Take Out, Sean Baker’s debut feature co-directed by Shih-Ching Tso, reveals a strong authorial voice and anticipates the focus of many of Baker’s later features.
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This horror thriller from Rowdy Herrington, the director of Road House, plays as an effective, Brian De Palma-esque work.
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The X-Files movie remains an effective 1990s sci-fi blockbuster, even for viewers who never watched the TV show.
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This ain’t the liquor talking. Cocktail isn’t a bad movie.
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Stuart Cooper’s Overlord is a seamless blend of fact and fiction and one of the definitive World War II movies.
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Joseph: King of Dreams should enjoy heavy rotation among families who want to show Bible movies to their children.
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Retelling a Sami legend, Nils Gaup’s Pathfinder is both an act of cultural preservation and a thrilling action-adventure.
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Sydney Pollack’s Best Picture winner feels like a film of a different age, and is all the better for it.
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Night Nurse starring Barbara Stanwyck is a reminder of the salacious storytelling of pre-Code Hollywood.
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Shipwrecked is a competent boys’ own adventure, played without irony, revisionism, or computer-generated fakeness.
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Michael Curtiz’s Doctor X demonstrates the perverse strangeness of pre-Code horror.
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The third Pirates film threatens to spin out of control, but such an eccentric vision of a dark and whimsical fantasy world has rarely been as vividly imagined on screen.
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Dead Man’s Chest is the best film in the Pirates of the Caribbean series, a big, fun, rollicking adventure.
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At 50, George Lucas’s masterpiece of nostalgia is far deeper, more complex, more innovative, and more influential than is often remembered.
Jon Else’s documentary The Day After Trinity is a useful nonfiction companion to Christopher Nolan’s epic biopic of J. Robert Oppenheimer.
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This Clint Eastwood-starring psychosexual thriller interrogates Eastwood’s onscreen persona in a way similar to Sudden Impact.
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Clint Eastwood’s Sudden Impact, the fourth Dirty Harry picture, combines the rape-revenge film with the reactionary cop picture to fascinating results.
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In Expedition: Bismarck, James Cameron uses the conventions of television historical documentaries to present a portrait of himself as a storyteller and an amateur scientist.
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Roger Corman’s The Masque of the Red Death is more effective as a late-night Gothic thriller than as an adaptation of Edgar Allan Poe’s famous short story.
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Shinya Tsukamoto’s Tetsuo: The Iron Man is a hallucinogenic fever dream made by a mad man.
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