The Godfather Trilogy
Adapting Mario Puzo’s best-selling novel, Francis Ford Coppola drew up several themes lying dormant within its pages and augmented them in a uniquely cinematic fashion to create a masterful saga.
Adapting Mario Puzo’s best-selling novel, Francis Ford Coppola drew up several themes lying dormant within its pages and augmented them in a uniquely cinematic fashion to create a masterful saga.
With this modernist masterpiece, Michelangelo Antonioni told a story that abandoned its initial plot. Booed at Cannes, it paved the way for a new cinematic form.
Matteo Garrone’s adaptation of Roberto Saviano’s book on the Neapolitan camorra smacks down the innumerable movies that have marketed the Mafia mythology.
This 60s’ American classic mixes avant-garde with mythology to examine male identity, intimacy, sexuality and trauma.
Tom Wolfe’s superb account about the early days of NASA’s space program needed filmmakers who shared a daring similar to the maverick pilots.
How do you make a film about a sociopath who murders his entire extended family and still get the audience to root for him?
Alfonso Cuarón has long flirted with the neorealist style. His latest masterpiece, Roma illustrates cinema is not about what you show, but how you show it.
Science-Fiction operates in many ways; fantasy, allegory, romance, satire and speculative. Another is prophecy. Twenty years on The Matrix seems eerily prescient.
Many great auteurs use similar styles to explore similar themes as lesser filmmakers. The only real difference is that great auteurs are more consistent and precise.
Most films about childhood are often nostalgic. Louis Malle’s masterful auto-biopic is about loss of an unfathomable kind.
Sofia Coppola’s off-beat romance deftly explores isolation, miscommunication and the superficiality of modern media.
Regarded as the greatest gangster picture of them all, the passing years continue to reveal new layers and meanings in Francis Ford Coppola’s masterpiece.
For all its groundbreaking effects and narrative innovation, this owes a debt to a romantic fantasy and a Soviet propaganda film.
Elio Petri’s bitterly satirical Oscar winner from 1970 cuts a stark picture of today’s political leaders.
Critics have long called Robert Altman’s 1971 picture a revisionist western. Truth is, the western has always been revising itself.
Many films enjoy exaggerated reputations, but it is almost impossible to underestimate the beauty, truth and importance of Vittorio De Sica’s Bicycle Thieves.
Described as the most evil film ever made, Henri George Clouzot’s masterpiece resembles Hemingway, Hitchcock, neo-realism and Casablanca.
David Cronenberg’s adaptation of George Langelaan’s short story is appropriately, a fusion of Icarus, Prometheus, Frankenstein and Beauty and the Beast.
Long thought to be a satire on bourgeoise marriage, Luis Buñuel’s masterpiece is really a study of the traumas suffered by a sexual assault victim.
Are classics always instantly recognized? If ever there were proof that critics cannot assess a film’s merits on a single viewing, it is Ridley Scott’s masterpiece.
What makes for a great opening? Character? Conflict? Poetry? Hopefully, more than something we’re supposed to just listen to.
What makes for a great opening? Character? Conflict? Poetry? Hopefully, more than something we’re supposed to just listen to.
There is only one time to tell Margaret Atwood’s novel, The Handmaid’s Tale. Right now. Which means always.
It is incorrectly assumed that Steven Spielberg turned Stanley Kubrick’s dark story into another of his child-friendly fantasies.
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