An enjoyable early murder mystery by Hitchcock that explores how theatre and life can intertwine in what is a precursor to the likes of ‘Stage Fright’ and ‘The Wrong Man’.
Continue reading →
An enjoyable early murder mystery by Hitchcock that explores how theatre and life can intertwine in what is a precursor to the likes of ‘Stage Fright’ and ‘The Wrong Man’.
One of Hitchcock’s most underrated works—and it sees the director at his most patient, crafting a tale that builds up spellbindingly.
The duality of being a U.S. Marine—to train to kill but also be expendable—is captured with cold, hard irony in Kubrick’s clinical take on the (Vietnam) war movie.
Dated and unexpectedly dull, this early Hitchcock effort is a true disappointment.
Carol White’s excellent performance as a young working-class woman in Ken Loach’s first feature gives us a taste of late ‘60s UK and what it feels like to suffer from the misdeeds of men.
This underappreciated debut feature by Ken Russell is a refreshing and energetic French New Wave-influenced comedy bursting with ideas and saying a thing or two about breaking conservative moral codes.
With incredible restraint and backed by all-round excellent performances, Kubrick’s exploration into a revolting form of sexual obsession is remarkable for its implicit portrayal of an erotic relationship between a (step)father and his daughter.
Cronenberg Jr’s second feature sees him tackle techno-existential sci-fi with more assurance (but also with more narrative convolution) in this gory tale involving mind-controlled assassinations.
Charlie Kaufman’s quaint and surreal stop-motion animation won’t blow you away, but its mature themes of isolation and companionship largely resonate.
Strong performances by Glenn Close and Mia Wasikowska help to elevate this heartfelt Oscar-baiting period film to something that is worth a watch.