Continue reading →Kubrick’s final film is a calculated psychosexual trip filled with paranoia, moral depravity and sexual fantasies and excesses.
Continue reading →Kubrick’s final film is a calculated psychosexual trip filled with paranoia, moral depravity and sexual fantasies and excesses.
Continue reading →Kubrick’s understated and underrated costume-drama is, to me, his greatest accomplishment, and possibly the most beautiful period film ever made.
Continue reading →Kubrick’s dystopian masterpiece frustrates, angers, provokes, and ultimately floors you in ways unlike that of other great films.
Continue reading →Kubrick’s most influential film still remains way ahead of its time and is arguably the greatest sci-fi film ever made.
Continue reading →One of the most potent anti-war films ever made… so powerful it makes your blood boil at how some humans can be so despicable.
Continue reading →Kubrick treats the crime-noir genre in a revolutionary non-linear storytelling way in what is one of the most effective American heist films ever made.
Continue reading →Five uneven vignettes shot in different cities centering on conversations between cab drivers and passengers—this is Jarmusch in easy-going mode as he captures the pathos of human connection.
Continue reading →Billed as one of the year’s best pictures, and quite rightly so, as the film’s mastery of its tragicomic tone and a solid ensemble cast combine to reach both tearjerking and comedic highs.
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This is highly-accomplished raunchy comedy filmmaking for the modern age, and no doubt one of the best films of 2009.
Continue reading →What a strange and risk-taking studio movie this is—a disturbingly-violent Hollywood-style if also arthouse-type character study that just about holds everything together thanks to a killer performance by Joaquin Phoenix.