‘Saving Private Ryan’: Spielberg’s Groundbreaking WWII Gem That Redefined the War Film Genre

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‘Pulp Fiction’: How Quentin Tarantino Made a Postmodern Masterpiece

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‘The Last Temptation of Christ’ As a Testament to and an Exploration of Scorsese’s Own Faith

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‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence

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‘Sunset Boulevard’ at 75: Billy Wilder and Charles Brackett’s Sobering Exposure of the Dark Side of Hollywood

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‘The Abyss’ at 36: James Cameron’s Exploration of Humanity and Love in the Heart of the Ocean

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Australian Gothic: Peter Weir’s ‘Picnic at Hanging Rock’ at 50

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L.A. Breakdown, a Hitman In Crisis: Michael Mann’s ‘Collateral’ at 21

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Take It to the Limit One More Time: Michael Mann’s ‘Miami Vice’ at 19

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‘The Night of the Hunter’ at 70: The Extraordinary Single Directorial Entry in Charles Laughton’s Career

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So You Want to Start a Boutique Blu-ray Label?

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‘Midnight Run’ at 37: Martin Brest’s Cult-Action Comedy that Just Doesn’t Seem to Get Old

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Trickle Down Robonomics—The Predatory Capitalism of ‘RoboCop’

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‘Easy Rider’ at 56: A Revolutionary Road-Trip Film that Heralded a New Era of Filmmaking

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Filming the Unfilmable and Achieving the Unimaginable: How Kubrick’s ‘Lolita’ Eventually Won Critics Over and Established Itself as an Acclaimed Sardonic Black ...

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Moonbase Alpha, Moonbase Beta: Sam Rockwell Is the Secret VFX at the Heart of Duncan Jones’ ‘Moon’

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Run Through the Jungian: Stanley Kubrick’s ‘Full Metal Jacket’, a Phenomenological Treatise on War

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Neil Marshall’s ‘The Descent’ at 20: Humans Are the Scariest Things

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‘Double Indemnity’ at 81: A Mesmerizing Film Noir Conceived Out of a Troubled Relationship of Two Greats

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‘Sweet Smell of Success’: A Visceral and Vicious Depiction of the Evil that Power-Hungry Men Do

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