Considering that Quentin Tarantino isn’t a fan of Alfred Hitchcock (instead preferring filmmakers who took Hitch’s baton), it’s ironic that “Pulp Fiction” (1994) is Tarantino’s
“The Lost Weekend” (1945) must have been striking upon its release for its matter-of-fact portrayal of alcoholism. The Forties were the decade of film noir,
“Ace in the Hole” (1951) is a kind of silly, rather entertaining, certainly unusual piece in Billy Wilder’s catalog. Driven by a muscular, over-the-top performance
“Sinners” builds up its portrayal of 1931 life for black folk in Mississippi so well that when a bigger cinematic threat comes along, it’s a
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
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
“Crimson Tide” (1995) is the apex of the Nineties action style of shaky handheld camerawork and men seeking the upper hand via authoritative voices and
Charles Lindbergh’s biography is so fascinating that his 1927 New York-to-Paris flight is arguably not even the craziest event. That event is the entire purview
Because it’s been so influential on future crime actioners, “The French Connection” (1971) at first blush is an underwhelming Best Picture winner. But when I