A David versus Goliath true story done right by Soderbergh, featuring two outstanding performances from Julia Roberts and Albert Finney.
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Erin Brockovich (2000)
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Tag / USA
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Matchstick Men (2003)
Ridley Scott directs a rare crime-comedy in this sentimental flick starring an underrated Nicolas Cage as a germophobic con artist who must contend with the unexpected appearance of his long-lost daughter.
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Chloe (2009)
Julianne Moore and Amanda Seyfried do heat up the screen in this erotic drama about the fears of infidelity, but the mind games under Egoyan’s slick direction don’t always work deeply or satisfyingly.
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Underneath, The (1995)
Dissed even by Soderbergh himself, this is a flawed if underrated noirish crime-thriller that works in its own oddly-paced way.
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King of the Hill (1993)
Soderbergh’s first studio effort is rich in its ‘30s Depression-era period detail, while also functioning as a coming-of-age tale with an unexpected touch of warmth.
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Modern Times (1936)
Chaplin’s brilliant film imbues his signature physical comedy into a tale about unemployment, homelessness and modern industrialisation, poignantly marking the end of the silent era in American cinema.
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Blackhat (2015)
Unfairly derided, Mann’s work here might not have come close to his best, but it’s still an intriguing 21st-century cyber-thriller set largely in Asia that deals with themes of geopolitics, technological fears, and agency versus anonymity in the digital world.
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All the Money in the World (2017)
As admirable as Ridley Scott’s ticking time-bomb decision to recast and reshoot the film is, this is an unexceptional work that struggles to elevate itself despite strong performances by Christopher Plummer and Michelle Williams.
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Nanook of the North (1922)
Purportedly the first-ever documentary made (or more accurately, staged) in the history of the medium, Flaherty’s eye-opening and intimate look at an Inuit family living in a harsh and cold environment poses age-old questions of authenticity and truth.
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Northman, The (2022)
Eggers’ third film is maximalist filmmaking to a fault—it may be his most ambitious, but also his weakest in terms of storytelling where it offers the requisite thrills and action, but little in the way of deeply-resonating themes or characters.
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Eternality Tan 