Streets of Fire is an anthem for those who live for love, or trouble, or both.
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For a movie about supernatural revenge against a cadre of scumbags, The Crow is remarkably sweet-hearted. Combine that sweetness with Lee’s work, solid action, and an impeccable feel, look, and sound, and there’s a reason that Proyas and crew’s picture remains well-loved. Would that it was just one of many pictures in Lee’s filmography rather than a memorial.
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One of the most accurate portrayals of late stage capitalism before it was even fully realized. A prophesy of the eventual TikTokification of the music industry. A satire of the American government’s corruption as bolstered by a Machiavellian antagonist. Josie and the Pussycats is all this and so much more.
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In Cure, Kurosawa finds an outlet for that national miasma as ordinary people find themselves both the victim and the perpetrator of senseless violence.
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Stop for a moment. Stop and look at your phone. Resist the urge to reflexively open Instagram or check a message— simply rest the phone in your hand and raise it up before you.
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A romantic post-apocalyptic sci-fi whatsit as grand and unwieldy as its title, Until the End of the World presents a singular cinematic experience for the age of binge-streaming.
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The Life Aquatic with Steve Zissou explores why filmmakers are so often drawn to dig cinematic graves – places to revisit the ones we love long after their last curtain call.
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Whereas Cronenberg’s prior works such as Scanners stem from a distrust of the medical establishment, Videodrome – similar to later work eXistenZ – prods anxieties over technological advancements and the way society (literally; disgustingly) integrates with them.
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As far as directorial debuts go, Eve’s Bayou is in a league of its own.
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Bigelow takes what could be a standard cop drama with a Gen X edge (these bank robbers are SURFERS, DUDE!) and turns it on its head, zeroing in past the cliches and expected beats to create a sultry, desire-driven thriller.
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With All That Jazz, Fosse not only created a pageant of his own death, but the glorious death of the original movie musical altogether.
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Desert Hearts has become a touchstone for queer audiences across generations, a lesbian love story written and directed by women that gives space to the emotions and sexuality of two women’s relationship.
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What sets Mishima apart from Schrader’s other works is its unconventional structure and style.
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In all of cinema’s short history, has there ever been another joke as filthy, funny, perverse – and of course, well-earned – as the canonization of John Waters? At this exact moment, you can go out and spend forty hard-earned dollars on a “culturally important” boutique Blu-ray of a film which concludes on a cross-dresser eating literal, actual dog turds. If there's a more beautiful representation of the lurking good taste which occasionally threatens to puncture the bubble of our stolid society, I've yet to see it. But then again, Pink Flamingos was never about good taste.
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Come see Phantom of the Paradise with us at the Paramount Theatre on Sunday, May 25!
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The imagery is largely observational, it gives the impression that Krasna is a fly on the wall, that the film displays his memories as he recalls them. Some of them are languorous; some, a flash.
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Kitano takes a fractured, elliptical approach to depicting violence, like Peckinpah with frames missing. Yet despite its veneer of deadpan nihilism, this is a deeply emotional story, aided by Joe Hisaishi’s perversely sentimental seaside-jazz score.
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There's simply no American equivalent to compare to this break from Indian blockbuster filmmaking tradition, and that maximalist "why not?" glee continues through the entire film.
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"We had a chance to do something really cool. This was our version of Into the Dragon, with vampires.”
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With the current politicization of gender identity, ORLANDO is an essential text of queer theory and an example of how each element of our selfhood is changeable, a demonstration of how a freedom of spirit allows for the indulgence of endless earthly delights.
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