” (1987) dares ask: Can a lady in a coma avenge herself via a rebel-gal at a Catholic girls’ school? It’s the same rhetorical question