379. Midnight Cowboy
This 60s’ American classic mixes avant-garde with mythology to examine male identity, intimacy, sexuality and trauma.
This 60s’ American classic mixes avant-garde with mythology to examine male identity, intimacy, sexuality and trauma.
Once “too revolutionary”, Dziga Vertov’s avant-garde masterpiece is now felt in Man on Fire, Ratatouille and Inception.
While mostly remembered for John Travolta’s dancing, his white suit hides misogyny, racism, homophobia and gang rape.
With Frank Pierson’s Oscar-winning script, Sidney Lumet’s thriller is a masterclass in breaking the basic rules of screenwriting.
Taxi Driver was written in ten days by first-time screenwriter, Paul Schrader as a means to exorcise his festering, masochistic, narcissistic anger.
5 Oscar nominations, 4 Cesar wins, 2 BAFTAs and over $170m at the global box office. So why does Amélie still manage to polarise audiences?
What makes for a great shot? Beauty? The lens? Lighting? Combine them and you have more than just an image.
Best known for his crime dramas, Martin Scorsese’s adaptation of Edith Wharton’s romantic novel is one of his most incisive works.
In adapting Peter Moffat’s original BBC series, Criminal Justice how did Steven Zaillian and Richard Price turn it from a legal thriller into a social drama?
With its progressive attitude toward gender and sexuality, is Alan J Pakula’s 1971 film more a character study than it is a psychological thriller?
Like the novel, Revolutionary Road so probed its subject audiences stayed away. Their loss. It is Sam Mendes’ best film.
William Friedkin’s Oscar-winner may be a gritty thriller but it owes an enormous debt to a classic of 19th century American literature.
If jazz really is the authentic American art form, why are there so few great jazz movies? No matter, at least there are dozens of great jazz soundtracks.
To make a masterpiece about greed, media manipulation and McCarthyism, you hire a director whose background is in comedy.
Earning 5 Oscar nominations and $600m around the globe, the success (and controversy) of Fatal Attraction should be squarely laid at the feet of its producers.
Wes Anderson may share his surname with other directors, but there’s no mistaking his films for anybody elses.
Based on Jim Thompson’s grimey story about smalltime criminals, Stephen Frears’ film was robbed when it didn’t win a single Oscar from its four nominations.
Originally called The Bride and The Wolf, Moonstruck is as much about irritability, irrationality and mortality as it is about romance. Is that what makes it so good?
Before the Devil wore Prada, there was Working Girl, a fairytale in New York about big hair, big shoulder pads and even bigger dreams.
Originally intended to run at four and a half hours, Sergio Leone’s gangster epic suffered greatly at the hands of its distributors.
LA Confidential is adapted from James Ellroy’s highly regarded crime novel that spans seven scandalous years in the life of Los Angeles.
The Bourne Trilogy was a shot in the arm to the action genre and each new installment raised the expectation as to what an action picture can do and say.
Despite his many box-office successes, critics did not hold Tony Scott in high regard. With the sad news of his death, we offer a re-evaluation of his work.
Blake Edwards’ adaptation of Truman Capote’s novella has an enduring appeal but is far removed from its literary source.
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