391. WALL•E
Twenty-one feature films, $14b at the worldwide box-office and 15 Oscars. If you ever wondered about the secret of Pixar’s success, read their mission statement.
Twenty-one feature films, $14b at the worldwide box-office and 15 Oscars. If you ever wondered about the secret of Pixar’s success, read their mission statement.
The Palme d’Or winner in 1949, Carol Reed’s masterpiece drew on covert sources and unexpected styles and techniques to deliver a melancholic mystery.
How did Wolfgang Petersen manage to get audiences to care about a bunch of Nazi sailors trying to destroy the British fleet in the North Atlantic?
Five years in the making, David Lynch’s film is one of the most compelling, bewildering, original, disturbing and influential debuts in all of cinema.
In adapting Stephen King’s best-seller, Stanley Kubrick drew on a genre other than horror and used a new motif that he would repeat for the rest of his career.
For a film that requires so many special effects in order to create the feeling of weightlessness, how did Alfonso Cuarón still keep Gravity so grounded?
Fairytales transcend not just generations but cultures. Which may explain why La Belle et la Bête exists in so many guises and confronts so many issues.
What makes a classic film? The plot’s originality, director’s vision, or the star’s magnetism? Paradoxically, any, all, yet none of the above. It’s the audience.
We are told we watch horror films because they offer a vicariously thrilling, and thus safe experience. I don’t believe that. I believe horror films are instructive.
As the US embraced Reaganomics and Hollywood found the formula for the modern blockbuster, Warren Beatty embarked on a project examining the origins of American communism.
The influence of Fritz Lang’s Metropolis extends far beyond sci-fi and can be seen in films are varied as Casablanca, An American in Paris and The Birds.
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.
A long time ago in a galaxy far, far away, George Lucas was an avant-garde filmmaker whose sole interest was in making highly experimental short films.
It is incorrectly assumed that Steven Spielberg turned Stanley Kubrick’s dark story into another of his child-friendly fantasies.
Science-fiction sometimes predicts the future. Released a decade ago, Alfonso Cuarón’s Children of Men grows more prophetic as the years go by.
Thirty-five years old, Spielberg’s classic was inspired by more than just the Saturday matinee serials he watched as a child.
“Show me the money.” “Shut up, you had me at hello.” For such a quotable film, Jerry Maguire’s most important line is “Fewer clients. Less money.”
The Searchers is both a cinematic monument and an extremely unsettling depiction of the racism that lies at the heart of America’s own mythology.
This extended video-essay charts the development and possible future of the America movie trailer. Beginning in 1912, taking in the coming of television and suggesting where it might go in the age of the internet.
Once upon a time, in a galaxy far, far away, George Lucas built his own cinema empire. But American Graffiti, made in his hometown, is his masterpiece.
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