‘The Friends of Eddie Coyle’ at 52: Peter Yates’ Crime Masterpiece that Chose to Rely on a Completely Different Kind of Spectacle

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Unveiling Ridley Scott’s Cinematic Grail: ‘The Illustrated Blade Runner’

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How Robert Altman’s Anti-Western Classic ‘McCabe & Mrs. Miller’ Aged Like Fine Wine

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How Tim Burton’s Version of the Caped Crusader Put the Dark in Dark Knight and Gave Wings to the Superhero Movie Genre

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‘Jaws’ at 50: The Groundbreaking Summer Blockbuster that Changed Hollywood, and Our Summer Vacations, Forever

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‘Psycho’ at 65: The Proto-Slasher that Brought On a Revolution in Cinema

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‘Predator’ at 38: John McTiernan’s First Studio Gig that Became an Epic Action Classic

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‘The Truman Show’ at 27: Weir and Niccol’s Uplifting Yet Prophetically Disturbing Dystopian Satire

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Peter Weir’s ‘Dead Poets Society’ at 36: An Awe-Inspiring Celebration of the Human Spirit

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We Can Mis-Remember it 80s-Style: ‘Total Recall’ Was the Last Gasp 80s Ultraviolent Action Extravaganza for a New Decade

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‘Monty Python and the Holy Grail’ at 50: The Peak of British Comedy

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NOC NOC: How ‘Mission: Impossible’ Lit the Fuse of Action Stardom Within Tom Cruise

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‘L’Avventura’: Michelangelo Antonioni’s Visual Poetry and Its Impact on the World of Film

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Neil Marshall’s ‘Dog Soldiers’: A Force to Be Reckoned With

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Hitchcock’s ‘Vertigo’: The Unrelenting Male Gaze that Blurs the Lines Between Possession and Obsession

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David Lean’s ‘Nostromo’: The Old Man and the Untold Tale of the Seaboard

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‘Citizen Kane’: The Astonishing Debut of Hollywood’s Greatest Wunderkind

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James Mangold’s ‘Identity’: The Devil in the Details

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Cleansing of the Soul for a Clean Slate: Guillermo del Toro’s ‘The Devil’s Backbone’

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‘12 Angry Men’ at 68: The Everlasting Testament to Sidney Lumet and Reginald Rose’s Filmmaking Prowess

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