Peele’s third feature is his most ambitious yet though not necessarily as sharp as his previous works, firmly locating itself in sci-fi horror territory while expressing our innate desires for attractions and spectacles.
Melville’s sly if laidback anti-heist noir (if there ever was one) is an absorbing take on how individuals and the collective operate in matters of vice and deception.
Despite a sensational action finale that rivals some of the best in the series, this 23rd instalment seems to have been made from a script that is one or two revisions away from being ready.
Possibly the finest from Jia in recent years, this unexpectedly affecting documentary remarkably paints a portrait of China in the second half of the 20th century through the diverse oral histories of renowned literary figures.
The picture that destroyed Powell’s career, this disturbing work about a serial killer who perversely films his victims as they die is now regarded as a major influence on the modern slasher movie, and a provocative exploration of the ills of scopophilia.
A cab driver and an assassin cross paths in Mann’s nocturnal crime escapade—it may stray into incredulity in its final act, but it accrues just enough stylistic points and storytelling rhythm to power all the way through.
Kirk Douglas is sensational as an amoral journalist with an acerbic wit, who exploits the news of a man trapped in a cave, as Wilder gives us one of his most cynical films.
This early Antonioni features a compelling performance by Lucia Bose, playing a newcomer actress who is conflicted about the roles various men in the industry want her to play.
Wajda’s first feature is a modest story of sorrow and youth resistance in Nazi-occupied Warsaw, promising great things to come for one of Poland’s greatest filmmakers.
This is every bit how you might imagine Godard making an anti-war film would look and feel like—it’s darkly comic, blistering in its attack on warmongers and a fairly underrated work of his early phase.
Eternality Tan 