This may be minor Spielberg, but its wholeheartedness makes it worth the trip to the JFK airport in New York where an Eastern European man is stuck without citizenship, played with earnest charm by Tom Hanks.
Bergman’s breakthrough international success is a witty if flirtatious comedy about the laws of sexual attraction and matters of the heart.
This solid mythical epic based on Sophocles’ most famous text sees Pasolini passionately delivering a rousing tragedy, a precursor and counterpoint to his boisterous and even more provocative ‘Trilogy of Life’.
Soderbergh’s take pales in comparison to Tarkovsky’s superior 1972 adaptation—it feels too cold and lacklustre overall though it does grow more inwardly emotional by its final act.
Kubrick’s pitch-black Cold War comedy is absolute gold, intelligently poking fun at the sheer absurdity of nuclear war and rhetoric.
A talking Marxist-leaning crow accompanies an old man and his son as Pasolini fashions a lukewarm comedy with absurdist undertones as it pokes fun at religion, politics and society.
Despite the lack of narration to contextualise the historical footage, Loznitsa’s approach of letting the picture paint a thousand words convincingly shows us the abject reality of millions of Russians who suffered greatly during the devastating Leningrad blockade of WWII.
Demy goes full-blown with his colour palette and visual style in this rather straightforward and sporadically engaging fairy tale about an incestuous king who wants to marry his daughter.
A didactic and dialogue-heavy thriller that is directed with confidence by Ridley Scott.
Uneven storytelling slightly mars this swordplay action-drama classic with one of the most spectacular action climaxes in Japanese cinema.
